UNIVERSITY  OF  CALIFORNIA 
AT   LOS  ANGELES 


Y 


c>2.S'o 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/catalogueofopera01libriala 


ALBERT  SCHATZ,    1839-1910. 


LIBEAET  OF  OOFGEESS 


CATALOGUE 

OF 


OPERA  LIBRETTOS 

PRINTED  BEFORE  1800 


PREPARED  BY 

OSCAR  GEORGE  THEODORE  SONNECK 

CHIEF  OF  THE  DIVISION  OF  MUSIC 


Volume  I 

TITLE  catalogue 


WASHIKGTON 

GOVERNMENT  PRINTING  OFFICH 

1914 


L.  C.  card,  13—35009 


This  work  in  two  volumes  is  for  sale  by  the 

SUPEHINTENDENT  OF  DOCUMENTS 

Government  Printing  Office 
Washington,  D.  C. 


Price,  $2.00  per  set 


CO 


PREFACE 


Applied  to  musical  dramas  like  Wagner's  "Tristan  und  Isolde," 
the  term  libretto  sounds  absurd,  but  it  would  be  difficult  to  substitute 
for  the  purely  practical  purpose  of  naming  a  catalogue  an  equally 
convenient,  an  equally  generic,  and  at  the  same  time  equally  specific 
term.  By  international  consent  Hbretto  has  come  to  mean  a  text 
that  is  intended  for  musical  composition,  whether  it  be  a  text  for 
musical  tragedy,  comedy  or  farce,  oratorio,  sacred  or  secular  cantata. 
Exactly  therein  Hes  the  value  of  this  somewhat  artificial  traditional 
term  for  purposes  of  modern  pliraseology  that  it  circumscribes  with- 
out necessity  of  further  definition  one  distinctive  field  of  Hterature, 
just  as  opera,  a  similarly  artificial  term,  possesses  an  unmistakable 
significance.  Certainly  the  combination  of  the  two — 'opera-hbretto— 
o  can  not  be  surpassed  in  terseness  of  self-explanatory  meaning. 

At  any  rate,  the  term  hbretto  has  here  been  used  without  any  of 

the  current  aspersions  on  the  esthetic  value  of  texts  for  dramatic 

music.     The  term  opera-Hbretto  is  usually  coupled  with  the  idea  of 

a  type  of  drama  hardly  to  be  dignified  by  the  name  of  drama  or  even 

literature.     Unfortunately  this  contempt  is  justified  in  very  many 

individual  cases;  but  a  sweeping  condemnation  of  opera-hbrettos 

would  be  just  as  unfair  as  a  sweeping  condemnation  of  "legitimate" 

dramas,  though  most  of  these,  too,  suffer  from  artificiality,  conven- 

tionahty,  and  insipidity  of  theme  and  treatment.     The  difference  is 

this,  that  the  defects  of  the  average  opera-hbretto  are  not  hidden 

from  view  so  easily  by  the  clever  drapery  of  language.     A  hbretto  is 

not  an  art  work  complete  in  itself  and  self-sufficient  as  hterature. 

It  requires  to  be  complemented  by  music.     To  use  Mr.  Forsyth's 

witty  phrase,  it  is  but  one-half  of  the  scissors  of  opera.     A  hbretto  is 

practically  useless  without  the  music,  and  vice  versa.     Thus,  while 

working  with  the  tools  of  dramatic  craft,  the  hbrettist  molds  some- 

^'  thing  with  all  the  attributes  of  a  play,  yet  not  a  play  self-sufficient 

J*  on  the  stage  or  in  the  closet.     He  is  handicapped  from  the  beginning 

^  by  imperative  consideration  of  the  technical  problems  of  the  com- 

.  poser,  the  hmitations  and  possibUities  of  musical  art.     At  his  best 

^  he  delivers  into  the  hands  of  his  partner  the  perfect  half  of  an  art 

■^  work.     The  difficulty  of  his  pecuhar  art,  therefore,  is  to  prepare  and 

to  facihtate  the  amalgamation  of  two  different  arts,  and  this  is  a 

72251°— VOL  1—14 ^1  1 


OqJ><i>*J  tl  ^ 


2  PBEFACE 

difficulty  not  always  fully  appreciated  by  those  who  criticize  librettos 
from  a  literary  standpoint  and  who,  over  the  occasional  absurdities 
of  an  "Alfred  Bunn,  Esq.,"  forget  the  accomplishments  of  men  like 
Zeno,  Metastasio,  Goldoni,  Quinault,  Favart,  Wagner,  Boito,  Gilbert, 
Maeterlinck,  and  many  others. 

Whatever  the  place  of  hbrettos  is  in  the  history  of  Uterature,  the 
Hbretto  has  its  distinct  place  in  the  history  of  music,  more  especially 
in  the  history  of  opera.  This  has  been  recognized  for  centuries,  and 
none  of  the  fairly  numerous  treatises  on  the  dramaturgies  of  opera 
omits  a  more  or  less  convincing  consideration  of  the  function  and  art 
of  the  librettist.  For  this  very  reason  it  is  astonishing  that  so  far 
no  serious  attempt  should  have  been  made  to  give  us  a  compre- 
hensive history  of  hbretto.  It  would  be,  of  course,  a  difficult  and  a 
very  comphcated  task,  one  that  could  be  undertaken  only  by  a 
scholar  equally  intimate  with  the  liistory  and  technique  of  dramatic 
music  and  of  dramatic  Uterature,  not  to  forget  an  indispensible 
intimacy  with  "Kulturgeschichte"  and  the  economic  as  well  as 
purely  commercial  currents  underflowing  the  development  of  both 
arts;  but  it  would  be  a  fascinating  task,  indeed,  fascinating  to  both 
the  author  and  the  reader.  There  are  signs — I  refer  to  the  recent 
book  on  Zeno's  hbrettos  by  Mr.  Fehr — that  the  interest  in  the  history 
of  hbrettos  is  being  revived,  and  if  this  interest  continues  the  history 
of  opera  can  not  but  profit  by  it.  One  result  would  be  a  clearer 
understanding  of  the  share  progressive  Hbrettists  had  in  the  shaping 
of  the  art  form  of  opera.  One  hears  much  of  the  suggestions*  offered 
by  composers  to  their  librettists,  one  hears  less  of  the  outspoken  or 
latent  suggestions  offered  to  composers  by  their  librettists.  It  was 
Bumey,  I  beheve,  who  first  made  the  observation  that  composers  and 
librettists  hke  to  travel  in  pairs;  that  is,  one  composer  preferably 
setting  Hbrettos  by  one  author  to  music.  If  that  observation  is  cor- 
rect, it  stands  to  reason  that  under  the  circumstances  the  influence 
of  thoughtful  hbrettists  on  the  evolution  of  opera  as  an  art  form  must 
have  been  very  considerable.  To  decide,  for  instance,  whether  Verdi's 
"Falstaff,"  as  a  combined  effort  in  the  right  direction,  owes  more  to 
Verdi  than  to  Boito,  would  be  difficult,  indeed,  just  as  it  would  be  to 
establish  a  perfect  balance  between  our  indebtedness  to  Wagner,  the 
dramatist,  and  to  Wagner,  the  composer.  Earher  periods  were  not 
different  in  this  respect.  In  the  case  of  Calsabigi  and  Gluck,  for  in- 
stance, we  have  known  for  some  time  that  Calsabigi  had  at  least  an 
equal  share  in  certain  reforms  generally  attributed  to  Gluck  alone. 
If  we  turn  to  Metastasio,  his  letters  to  Hasse  and  others  prove  that 
he  was  by  no  means  a  willing  tool  in  the  hands  of  composers.  He 
submitted  to  certain  traditional  conventionalities  perhaps  because  it 
would  have  been  useless  in  his  time  to  offer  stubborn  resistance,  but 
he  resented  the  idea  that  the  Hbrettist  had  no  problems  of  his  own 


PREFACE  8 

and  should  be  a  mere  servant  to  the  composer.  "The  play  is  the 
thing"  was  his  maxim,  too,  and  he  plainly  gave  to  the  dramaturgies 
of  opera  deep  and  continued  thought.  With  something  like  a  mild 
monopoly  on  the  art  of  writing  "grand  opera"  librettos  for  eighty 
years  in  the  "eroicamente  erotico"  manner,  as  one  reformer  put  it, 
his  influence  on  opera  as  an  art  form  clearly  must  have  been  remark- 
able. It  is  not  lessened  by  the  fact  that  he  excelled  where  most  of 
the  composers  of  his  time  failed  because  of  fossilized  conventionahty, 
namely,  in  the  dialogue,  which  stamps  him,  from  the  purely  hterary 
standpoint,  too,  a  great  playwright.  What  is  true  of  Metastasio  is 
true  also  mutatis  mutandis  of  Goldoni,  of  Zeno,  and  the  earher  musical 
plajrwrights  that  really  count.  Indeed,  the  very  foundations  of 
opera  were  laid,  I  dare  say,  by  Rinuccioi  as  much  as  by  Jacopo  Corsi, 
Peri,  or  Caccini, 

If,  therefore,  the  importance  of  librettos  is  clear  for  the  history  of  musi- 
cal dramaturgies  and  esthetics,  in  short  of  opera  in  general,  stOl  more  so 
is  their  importance  for  the  history  of  individual  operas.  The  truth  of 
this  statement  is  perhaps  not  fully  appreciated  by  those  who  use 
only  modern  librettos  with  the  object  of  preparing  themselves  by  a 
better  acquaintance  with  the  text  for  a  better  understanding  of  the 
opera  to  be  heard,  a  function  of  the  libretto  which  our  libraries  should 
begin  to  value  more  highly.  Lexicographers  and  historians,  espe- 
cially local  historians  of  opera,  would  have  been  greatly  handicapped 
in  their  compilations  without  the  direct  or  indirect  help  of  the  libret- 
tos which,  in  innumerable  cases,  furnish  the  only  available  clue  as  to 
the  composer  and  author  of  older  operas,  the  casts,  which  means 
biographical  data  on  the  singers,  and  the  year-dates  of  perform- 
ance, very  often  of  first  performance.  Beyond  such  invaluable  clues, 
however,  librettos  furnish  information  of  a  very  different  and  equally 
important  kind.  Every  student  of  Wagner's  life,  for  instance, 
knows  that  his  "Tannhauser"  was  performed  in  the  earliest  days  at 
Dresden  with  several  different  endings,  but  in  just  what  these  differ- 
ences consisted  was  not  accurately  known  before  Tappert  carefully 
compared  the  several  editions  of  the  "Tannhauser"  librettos  first 
used  at  Dresden.  If  we  go  back  to  the  eighteenth  century  the  im- 
portance of  librettos  for  the  solution  of  similar  textual  problems  be- 
comes even  greater,  indeed  perplexingly  so  if  we  are  interested  in 
early  Italian  operas. 

This  is  primarily  due  to  the  well-known  fact  that  an  opera  was 
hardly  ever  performed  exactly  alike  as  to  text  and  therewith  as  to  music 
m  different  cities.  The  original  version  of  an  opera  only  in  rare  cases 
coincided  with  that  of  replicas.  The  pasticcio  andrifa^m^nto  tendency 
of  the  age,  fostered  by  the  demands  of  the  singers  for ' '  thankful "  num- 
bers and  the  commercial  risks  of  the  managers,  undermined  the  respect 
for  the  mental  property  of  author  and  composer.     The  custom  to  sub- 


4  PBEFAOE 

stitute  at  will  arias  in  the  opera  to  be  performed  by  arias  from  other 
operas  by  other  composers  and  authors,  or  to  replace  them  by  such 
composed  for  the  occasion,  and  all  this  very  often  without  the  slightest 
notice  to  the  audience,  grew  into  a  chronic  disease,  into  a  system 
before  which  authors  and  composers  bowed  resignedly  and  which 
last^ed  until  the  latter  part  of  the  eighteenth  century.  There  are 
cases  on  record  in  which  out  of  a  total  of  about  thirty  arias  only 
about  half  a  dozen  had  been  retained  from  the  original  version  of  the 
opera  by  the  author  and  composer  under  whose  names  the  opera 
continued  to  sail. 

Supposing,  therefore,  that  a  Ubrary  possesses  the  score  of  an  old 
Italian  opera  and  that  the  score  bears  the  name  of  a  certain  com- 
poser. The  inexperienced  would  look  up  the  date  of  first  performance 
of  the  opera  in  some  standard  reference  work,  would  attach  that 
date  to  the  score,  would  accredit  the  whole  score,  irrespective  of 
incongruity  of  style,  to  one  author  and  one  composer  and  would 
hold  them  responsible  for  the  merits  or  demerits  of  text  and  music 
in  detail  without  further  misgivings.  This  conclusion  would  be  un- 
sound from  the  first  to  the  last,  as  may  be  inferred  from  the  manner 
in  which  the  expert  would  study  the  score.  He  would  locate  in  the 
first  place  a  copy  of  the  libretto  as  actually  used  at  the  first  perform- 
ance of  the  composer's  opera.  If  the  text  in  the  score  and  the  text 
in  the  opera  agree,  with  only  irrelevant  differences,  he  would  conclude- 
correctly  that  presumably  this  was  a  copy  of  the  score  as  originally 
composed  by  the  composer.  If  the  name  of  the  composer  had  been 
added  by  a  later  hand,  he  would  also  conclude  that  the  score  had 
been  correctly  attributed  to  him.  If,  however,  the  text  of  the  score 
and  of  the  libretto  disagree,  he  would  know  immediately,  first,  that 
the  score  in  this  form  was  not  used  for  the  original  performance; 
secondly,  that  the  score  contains  ingredients  for  which  the  composer 
named  is  not  responsible.  Only  by  finding  an  edition  of  the  libretto 
coinciding  fuUy  with  the  score  under  question  would  he  be  able  to 
date  it  correctly,  and  only  by  a  comparison  of  the  original  edition  of 
the  composer's  opera  with  the  edition  of  the  established  replica  would 
he  be  able  to  determine  what  belongs  to  the  original  author  and 
composer  of  the  opera  and  what  not.  Other  reconstructive  possi- 
bilities any  reader  may  find  for  himself  by  applying,  as  it  were,  the 
rules  of  permutation. 

Cursory  as  these  remarks  are  on  the  different  uses  to  which  librettos 
may  be  put,  they  suffice  to  illustrate  the  importance  of  a  libretto 
collection  in  any  well-equipped  musical  library.  Its  importance  will 
increase  in  the  same  ratio  as  the  library's  collection  of  opera  scores 
increases,  and  the  need  of  an  adequate  Ubretto  collection  will  become 
imperative  should  a  library  attempt  to  develop  its  collection  of  opera 
scores  organically,  to  build  up,  as  it  were,  a  museum  of  operatic  his- 


PREFACE 


i^ 


tory.  At  any  rate,  this  was  the  standpoint  of  the  Library  of  Con- 
gress when  the  project  of  assembling  a  comprehensive,  representa- 
tive collection  of  operas  began  to  assume  definite  shape.  The  ideal 
solution  of  the  problem  would  be  to  have  every  opera  represented 
also  by  its  Hbretto.  Whether  such  an  ideal  solution  is  possible  of 
attainment  or  not,  it  is  clearly  the  course  which  every  systematic 
effort  would  have  to  take.  That  it  would  be  futile  to  start  such  a 
collection  ab  ovo  by  the  painfully  slow  process  of  acquiring  one 
desirable  libretto  after  the  other  was  realized  from  the  begioning. 
Even  the  gradual  purchase  of  small,  though  fine,  collections  like 
that  of  Mr.  James  E.  Matthew  could  hardly  accomplish  the  desired 
result.  The  Library  of  Congress,  therefore,  abided  its  time  until  one 
of  the  large  collections  known  to  be  in  private  hands  would  be  within 
reach.  The  supreme  opportunity  came  when  in  the  fall  of  1908  one 
of  the  most  famous  of  all  libretto  collections,  that  of  Mr.  Albert 
Schatz,  of  Rostock,  was  offered  us.  The  Library  of  Congress  lost  no 
time  in  acquiring  this  collection,  the  formation  of  which  had  taken 
Mr.  Schatz  not  less  than  forty  years. 

As  Mr.  Schatz  was  in  feeble  health,  and  as  the  Library  of  Congress 
quite  naturally  wished  to  possess  for  future  use  an  authoritative  state- 
ment on  the  origin  and  history  of  his  great  collection  before  it  might 
be  too  late,  he  was  requested  to  furnish  such  a  statement  himself. 
With  characteristic  promptness  he  compUed  with  our  request  and 
wrote  the  following  autobiographical  sketch  under  date  of  Rostock, 
March  17,  1909: 

"Meine  Saromlung  von  Opemtexten,  wie  sie  jetzt  die  Library  of 
Congress  in  Washington  erworben  hat,  ist  das  Ergebnis  eigener 
Sanuneltatigkeit  von  iiber  42  Jahren.  Bereits  in  friihster  Jugend 
entwickelte  sich  bei  mir  ein  besonderes  Literesse  fiir  die  Oper 
und  ihre  Geschichte,  das  durch  altere  Freunde  nicht  bloss  wach 
gehalten,  sondem  lebhaft  gefordert  wurde.  Als  der  kaufmannische 
Beruf  mich  zunachst  nach  Hamburg  und  dann  7  Jahre  nach  San 
Francisco  fiihrte,  ruhte  zwar  mein  Sinn  ftir  dies  Gebiet,  Kaum 
war  ich  indessen  im  Herbst  1873  nach  Rostock  zuriickgekehrt  und 
Besitzer  der  noch  jetzt  hier  bestehenden  Musikalienhandlung  Lud- 
wig  Trutschel  Nachfolger  geworden,  als  die  alte  Neigung  von 
neuem  erwachte  und  zu  dem  Plan  erstarkte,  sglbst  eiae  Geschichte 
der  Oper  zu  schreiben.  Dieser  Plan  ist,  trotz  bis  heute  fortgesetz- 
ter  Arbeit  daran,  noch  nicht  zur  Vollendung  gekonmien;  denn  der 
Stoff  nahm  bei  der  von  mir  angewandten  Methode  ungeahnte 
Dimensionen  an.  Es  stellte  sich  heraus,  dass  die  bisherigen  Darstel- 
lungen  der  Opemgeschichte  als  Quellen  vollig  unzureichend 
und  unzuverlassig  waren,  da  sie  in  der  Hauptsache  nicht 
unmittelbar  auf  den  Quellen  aufgebaut,  sondem  ohne  Kenntnis 


6  PREFACE 

dieser,  einander  nachgeschrieben  sind.  So  kam  ich  zu  dem  Schluss, 
dass  eine  korrekte  Darstellung  ein  unmittelbares  Studium  der 
Grundquellen  vernotwendige,  und  sah  mich  genotigt,  da  sammt- 
liche  grossen  Bibliotheken  dies  QueUenmaterial  nur  unvollstandig 
enthielten,  selbst  an  das  Aufspiiren  und  Sammeln  derselben  zu 
gehen.  So  ist  im  Laufe  der  Jahre  meine  Textsammlung  und 
meine  Bibliothek  entstanden,  von  denen  in  Sonderheit  erstere  von 
kaum  einer  anderen  Sammlung  gleicher  Art  iibertroffen  werden 
diirfte  und  unter  alien  ernsten  Arbeitern  auf  gleichem  Gebiet  weit 
und  breit  bekannt  geworden  ist.  Sie  fiihrte  mich  mit  einer  Reihe 
anderer  Musikhistoriker  zusammen,  mit  denen  ich  korrespond- 
iert  habe  und  zum  Teil  noch  korrespondiere.  Diese  Sammlung, 
sowie  die  Bestande  der  Bibliotheken  Europas,  forderten  meine 
Geschichte  der  Oper  so  weit,  dass  das  statistische  Material  in  circa 
80,000  Zettehi  ziemlich  abgeschlossen  vorliegt.  Diese  Zettel  ent- 
halten  jeder  den  Titel  einer  Oper,  Namen  des  Komponisten  und 
Dichters,  Ort,  Theater  und  Zeit,  nicht  bloss  der  ersten  Auffiihrung, 
..sondern  auch  der  erstmaligen  Wiederholungen  in  andern  Stadten 
oder  Theatern.  Sie  sind  chronologisch  und  alphabetisch  geordnet, 
lassen  sich  ohne  grosse  Schwierigkeit,  aber  auch  nach  Komponis- 
ten, Dichtern,  Stadten  und  Theatern  zusammen  steUen  und  ergeben 
den  voUstandigen  Stoff  fiir  eine  Bibliographie  der  Oper.  Zu  dem 
fertigen  Material  gehort  insbesondere  das  iiber  die  Komponistea 
D.  Cimarosa,  B.  Galuppi,  C.  W.  von  Gluck,  K.  H.  Graun,  P. 
Guglielmi,  G.  F.  Handel,  J.  A.  Hasse,  N.  JommeUi,  J.  S.  Mayr, 
F.  Paer,  G.  Paesiello,  N.  Piccini,  A.  M.  G.  Sacchini,  und  G.  Sarti. 
Es  liegt  vor  in  36  Banden  und  bedarf  zur  VeroffentUchung  nur 
einer  Schlussre vision.  Das  Werk  im  urspriinglichen  Plan  zur  Aus- 
fuhrung  zu  bringen,  ist  mir,  da  ich  in  wenigen  Wochen  das  70. 
Lebensjahr  erreiche,  wohl  nicht  mehr  beschieden.  So  weit  ich  selbst 
nicht  noch  zu  Einzeldarstellungen  gelange  oder  eine  andere  Ver- 
wertung  sich  mir  anbietet,  beabsichtige  ich  dieses  Material  mir 
bekannten  Fachgenossen  zur  Veroffentlichung  oder  Benutzung  bei 
anderen  Arbeiten  zu  iibergeben.  Das  unfertige  Material  soil  dage- 
gen  nach  meinem  Tode  der  Vernichtung  anheim  fallen." 

[Translation.] 

"My  collection  of  opera-librettos,  now  in  possession  of  the  Library 
of  Congress,  is  the  result  of  more  than  forty- two  years  of  collecting. 
Since  early  youth  I  took  a  particular  interest  in  opera  and  the 
history  of  opera,  and  this  interest  was  kept  alive  by  older  friends 
and  encouraged.  When  a  commercial  career  took  me  first  to  Ham- 
bourg  and  then  for  seven  years  to  San  Francisco,  my  mind  was  con- 
centrated on  other  matters,  but  hardly  had  I  returned  in  the  fall 
of  1873  to  Rostock,  to  become  the  owner  of  the  still  existing  firm. 


PBEFACE  7 

'Musikalienhandlung  Ludwig  Trutschel  Nachfolger,'  when  my 
old  passion  awoke  and  I  conceived  the  plan  of  writing  a  history  of 
opera.  This  project,  though  I  have  worked  at  it  until  now,  has 
not  been  completed,  inasmuch  as  it  reached  unsuspected  dimen- 
sions, owing  to  the  method  of  procedure  employed  by  me.  I  found 
that  previous  histories  of  operas  were  absolutely  insufficient  and 
unreliable,  since  in  the  main  they  are  not  based  on  primary  sources, 
but  were  copied  one  from  the  other  without  the  knowledge  of  these 
sources.  I  became  convinced  that  a  correct  history  would  neces- 
sitate the  study  of  the  primary  sources,  and  since  none  of  the  large 
Ubraries  contained  the  material  sufficiently  complete,  that  I  would 
have  to  trace  and  collect  it  myself. 

"In  this  manner  my  Ubretto  collection  and  my  library  gradually 
came  into  existence,  of  which  especially  the  former  is  hardly  sur- 
passed by  any  other.  At  any  rate,  it  became  known  everywhere 
to  scholars  interested  in  the  same  subject,  and  through  my  collec- 
tion I  was  brought  into  contact  with  quite  a  few  other  musical  his- 
torians with  whom  I  corresponded  and  still  correspond.  My  own 
collection  and  librettos  in  other  European  collections  furthered  my 
history  of  opera  to  the  point  that  the  statistical  part  may  be  con- 
sidered fairly  finished  on  about  80,000  cards.  Each  card  contains 
the  title  of  an  opera,  name  of  composer  and  author,  place,  theatre, 
and  date  of  the  first  performance  not  only,  but  of  the  first  repeti- 
tions in  other  cities  or  theatres.  The  cards  are  arranged  chrono- 
logically, subarranged  alphabetically,  but  without  much  difficulty 
could  be  rearranged  by  composer  or  author  or  cities  and  theatres. 
They  represent  the  complete  material  for  a  bibliography  of  opera. 
I  mention  especially  the  material  on  the  composers  D.  Cimarosa, 
B.  Galuppi,  C.  W.  von  Gluck,  K.  H.  Graun,  P.  Guglielmi,  G.  F. 
Handel,  J.  A.  Hasse,  N.  Jommelli,  J.  S.  Mayr,  F.  Paer,  G.  Paesiello, 
N.  Piccini,  A.  M.  G.  Sacchini,  and  G.  Sarti.  These  thirty-six  vol- 
umes need  but  a  final  revision  for  the  purpose  of  publication.  (To 
write  my  history  of  opera,  according  to  the  original  plan,  is  hardly 
allotted  to  me,  since  in  a  few  weeks  I  reach  my  seventieth  year.) 
If  I  am  not  able  to  at  least  write  some  monographs,  or  unless  an 
opportunity  arises  for  disposing  of  it  otherwise,  I  intend  to  entrust 
this  material  to  colleagues  of  my  acquaintance  to  be  published  or 
to  be  used  by  them  for  other  works.  The  incomplete  material,  on 
the  other  hand,  shall  be  destroyed  after  my  death." 

Beyond  the  pride  in  the  possession  of  the  Albert  Schatz  collection, 

•the  Library  of  Congress  takes  a  sentimental  interest  in  it  because,  as 

the  reader  will  have  noticed,  Mr.  Schatz  spent  some  of  the  best  years 

of  his  life  in  America.     After  his  return  to  Rostock  he  lived  there 

until  his  death,  October  18,  1910  (he  was  born  there  May  19,  1839), 


8  PREFACE 

active  in  the  musical  affairs  of  his  city  in  several  honorary  positions, 
quietly  and  with  self-sacrifice  and  at  great  expense  amassing  his 
libretto  collection,  industriously  collecting  and  digesting  material 
for  his  colossal  chronological  statistics  of  operas,  his  opera-dictionary 
and  kindred  works,  and  ever  ready  to  spend  liberally  from  his  won- 
derful store  of  knowledge  to  all — and  they  were  many — who  sought 
his  advice. 

The  total  number  of  librettos  in  the  Albert  Schatz  collection, 
not  counting  duplicates,  is  in  round  figures  12,240.  Of  these  12,000 
are  opera  librettos,  the  remainder  librettos  of  oratorios  and  cantatas. 

These  appear  to  have  come  into  his  possession  incidentally  through 
the  purchase  of  miscellaneous  lots  of  librettos,  such  as  are  offered 
quite  frequently  by  dealers,  who  only  recently  have  shown  a  disposi- 
tion to  give  to  individual  librettos  that  attention  which  they  deserve 
and  for  which  collectors  and  librarians  have  been  sighing.  In  the 
same  manner  he  appeals  to  have  acquired  many  librettos  of  unim- 
portant replicas,  which  he  otherwise  would  hardly  have  cared  to 
add  to  his  collection.  Not  that  they  are  valueless — at  least  they 
have  a  decided  value  for  local  history — but,  as  might  be  expected 
from  a  connoisseur  like  Albert  Schatz,  his  plan  seems  to  have  been 
to  collect  first  editions,  i.  e.,  librettos  printed  for  the  first  performance 
of  an  opera ;  in  other  words,  librettos  in  their  original  state  in  preference 
to  those  used  for  replicas  with  the  customary  alterations,  additions, 
interpolations,  etc.  This  accounts  for  the  presence  of  such  an  ex- 
traordinary number  of  first  editions  of  seventeenth  and  eighteenth 
century  librettos,  and  exactly  herein  lies  the  great  value  of  the  Albert 
Schatz  collection  for  historical  purposes.  If  in  many  cases  even  a 
patient  collector  like  Mr.  Schatz  had  to  content  himself  with  more  or 
less  important  replica  librettos,  it  merely  serves  to  show  how  difficult, 
not  to  say  impossible,  a  task  it  was  and  still  is  to  form  a  comprehensive, 
representative  collection  of  librettos  by  systematic  and  organic 
development.  At  no  time,  of  course,  can  Mr.  Schatz  have  enter- 
tained the  notion  to  acquire  every  libretto  of  the  more  than  30,000 
operas  performed  since  1597.  Furthermore,  it  stands  to  reason  that 
he  knew  intimately  the  weak  spots  in  his,  as  every  expert  will  agree, 
formidable  collection.  There  are  such  weak  spots  the  plenty,  as  iu 
every  collection  of  books,  pictures,  coins,  or  what  not.  If  Mr.  Schatz, 
for  instance,  turned  to  a  master  like  Agostuio  Steffani,  he  must  have 
felt  keen  disappointment  at  his  inability  to  make  a  better  showing. 
Presumably  he  consoled  himself  with  the  knowledge,  born  of  long 
experience,  that  the  find  of  a  particularly  rare  libretto  is  practically' 
a  matter  of  luck,  and  presumably  he  tendered  his  sUent  good  wishes  to 
some  competitor  luckier  or  speedier  than  he.  Moreover,  though  in 
innumerable  instances  his  showing  may  well  excite  the  envy  of  some 
specialist,  some  collector  especially  interested  in  the  operas  of  a  par- 


PBEFACE  9 

ticular  master  or  performed  in  a  particular  city,  Mr.  Shatz  umnis- 
takably  was  foiming  a  general  collection.  If  he  had  concentrated  his 
efforts  on  particular  masters  to  the  neglect  of  others,  probably  the 
result  would  sometimes  have  been  more  satisfactory  for  the  purposes 
of  specialists  with  a  limited  sphere  of  interest,  but  it  certainly  would 
have  been  less  satisfactory  for  the  purposes  of  a  general  library. 
While  weak  spots,  as  conceded  above,  have  their  explanation  in 
peculiar  obstacles  over  which  a  collector  is  not  master,  another  aspect 
of  the  Schatz  collection  is  rather  puzzling.  Though  cosmopolitan  in 
his  tendencies,  Mr.  Schatz  did  not  collect  French  librettos  with  the 
same  planf  ul  zeal  as  he  did  German  and  Italian.  For  reasons  imknown 
to  us,  he  preferred  at  first  German  translations  to  the  French  orig'mals, 
and  though  he  evidently  in  later  years  paid  more  attention  to  the 
latter,  he  did  not  quite  succeed  in  reversing  the  balance  in  their  favor. 
In  other  words,  the  Schatz  collection,  relatively  speaking,  was  not  as 
strong  in  French  librettos  as  it  might  have  been.  A  similar  estimate 
applies  to  Russian,  Scandinavian,  Bohemian,  Hungarian,  Spanish, 
English,  and  American  librettos  in  the  original  language.  That  it  was 
not  a  lack  of  linguistic  ability  which  prompted  Mr.  Schatz  to  leave  his 
collection  more  or  less  underdeveloped  in  these  fields  is  proven  by  the 
curious  (and  sometimes  embarrassing)  fact  that  he  invariably  entered 
librettos  in  his  own  catalogue  in  the  language  written,  whether  that 
be  Hungarian,  Norwegian,  Portuguese,  or  any  other,  and  in  case  of 
Russian  librettos  he  even  made  his  catalogue  entries  and  notes  in 
Russian  script. 

After  a  study  of  Mr.  Schatz'  "Hsmd-Katalog,"  which  accompanied 
the  purchase,  had  estabUshed  the  character  and  relative  strength  and 
weakness  of  his  collection,  the  Library  of  Congress  gradually  entered 
on  a  campaign  of  fiUing  in  gaps.  Not,  of  course,  recklessly  and  with- 
out discrimination.  The  campaign  was  based  on  the  fundamental 
idea  of  deepening  and  facilitating  the  study  of  opera  scores  in  our 
possession  by  putting  at  the  student's  disposal  also  the  librettos  of  the 
operas.  For  administrative  reasons  the  want  lists  were  based  on  our 
collection  of  full  scores,  now  more  than  2,500,  and  not  on  the  collection 
of  about  7,000  vocal  scores.  And  in  view  of  the  fact  that  the  pubHca- 
tion  of  the  catalogue  of  our  seventeenth  and  eighteenth  century 
librettos  was  likely  to  precede  that  of  nineteenth  century  hbrettos  by 
several  years,  emphasis  was  laid  on  the  earher  period.  This  was  the 
theory,  but  for  actual  results  we  were  subject  to  the  caprices  of  the 
market.  Still,  the  Schatz  collection  was  strengthened  by  many  hvm- 
dreds  of  hbrettos,  including  very  many  French.  It  further  happened 
that  the  remarkable  Longe  collection  of  minor  Enghsh  dramatists, 
acquired  by  the  Library  of  Congress,  included  some  four  hundred 
Enghsh  hbrettos,  mostly  before  1800.  As  to  American  hbrettos,  the 
Library  of  Congress  is  practically  in  a  sUUus  quo;  this  means  that  the 


10  PREFACE 

eighteenth  and  the  early  nineteenth  centuries  are  not  yet  represented 
with  that  completeness  which  one  would  Hke  to  consider  characteristic 
of  a  national  library.  This  deficiency  is  due  to  the  exasperating 
scarcity  of  early  American  librettos.  On  the  other  hand,  by  dint  of 
the  broadening  stream  of  copyright  deposits,  the  Library  of  Congress 
may  point  to  a  collection  of  later  American  librettos  which  it  would 
be  extremely  difl&cult  to  duplicate  by  other  means.  That  these  copy- 
right deposits  include  many  foreign  librettos  of  recent  date  may  be 
mentioned  in  passing.  It  is  a  safe  estimate  that  the  total  number  of 
librettos  accrued  to  the  Library  of  Congress  by  purchase,  copyright, 
gift,  or  otherwise  now  reaches,  if  it  not  surpasses,  17,000.  That  the 
publication  of  a  complete  catalogue  of  this  huge  collection  will  stimu- 
late assistance  to  fill  in  disagreeable  gaps  is  confidently  expected. 
Perhaps  in  course  of  time  even  the  so  strangely  scarce  collected  works 
of  certain  early  hbrettists  like  Morselli,  and  others  may  come  our 
way  and  we  may  be  able  to  make  a  better  showing  of  the  ItaUan 
Hbrettos  pubhshed  at  London  in  Handel's  time,  as  also  in  certain 
other  fields  now  comparatively  barren.* 

Immediately  after  purchase  of  the  Albert  Schatz  collection  the  plan 
was  conceived  of  making  access  to  our  collections  easier  by  publication 
of  a  catalogue,  thereby  enhancing  the  practical  value  of  the  collec- 
tions themselves  immeasurably.  Quite  naturally  we  turned  to  Mr. 
Schatz'  own  catalogue  of  his  collection  as  a  suitable  basis  for  further 
operations,  but  the  plan  of  publishing  his  catalogue  as  it  stood,  merely 
incorporating  with  it  our  own  librettos,  soon  had  to  be  abandoned. 
Much  to  our  regret  this  idea  of  a  memorial  to  Mr.  Schatz'  patience, 
energy,  and  enthusiasm  was  found  to  be  impracticable.  Some  of  the 
chief  obstacles  will  readily  appear  from  a  perusal  of  the  facsimile  of  a 
page  or  rather  sheet  from  his  catalogue. 

Painstaking  and  valuable,  indeed  invaluable,  as  his  entries  are  for 
the  names  of  composers  and  authors,  date,  and  place  of  first  perform- 
ance, etc.,  they  deal  with  a  system  of  abbreviations,  which,  simple, 
imiform,  and  understandable  to  a  linguist  though  it  be,  would  not  be 
quite  convenient  in  an  American  publication.  It  wiU  also  be  noticed 
that  the  bibhographical  description  of  the  librettos  is  restricted  to  a 
minimum,  sufficient  undoubtedly  for  Mr.  Schatz'  own  special  purposes, 
but  not  for  ours.  In  addition,  the  alphabet  under  individual  com- 
posers was  found  to  overlap,  i.  e.,  to  start  anew  two,  three,  and  more 
times  with  annoying  frequency — an  irregularity  easily  explained  by 
the  gradual  growth  of  Mr.  Schatz'  collection.  Finally,  his  catalogue 
is  prepared  throughout  by  entry  under  composers  with  neither  author 
nor  title  index,  and  without  the  latter  his  catalogue  soon  proved  of 

•  Occasion  is  here  taken  to  inform  those  interested  that  it  is  the  practice  of  the  Library  of  Congress  to 
acquire  librettos  only,  if  they  are  not  represented  at  all  in  our  collections,  or,  if  they  antedate  the  editions 
in  our  possession,  preference  being  given  to  the  original  libretto  of  an  opera. 


PBEFACE  11 

too  limited  usefulness,  as,  for  obvious  reasons,  will  be  any  libretto 
catalogue  without  a  title  index.  The  editorial  and  mere  clerical  labor 
in  dissecting,  realphabeting,  copying,  standardizing  Mr.  Schatz'  in 
its  way,  of  course,  splendid  catalogue  for  our  purposes,  would  have 
been  very  much  greater  than  those  uninitiated  in  library  perplexities 
and  drudgery  might  expect,  and  too  great  for  practical  consideration. 
In  short,  as  a  list  his  catalogue  is  too  full,  as  a  catalogue  too  meager. 
Instead  of  reducing  his  catalogue  after  incorporation  of  our  other 
librettos  to  a  mere  list,  the  preparation  and  publication  of  which 
would  not  have  consumed  more  than  one  or  two  years,  but  the  fer- 
manent  value  of  which  for  reference  and  research  would  have  been 
doubtful  and  the  cost  not  commensurate  with  its  usefulness,  a  deci- 
sion was  reached  to  prepare  a  new  and  fuU-entry  catalogue,  which 
would  answer  all  purposes  except  perhaps  those  of  bibliographical 
anatomists.  That  for  this  new  catalogue  Mr.  Schatz'  own  catalogue 
would  have  to  be  utilized  to  the  fullest  possible  extent  was,  of  course, 
understood,  as  was  also  our  obligation  to  consider  him,  whom  no 
less  a  scholar  than  Friedrich  Chrysander  in  his  review  of  Taddeo 
Wiel's  "  Catalogo  delle  opere  Lq  musica  rapresentate  nel  secolo  XVHI 
in  Venezia"  (Viertelj ahrschrif t  fiir  Musikwissenschaft,.  v.  10,  1894) 
had  called  "mein  Orakel  in  solchen  Dingen"  as  prime  authority  in 
all  matters  usually  embodied  in  the  best  kind  of  opera  dictionaries. 
This  obUgation  became  all  the  more  apparent  after  the  Library  of 
Congress  acquired,  in  1911,  from  the  heirs  of  Mr.  Schatz  all  the  manu- 
scripts alluded  to  in  his  autobiographical  sketch.  Now  Mr.  Schatz' 
industry  in  keeping  abreast  of  current  literature  is  well  illustrated  by 
the  fact  that  the  date  for  the  same  opera  does  not  always  tally  in 
his  several  compilations  apparently  made  at  different  times.  Conse- 
quently I  felt  obliged  to  consult  them  all.  Not  because  this  entailed 
much  and  tedious  labor  is  the  fact  mentioned  here,  but  because  quite 
likely  now  and  then  I  overlooked  discrepancies  and  thereby  missed 
the  opportunity  to  profit  by  Mr.  Schatz'  final  historical  data.  These 
data  frequently  do  not  coincide  with  those  in  the  published  standard 
reference  works.  In  most  such  cases  I  felt  methodically  justified  in 
accepting  without  question  his  data  instead  of  those  of  his  predeces- 
sors, because  Mr.  Schatz  had  worked  his  way  through  practically  all 
the  available  standard  dictionaries,  catalogues,  bibliographies,  etc.,  of 
his  time,  such  as  those  by  Groppo,  Allacci,  Wotquenne,  Wiel,  Piovano, 
von  Weilen,  Parke,  Baker,  Grove,  Parfaict,  Clement  and  Larousse, 
F^tis,  Goedicke,  Riemann,  Salvioli,  and  possibly  Eitner,  besides  many 
biographies  and  purely  historical  works.  Furthermore,  his  own  exten- 
sive researches  and  his  libretto  collection  as  primary  source  had  en- 
abled him  to  rectify  many  errors  which  had  been  inherited  by  one 
lexicographer  from  the  other,  to  add  new  and  to  suppress  antiquated 
data,  or,  at  any  rate,  to  throw  the  weight  of  his  authority  in  favour 


12  PREFACE 

of  one  date  as  against  the  other — and  the  catalogue  itself  is  the 
best  proof  for  this  assertion. 

Nevertheless,  my  respect  for  Mr.  Schatz'  accomplishments  did  not 
render  me  immune  against  the  necessity  of  spending  off  and  on  many 
hours  in  consultation  of  books  that  had  either  escaped  his  attention 
or  which  I  interpreted  differently  or  which  have  appeared  during 
the  last  few  years.  These  remarks  refer,  of  course,  mainly  to  purely 
historical  data.  That  there  is  still  ample  room  for  improvement  I 
fully  realize,  and  I  realize  it  aU  the  more  because  my  experience  has 
taught  me  that  the  time  for  an  absolutely  comprehensive  and  accu- 
rate opera-dictionary  has  passed  forever.  The  task  is  altogether  too 
formidable  and  too  compUcated.  Even  the  most  conscientious  effort 
in  this  direction  will  suffer  from  the  breed  of  ingrown,  inherited  errors 
in  books  otherwise  fuU  of  new  information,  but  growing  too  numerous 
for  critical  perusal  by  any  one  man  or  set  of  men.  After  all,  this  is 
a  catalogue,  not  an  opera-dictionary  (in  concept  and  purpose  two  dis- 
tinctly different  types  of  works).  All  purely  historical  data  that 
ordinarily  come  within  the  province  of  lexicographers,  but  not  of  the 
cataloguer,  are  here  intended  and  offered  as  an  accidental,  not  as  the 
essential  feature,  though  under  the  circumstances  their  value  for 
reasonably  accurate  reference  can  not  be  gainsaid. 

Originally  the  plan  had  been  to  enter  our  entire  libretto  collection 
alphabetically  by  composer  in  one  catalogue,  undivided  by  periods. 
By  the  time  about  2,500  librettos  of  the  Schatz  collection  had 
been  catalogued  on  this  plan,  its  feasibility  had  become  question- 
able. Not  only  did  the  question  of  expense  assume  grave  aspects, 
but  the  entry  by  composer  of  early  librettos  proved  to  have  very 
considerable  disadvantages.  Almost  invariably  modem  librettos 
mention  both  composer  of  the  music  and  author  of  the  text  and 
therewith  leave  nothing  to  be  desired  for  main  entry  under  either, 
though  main  entry  of  opera-librettos  under  author  is  undesirable 
for  obvious  reasons.  The  chief  reason  is  that  in  ninety-nine  out 
of  a  hundred  cases  the  inquirer  neither  knows  nor  takes  interest 
in  the  author,  but  almost  invariably  he  will  know  the  composer. 
Library  economy,  therefore,  would  seem  to  suggest  a  compromise  be- 
tween cataloguing  maxims  and  actual  conditions  and  that  in  libretto 
entries  the  author  be  subordinated  to  the  composer.  It  is  quite 
different  with  the  earlier  librettos,  especially  Italian.  Often  only 
the  author  is  mentioned,  often  only  the  composer,  and  in  many 
hundreds  of  cases  neither.  In  these  cases  the  composer  either  re- 
mains unknown,  or  the  opera  is  attributed  to  a  certain  composer  on 
the  strength  of  direct  or  circumstantial  historical  evidence,  in  most 
cases  simply  on  the  strength  of  Allacci's  authority.  If  it  is  the  func- 
tion of  a  sensible  catalogue  to  let  the  books  (in  this  case,  librettos) 
speak  as  much  as  possible  for  themselves  and  to  avoid  a  confusion 


PREFACE  13 

in  the  mind  of  the  user  of  the  catalogue  between  facts  contained  in 
the  book  and  facts  furnished  by  the  cataloguer,  then  the  entry  of 
anonymous  librettos  under  composer  will  inevitably  lead  to  endless 
explanations,  complications,  contradictions,  or  worse.  No  such 
drawbacks  attach  to  main  entry  of  early  librettos  under  title.  The 
cataloguer  occupies  neutral  ground,  and  whether  anonymous  or  not, 
the  librettos  fall  in  line  readily.  Therefore,  it  was  decided  to  continue 
to  catalogue  modem  librettos  under  composer,  but  earlier  librettos 
under  title.  The  year  1800  was  selected  somewhat  arbitrarily  for 
the  parting  of  the  ways,  so  that  the  complete  catalogue  of  our  Ubretto 
collection  will  consist  of  two  independent  parts,  the  first,  here  pre- 
sented, of  librettos  printed  before  1800,  the  second  of  librettos  printed 
after  1800,  perhaps  with  supplemental  volumes  treated  in  the  same 
manner.^ 

To  my  knowledge  Alfred  Wotquenne's  splendidly  gotten  up  and 
lavishly  illustrated  catalogue  of  seventeenth  century  ItaHan  Hbrettos 
(inclusive  of  oratorios)  in  the  Royal  Conservatory  Library  of  Brussels 
has  been  the  only  Ubretto  catalogue  available  in  print,  with  exception 
of  catalogues  and  Usts  of  Umited  importance,  such  as  those  by  Scheur- 
leer,  Bergmans,  Walter,  von  Weilen,  Carvalhaes.  Since  Wotquenne's 
catalogue,  too,  is  arranged  by  title,  the  question  arose  in  how  far  it 
might  otherwise  be  followed  as  a  model.  One  feature  of  his  book  is  the 
pubhcation  of  casts.  Their  value,  of  course,  Ues  mainly  in  the  direc- 
tion of  biographical  data  on  the  lives  of  opera  singers  of  the  seven- 
teenth century.  Commendable  as  is  Mr.  Wotquenne's  idea,  his  task 
was  not  very  irksome.  Bumey  was,  of  course,  mistaken  if  he  dated 
the  origin  of  the  custom  to  print  the  cast  in  Hbrettos  about  1680, 
since  a  cast  may  be  found  at  least  as  early  as  1654  in  the  Ubretto 
(Lucca)  of  Cesti's  and  Bigongiari's  "Alessandro  U  vincitor  di  se 
stesso,"  but  generaUy  speaking,  casts  were  printed  very  seldom  during 
the  seventeenth  century  and  they  occur  with  anything  Uke  frequency 
only  toward  its  very  end.  Consequently,  it  would  have  been  easy  and 
comparatively  inexpensive  to  imitate  Mr.  Wotquenne  in  our  catalogue 
so  far  as  seventeenth  century  hbrettos  are  concerned.  On  the  other 
hand,  it  would  have  been  too  expensive  and  too  laborious  to  apply 
the  same  principle  to  the  eighteenth  century  when  casts  became  the 
rule.  One  need  but  turn  to  Wiel's  volume  on  eighteenth  century 
operas  performed  at  Venice,  in  which  conscientiously  every  cast  is 
given  with  the  indispensable  index  to  the  names  in  these  casts  at  the 
end  of  the  volume,  to  realize  the  labor,  cost  of  printing,  consumption 
of  space  that  would  have  been  involved  by  a  similar  scheme  covering 
several  thousand  eighteenth  century  librettos  with  casts.     Conse- 

1  The  change  from  composer's  entry  to  title  entry  obliged  me  to  reconsider  hundreds  of  early  librettos 
among  the  2,500  already  catalogued  by  composer.  More  likely  than  not,  this  change  of  front  has  sometimes 
led  to  inconsistencies  in  treatment,  or  inconsistencies  were  not  detected  by  me,  but  it  is  hoped  that  they  ara 
in  no  case  of  a  serious  nature. 


14  PREFACE 

quently,  as  there  is  no  valid  reason  for  discriminating  against  the 
eighteenth  century  in  favor  of  the  seventeenth  in  an  otherwise  uni- 
form catalogue,  no  casts  have  been  copied  from  the  librettos,  but 
every  entry  states  whether  the  libretto  contains  a  cast  or  not.  No 
such  note  has  been  attempted  for  the  presence  of  the  list  of  charac- 
ters, because  there  exists  practically  no  libretto  without  the  dramatis 
personae.  The  so-caUed  and  often  ludicrous  ' '  protesta  "  in  old  Italian 
librettos  I  have  disregarded  as  unnecessary.  Maybe  it  was  also 
unnecessary  to  note  the  presence  of  what  I  have  called,  for  want  of  a 
better  term,  the  scenario,  I  mean  the  "mutazioni, "  or  other  such 
indications  of  the  scenery,  but  I  preferred  to  be  on  the  safe  side  in 
this  respect,  in  order  to  make  identification  of  a  libretto  through 
enumeration  of  contents  as  easy  as  possible.  For  this  reason  the 
arguments,  prefatory  notes,  dedicatory  remarks,  and  the  absence  or 
presence  of  the  name  of  the  author  or  composer  have  always  been 
noted,  just  as  was  done  by  Mr.  Wotquenne.  His  plan  was  also 
adopted  to  quote  from  the  preliminary  contents  of  the  libretto  what- 
ever threw  light  on  the  history  of  the  libretto,  resp.  the  opera,  on  the 
esthetic  and  dramaturgic  creed  of  either  author  or  composer,  on  their 
technique,  or  on  special  customs  of  the  time.  Sometimes  such  a 
quotation  has  been  limited  by  me  to  a  mere  repetition  of  statement 
that  the  opera  was  the  second  of  the  season,  but  often  enough  the 
quotations  consume  quite  a  bit  of  printer's  ink,  and  in  some  instances 
the  user  of  this  catalogue  is  practically  treated  to  fuU  or  partial 
reprints  of  interesting  essays.  On  the  whole,  I  have  been  inclined 
to  Hberality  in  the  space  devoted  to  such  quotations,  just  as  now 
and  then, particularly  in  the  case  of  "La  Dafne"  and  "II  giocatore", 
my  " notes "  were  allowed  to  grow  into  "articles."  Of  course,  the 
catalogue  would  be  complete  in  itself  without  them,  but  there  can 
be  no  hard  and  fast  rule  as  to  what  a  cataogue  should  contain. 
This  depends  entirely  on  the  subject  matter,  and  the  fact  that  early 
librettos  are  scarce  and  not  accessible  in  many  libraries,  justified 
the  inclusion  of  nonbibliographical  matter  in  a  form  that  would  sug- 
gest further  study  of  the  libretto  at  least  to  the  specialist. 

On  these  grounds  he  might  expect  to  find  an  exhaustive  index  to 
the  arias  contained  in  the  librettos,  something  that  might  have  been 
called  an  ''Aria-Repertorium."  Unquestionably,  whoever  has  done 
work  in  early  operatic  history  has  felt  handicapped  by  the  want  of 
such  a  compilation  which  would  help  to  trace  the  migration  of  arias 
from  one  opera  to  the  other,  to  reduce  the  innumerable  librettos  (and 
scores !  I )  of  the  pasticcio  type  into  their,  as  it  were,  chemical  elements 
and  to  reconstruct  the  opera  as  originally  written  and  composed. 
For  this  Bertillon  method  of  analysis,  again  Mr.  Wotquenne  has  pointed 
the  way  by  the  publication  of  his  so  useful  "Zeno,  Metastasio 
and  Groldoni,  Alphabetisches  Verzeichnis, "  but  it  would  have  been  a 
rather  quixotic  attempt  to  treat  five  or  six  thousand  librettos  in  the 


PREFACE  15 

same  manner.  At  the  low  average  of  twenty  arias  to  a  libretto  this 
would  have  meant  an ' '  appendix  "  to  the  catalogue  with  more  than  one 
hundred  thousand  first-line  {"indpit")  entries.  It  is  one  thing  to 
devote  a  lifetime  to  the  compilation  of  such  an  "Aria-Repertorium," 
quite  another  to  expect  a  public  library  to  embark  on  its  publication. 
Yet  the  mere  rscital  that  the  Library  possesses  the  Rome  1740  and  the 
Parma  1745  edition  of  a  libretto  means  little  and  conveys  no  definite 
suggestion  along  lines  which  would  interest  the  historian,  and  it  is  he, 
no  less  than  the  librarian,  bibliographer,  collector,  to  whom  a  catalogue 
of  librettos  of  early  operas  should  appeal.  His  interest  centers  more 
in  the  textual  than  in  the  purely  bibliographical  differences  between 
two  librettos  of  the  same  opera.  I  therefore  made  it  a  point  to  set 
forth  in  the  briefest  manner  possible  textual  distinctions  between 
at  least  the  original  edition,  if  we  had  it,  and  editions  used  for  rep- 
licas. As  a  rule,  such  an  attempt  to  call  the  historian's  attention  to 
telling  textual  differences  between  replica  librettos  only,  was  not 
made,  since  the  relationship  between  replica  editions  without  the  origi- 
nal edition  as  a  basis  for  textual  comparison  will  not  permit  of  sound 
deductions  for  reconstructive  or  analytical  purposes.  Furthermore, 
these  comparative  hints,  as  a  rule,  do  not  go  beyond  the  year  1780, 
because  toward  the  end  of  the  eighteenth  century  it  came  to  be  more 
and  more  the  custom  to  follow  the  original  text  for  replicas,  excepting, 
of  course,  cuts  and  similar  unimportant  alterations  that  are  custom- 
ary and  perhaps  locally  necessary  even  in  present-day  operatic  life. 
No  guarantee  is  offered  that  the  plan  outlined  above  has  been  carried 
out  in  every  single  case,  as  there  is  a  limit  to  human  endurance, 
and  as  a  musical  librarian  in  a  great  public  library  has  other  duties 
to  perform  besides  preparing  unconventional  catalogues.  This 
means  that  the  absence  of  comparative  comment  in  any  given  case 
does  not  imply  textual  identity.  On  the  contrary,  for  the  period  of 
about  1700  to  1770  it  should  be  taken  for  granted  without  special 
danger  signals  of  mine  that  almost  invariably  replica  editions  show 
considerable  differences  from  the  original.  (If  the  specialist  requires 
further  information,  the  Library  of  Congress  will  feel  only  too  glad 
to  furnish  it  promptly.) 

Careful  attention  was  paid  to  ballets,  pantomimes,  etc.,  mentioned 
in  the  librettos  (principally  Italian  of  the  later  eighteenth  century) 
either  by  characteristic  title  or  more  or  less  fully  described  in  a 
separate  synopsis  of  plot  and  often  with  cast,  argument,  scenario, 
etc.,  and  even  separate  imprint  and  invariably  with  the  name  of  the 
ballet  master  as  author  who  "composed"  the  ballet,  as  the  then 
technical  term  was,  very  much  less  frequently  with  the  name  of  the 
actual  composer  of  the  music.  In  the  case  of  Gaspero  Angiolini  and 
others  the  identity  of  "composer"  and  composer  often  is  probable, 
but  it  is  never  certain,  unless  attested  to  by  some  such  phrase  as 


16  PBEFACE 

"Musics  composta  da."  This  distinction  has  been  lost  sight  of 
occasionally  by  recent  writers  with  the  result  that  ballet-masters 
have  sometimes  but  erroneously  been  credited  with  the  music  of 
ballets  merely  "composed"  or  "invented"  by  them.  Care  was 
taken  not  to  add  to  the  confusion  in  this  catalogue  and  a  composer 
of  the  music  has  not  been  entered  unless  so  recorded  in  the  Ubretto. 
But  even  at  that,  the  activity  of  certain  composers  now  assumes  a 
different  aspect  from  that  in  Eitner  and  elsewhere,  and  certain  men  like 
Canavasso,  Le  Messier,  and  Trento  appear  to  have  been  astonishingly 
prolific  as  ballet  composers,  though  of  sUght  importance  as  opera 
composers.  It  would  have  been  simple  enough  to  suppress  all  data 
pertaining  to  ballets,  pantomimes,  etc.,  and  thereby  to  have  saved 
much  space,  but  the  history  of  this  once  so  flourishing  form  of  musical 
dramatic  art  is  still  in  its  infancy,  and  the  data  made  accessible 
through  this  catalogue  for  such  a  history  will  be  welcome.  It  is  no 
secret  that  the  modern  dramatic  ballet  and  pantomime,  whether  alle- 
gorical, symbolical,  mythological,  historical,  realistic,  and  with  desig- 
nations running  from  tragic  to  burlesque  through  the  whole  gamut  of 
possible  shadings,  are  at  least  contemporary  in  their  origin  with  opera, 
and  that  opera  from  the  beginning  borrowed  from  the  art  of  dancing 
for  the  support  of  interest,  but  of  course  a  catalogue  can  not  very  well 
be  expected  to  reflect  the  evolution  as  long  as  the  dances — be  it  even 
characteristic  dances  with  or  without  relationship  to  the  opera — 
continued  to  be  incidental  without  titles  specific  enough  to  afford  a 
grip  on  them  for  catalogue  entry.  Toward  the  middle  of  the  eight- 
eenth century,  however,  the  baUets  ceased  to  be  incidental,  or  rather 
incidental  dancing  receded  in  favor  of  a  juxtaposition  of  generally 
in  theme  not  connected  operas  and  ballets  for  the  same  evening,  a 
kind  of  double-headed  entertainment,  often  with  first  the  act  of  an 
opera,  then  a  ballet  followed  by  the  second  act  of  the  opera,  which 
in  turn  was  foUowed  by  another  ballet,  and  so  forth.  In  other  words, 
the  ballet  was  no  longer  considered  an  inferior  but  an  equal  dramatic 
art,  since  in  the  hands  of  thoughtful  and  imaginative  ballet  "com- 
posers," it  had  received  a  highly  developed  technique  and  offered 
esthetic  and  dramatic  possibilities  which  soon  a  genius  fike  Noverre 
was  to  gather  into  a  dramaturgic  system.  Most  of  the  ballets  of  this 
period  until  the  end  of  the  century,  when  the  genre  fast  deteriorated, 
necessarily  had  characteristic  and  specific  titles,  and  it  is  with  these 
and  these  only  that  this  catalogue  deals.^ 

1  Perhaps  certain  specialists  will  regret  that  no  attention,  as  a  rule,  has  been  paid  to  the  architect,  artists, 
and  engineers  who  devised  the  ingenious  machines,  designed  or  painted  the  gorgeous  scenery,  or  acted  as 
stage  directors.  I  appreciate  the  fact  that  the  history  of  stage  management  in  all  its  ramifications  is  very 
interesting  and  instructive,  and  that  at  the  end  of  the  seventeenth  and  the  beginning  of  the  eighteenth 
century  often  the  spectacular  features  of  an  opera  interested  the  public  more  than  the  musical.  Indeed, 
the  art  of  a  Balbi  or  Bibiena  was  often  considered  so  much  more  imptortant  than  that  of  the  composer 
that  the  public  was  not  even  taken  into  the  impresario's  or  publisher's  confidence  as  to  his  name.  How- 
ever,  the  line  had  to  be  drawn  somewhere  if  the  catalogue  was  to  be  kept  within  reasonable  limits. 


PREFACE  17 

As  to  the  year  and  place  of  publication  of  undated  librettos  (marked 
in  the  collation  for  reasons  of  convenience,  though  somewhat  at  variance 
with  the  regular  practice  of  the  Library  of  Congress,  n.  d.  (no  date), 
n.  -pi.  (no  place),  or  n.  i.  (no  imprint)  if  neither  place  nor  publisher  are 
given,  and  n.  full,  if  the  name  of  the  publisher  is  absent),  the  date 
and  place  of  performance  given  in  the  title  should  be  assumed  to  coin- 
cide with  the  actual  date  and  place  of  publication.  Attention  of  the 
uninitiated,  however,  may  be  called  to  a  fine  point  of  distinction.  Many 
imdated  librettos  were  scheduled  for  the  beginning  of  the  carnival  sea- 
son, and  since  carnival  in  certain  cities  began  at  the  end  of  December 
we  often  have  the  choice  between  two  years  for  the  year  of  publication. 
For  instance,  if  an  undated  libretto  was  to  have  been  performed  at 
Turin  during  carnival  of  1800,  the  libretto  may  have  been  pubUshed  in 
December,  1799,  or  eariy  in  1800.  In  every  case  the  place  and  year 
given  in  the  title  or  in  the  imprint  should  be  assumed  to  be  the  place 
and  year  of  first  performance,  unless  otherwise  stated  in  a  note,  and 
such  notes,  to  repeat  it,  are  generally  based  on  Schatz.  If  a  libretto 
contained  a  dated  dedication,  Mr.  Schatz,  unless  previous  performances 
in  the  same  city  or  elsewhere  were  known  to  him,  took  the  date  of 
dedication  to  be  the  date  of  first  performance.  Mr.  Piovano  has 
questioned  the  absolute  correctness  of  this  procedure  on  the  grounds 
that  often  the  date  of  dedication  must  have  preceded  the  actual  date 
of  performance,  and  I  agree  with  him,  but  at  any  rate  the  date  of  dedi- 
cation may  be  considered  the  most  approximate  available  in  absence 
of  further  information.  That  certain  earlier  librettos  lead  to  chrono- 
logical perplexities  from  local  preference  of  either  the  JuUan  or  the 
Gregorian  calendar  I  mention  here,  without  going  into  detail. 

The  librettos  have  been  entered,  as  a  rule,  first  by  the  original  title, 
and  then  by  the  title  of  the  repHcas  and  translations.  In  every  case 
reference  is  made  from  the  alternative  title  (abbreviated  A.  T.),  which 
often  became  the  better  known  title,  from  the  later  (L.  T.)  and  the 
translated  title  (Tr.  T.  or  Tr.)  to  the  original  title  (O.  T.).  Librettos 
of  the  same  title  by  unknown  composers  precede  those  by  known 
composers  and  are  in  turn  preceded  by  neutral  librettos.  By  this  I 
mean  librettos  entered  from  the  collected  works,  for  instance,  of 
Metastasio,  with  or  without  the  name  of  any  particular  composer 
(usually  the  first  to  set  the  text)  as  the  composer  of  the  libretto  in 
the  version  of  the  text  in  that  particular  edition.  If,  for  instance,  the 
Paris,  1780-82,  edition  of  Metastasio  works  mentions  in  the  title  of  each 
libretto  the  name  of  the  original  composer,  it  by  no  means  follows  that 
he  used  the  text  as  then  published.  On  the  contrary,  it  can  often  easily 
be  proven  that  he  did  not.  It  would  therefore  be  methodologically 
incorrect  to  assign  the  text  as  given  in  that  particular  edition  exclu- 
sively to  the  composer  mentioned,  and  still  more  incorrect,  if  no 
72251°— VOL  1—14 2 


18  PREFACE 

composer  is  mentioned,  to  assign  it  to  any  one  of  several  composers 
who  are  known  to  have  set  it  to  music.  Generally  speaking,  therefore, 
the  "Artaserse"  text  as  published  at  Paris,  1780-82,  would  belong 
with  equal  right  to  any  of  the  more  than  fifty  composers  who  composed 
it,  and  for  this  reason  should  precede  all  individual  "Artaserse"' 
librettos  with  or  without  composer's  name.  The  text  of  the  titles, 
with  elision  of  irrelevant  matter,  has  been  copied  as  printed  in  the 
libretto  with  retention  of  the  original  orthography,  but  without 
imitation  of  the  typographical  picture.  In  this  respect  there  has  been 
a  certain  amount  of  modernization  which,  at  times,  looks  odd  if 
coupled  with  the  origmal  orthography.  In  the  use  of  capital  letters, 
the  rules  of  the  Library  of  Congress  have  been  followed,  now  and  then 
for  practical  reasons  with  slight  inconsistencies  and  generally  regard- 
less of-  my  personal  likes  and  dislikes  in  the  matter.  Furthermore,  the 
remark  appears  necessary  that  the  catalogue  deals  only  with  librettos 
which  are  either  in  the  custody  of  the  Music  Division  or  are  not  in  its 
custody  for  purely  administrative  reasons,  such  as  the  librettos  in 
special  collections  like  the  Goethe,  or  miscellaneous  collections  like  the 
Longe  collection.  The  inclusion  of  librettos  contained  in  the  collected 
writings  (pubUshed  before  1800)  of  all  authors  who  happened  to  write 
a  few  librettos  has  not  been  attempted,  because  this  would  have  led 
entirely  too  far  into  literature  in  general,  and  because  the  idea  itself 
from  the  very  nature  of  things  is  altogether  too  pedantic  for  serious 
consideration.  Exceptions  to  this  rule  were  of  course  deemed 
desirable,  but  they  have  been  restricted  to  authors  Uke  Goldoni, 
Quinault,  Piron,  Panard,  whose  importance  for  the  history  of  libretto 
writing  is  so  obvious  as  to  have  rendered  their  exclusion  in  the  present 
state  of  our  libretto  collection  just  as  pedantic  as  would  have  been 
the  inclusion  of  many  others. 

For  the  addition  of  the  brief-entry  lists  by  composers  and  authors 
and  of  the  index  to  arias  incidentally  mentioned  no  lengthy  explana- 
tion is  needed,  since  they  obviously  are  necessary  to  complete  the 
circle  of  possible  inquiry.  That  no  attempt  was  made  to  furnish  year 
of  birth  and  death  of  authors  may  perhaps  be  regretted  by  those  who 
wish  to  consult  the  author  list  for  purposes  of  literary  bibliography. 
My  principal  reason  for  this  omission  was  the  knowledge  that  with 
all  possible  diligence  the  result  would  not  have  been  in  keeping  with 
the  labor  of  research  involved. 

Finally,  a  word  of  explanation  as  to  the  method  of  dealing  with 
author  and  composer  names.  Somewhere  in  this  catalogue  the  full 
names  of  authors  and  composers  had  to  be  given  if  repetition  ad 
nauseam  in  the  title  catalogue  was  to  be  dispensed  with.  The  proper 
places,  it  seemed  to  me,  were  the  composer  and  author  lists;  and 
these  Usts  should  be  consulted  in  case  of  doubt.  In  whatever  form 
author  and  composer  names  appear  in  the  titles  themselves  the  rule 


PREFACE  19 

has  been  not  to  repeat  them  in  full  in  the  editorial  matter  except  to 
avoid  confusion  and  to  facilitate  identification.  If  they  appear 
elsewhere  in  the  libretto,  usually  in  some  once  current,  condensed  form 
(for  instance,  Ferdinando  Bertoni  instead  of  Ferdinando  Giuseppe), 
the  editorial  matter  of  the  title  catalogue  records  them,  as  a  rule,  in 
full,  and  in  some  more  or  less  generally  accepted  form  without  com- 
ment, and  with  disregard  of  harmless  differences  of  spelling.  But  no 
display  has  been  made  of  full  names  in  the  title  catalogue.  A  per- 
son with  a  modicum  of  culture  need  not  be  told  every  time  in  a  title- 
catalogue  that  Goethe  is  Johann  Wolfgang  von  Groethe,  and  even 
the  most  'punctilious  adherent  of  uniformity  and  consistency  will 
admit  that  Cherubini  was  too  much  of  a  master  and  still  is  too  well 
known  as  such  to  be  put  down  every  time  religiously  as  Maria  Luigi 
Zenobio  Carlo  Salvatore  Cherubim. 

O.  G.  SONNECK 

Chief  of  the  Division  of  Music 
Herbert  Putnam 

Librarian  of  Congress,  Washington,  D.  C. 
Ncrventler  1,  1913. 


'     /"  ,  ^ . 


FACSIMILE  OF  ENTRY  SHEET  IN   MR.  SCHATZ'   CATALOGUE  OF  HIS  COLLECTION. 


TITLE  CATALOGUE 


21 


TITLE  CATALOGUE 

L'abate  Collarone.     O.  T.  of  Trinchera's  text  Le  chiajese  cantarine. 

Abduramel,  ballet.     See  Nasolini's  Melinda. 

Der  abend  im  walde,  eine  operette  in  zween  aufzuegen.  Die 
musik  ist  vom  krn.  capellmeister  Wolf. 

Weimar,  Carl  Ludolf  Hoffmann,  1774.     1£4  p.     16\"^. 

Two  acts.  By  Gottlob  Ephraim  Heermann,  who  is  not  mentioned.  Composed  by 
Ernst  Wilhelm  Wolf. 

First  perfonned  at  Weimar,  Schlosstheater,  Wilhelmsburg,  December  10,  1773. 

SCHATZ  11075 

Die  abenteurer.     Tr.  of  Paisiello's  Gli  awenturieri. 

Die  abgeredete  zauberey.     Tr.  of  Gr^try's  La  fausse  magie. 

Das  abgeschafte   herkommen.     Ein  westphaelisches  schauspiel 
mit  gesang  in  drey  aufzuegen  dem  herrn  justiz-rath  Moeser  gewidmet. 
Ossnahrueclc,n.  puhl,  178S.     92  f.     16^"^. 

Not  recorded  in  Deutsches  Anonymen  Lexikon.  ML  50.2.A19 

Abraham  auf  Moria,  ein  religioses  drama  fuer  die  musik,  von 
A.  H.  Niemeyer. 

n.  i.,  1779.    32  p.     16'^. 

Two  acts.    The  composer,  Johann  Heinrich  BoUe,  is  not  mentioned. 

First  performed  1777.  Schatz  11392 

Abroad  and  at  home.     A  comic  opera  in  three  acts.     Now  per- 
forming at  the  Theatre-Royal,  Covent-Garden.     By  J.  G.  Holman. 
London,  George  Cawthom,  1796.     92  p.     21^^. 

Cast.  The  composer,  William  Shield,  is  not  mentioned.  Originally  ^'The  King^s 
bench"  (Tufts.) 

First  performed  November  19,  1796.     (Genest.)  Longe  237 

L'academie  bourgeoise,  opera-comique  en  mi  acte;  repr6sent6 
pour  la  premiere  fois  sur  le  Tn^Mre  de  la  Foire,  en  1735. 

Charles  Francois  Pannard,  Thedtre,  Paris,  Duchesne,  1763,  v.  2, 
[US]-504.  p.     17"". 

In  prose  and  vaudevilles.     Composer  not  mentioned  and  not  recorded  by  Par- 

ffMpf    etc 

First  performed  as  indicated,  February  3,  1735.  PQ  2019.P3 

Acajou,  opera  comique,  par  Monsieur  Favart.  Repr6sent6  pour  la 
premiere  fois  sur  le  Theatre  du  Fauxbourg  Saint-Germain,  le  18.  mars 
1744.      , 

Paris,  PrauUjils,  17U,    52  p.     18'^. 

Three  acte.  No  music  printed  with  the  text.  In  prose  and  couplets.  (Comp. 
next  entry.)  ML  50.2.A23 

23 


24  LIBBABY  OF  CONGBESS 

Acaj  ou — Continued .  ^ 

— Acajou,  opera  comique  en  trois  actes,  en  vaudevilles.     Par  le  S' 

Favart. 
Paris,  PravM  fils,  1763,     72  p.     19^.     {Theatre  de    M.   FavaH, 

Paris,  Duchesne,  1763-77,  t  vii.) 

No  music  printed  at  the  end  or  in  the  text.     On  p.  [21  the  following  note: 
"Cette  piece  est  tir^e  du  conte  d' Acajou,  de  Mr.  Duclos,  elle  fut  jou6e  d'abord  en 

Eroee  &  couplets  k  Paris  le  18  mars  1744  eur  le  Th6S.tre  de  la  Foire  St.  Germain.  Apr^s 
I  defense  faite  k  I'Opera  comique  de  parler,  on  la  repr^senta  toute  en  vaudevilles  a 
la  Foire  St.  Laurent  suivante,  &  sur  le  Theatre  de  TAcad^mie  royale  de  musique  au 
mois  d'Octobre  de  la  m6me  ann^e." 

Font  does  not  mention  Favart's  musical  collaborator.  ML  49.A2F1 

L'accademia  di  musica  e  La  conversazione.  Divertimenti 
teatrali  per  musica  da  rappresentarsi  nel  Real  Teatro  di  Salvaterra 
nel  carnovale  1775. 

[Lishona],  Stamperia  reale,  n.  d.     37  p.     14¥^- 

One  act  each.  The  second  divertimento  on  p.  23-37.  Cast  and  name  of  Niccol6 
Jommelli  as  composer  of  both.  Authors  not  mentioned  and  unknown  to  Schatz, 
who  says  that  the  text  of  "  La  conversazione  "  is  the  same  as  of  "  II  giuoco  di  picchetto, ' ' 
which  see  for  further  details.  Schatz  4887 

Accampamento  o  sia  La  lotteria  militare,  ballet.  See  Anfossi's 
Armida. 

Accampazuento  di  Micheletti,  ballet.  See  Bosi's  La  figlia 
obbediente. 

Gli  accidenti  della  villa.  Cantata  di  Saverio  Zini  da  rappresen- 
tarsi nel  Teatro  de'  Fiorentini  nel  carnevale  di  quest'  anno  1797. 

Napoli,  n.  publ,  1797.     31  p.     15'=^. 

Cast.     Pierre  Butillieu  is  mentioned  as  the  composer. 

First  performed  at  Vienna,  Hoftheater  n.  d.  Burg,  Sept.  19,  1794.      Schatz  2877 

The  accomplish'd  maid.     Tr.  of  Piccinni's  La  buona  figUuola. 

L'accorta  cameriera.  L.  T.  of  Martin  y  Soler's  In  amor  ci  vuol 
destrezza. 

Achille  et  Deidaxnie,  tragedie  repr6sent6e  par  I'Acad^mie  royale 
de  musique  I'an  1735.  Paroles  oe  M.  Danchet.  Musique  de  M. 
Campra.     CXXI.  opera. 

n.  i.,  n.  d.  front.,  431-4^6  p.  14"^'  (Recueil  general  des  opera, 
Paris,  1739,  t.  xv.) 

Detached  copy.     Five  acts  with  prologue. 

First  performed,  as  indicated,  Febriiary  24,  1735.  Schatz  1539 

Second  copy.    ML  48. R4 

—  Achille  et  Deidamie,  tragedie. 

[Sd9]-412  ■  p.  17 Y"^.  (Antoine  Danchet,  Theatre,  Paris,  1751, 
t.  Hi.) 

Prologue  and  five  acts.    The  composer,  Andr6  Campra,  is  not  mentioned. 

PQ  1972.D2 

Achille  et  Polixene,  tragedie  en  musi(jue,  representee  par  I'Acade- 
mie  royale  de  musique.     Suivant  la  copie  imprim^e  h  Paris. 

[Amsterdam,  Antoine  Schelte],  1687.     57  p.  (incl.  front.)     ^5^*™. 

Prologue  and  five  acta.    Author  and  composer  not  mentioned.  ML  49.A2L9 


OPERA   LIBRETTOS  25 

Achille  et  Polixene — Continued. 

—  Achille  et  Polixene,  tragedie  en  musique,  representee  par 
I'Academie  royale  de  musique. 

Amsterdam,  Henry  Schelte,  1701.     57  p.  (incl.  front.)     14"^. 
Reprint  of  the  1687  edition.  ML  50.2.A25L9 

—  Achille  et  Polixene,  tragedie  representee  par  TAcademie 
royale  de  musique,  Tan  1688.  Les  paroles  de  M.  Capistron,  &  la 
musique  de  M.  Collasse.     XXII.  opera. 

n.  i.,  n.  d.  14"^.  front.,  22S-280  f.  (Recueil  general  des  opera, 
t  in,  Paris,  17 OS.) 

Detached  copy.  Five  acts  and  prologue.  The  score,  Amsterdam,  1688,  informs 
Ufl  that  the  first  act  was  composed  by  Jean  Baptiste  de  Lully. 

First  performed,  as  indicated,  November  7,  1687.  Schatz  5781 

Second  copy.    ML  48. R4 

Achille  in  Aulide.     Dramma  per  musica  da  rappresentarsi  nel  car- 
nevale  dell'  anno  1739.     Nel  Teatro  a  Torre  Argentina  .  .  . 
Roma,  Antonio  de'  Rossi,  n.  d.     67  p.     16'^. 

Three  acts.  Author  not  mentioned  and  iinknown  to  Schatz.  Dedication  by  Gius. 
Polvini  FaUconti,  argument,  cast,  name  of  Geminiano  Giacoiuelli  as  composer  and 
scenario.  The  libretto  mentions  also  the  cast  of  intermezzi  with  the  characters 
"Golpone  "  and  "Birina."  It  would  seem  as  if  these  intermezzi  were  also  composed 
by  GiacomelU.    Their  text  does  not  appear  in  the  libretto.  ML  50.2.A26G3 

Achille  in  Sciro.     Commedia  drammatica  per  musica  fedelmente, 
ed  eroicamente  tradotta,  e  ridotta  dalF  antico  stato  alio  stato  pre- 
sente  da  Publio  Quintiliano  Settimio  da  Sarmacanda. 
Hisphdhan,  Vanno  passato.     59  p.     15"^. 

Three  acts.  Printer's  dedication  "al  suo  caro  M.  Timocrato,"  sonnet  by  "Clonico 
Nasposi"  to  the  reader  and  "dicharamento."  The  character  of  this  camivalesque 
effort  may  be  judged  from  the  fact  that  Achilles  figures  in  the  list  of  characters  as 
"Ermafrodito  vulgo  detto  femminella  spassatiempo  di  Deidamia."         ML50.2.A27 

Achille  in  Sciro. 

64  p.  lO*^^.  (Pietro  Metastasio,  Opere  drammatiche,  Venezia,  Givr 
seppe  Bettinelli,  1733-37,  v.  4.) 

Three  acts.    Argument.    No  composer  mentioned.  ML  49.A2M4 

— ^Achille  in  Sciro. 

[87\-185  p.  {Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  iv) 

Three  acts.    Argument.  ML  49.A2M42 

—  Achille  in  Sciro.     Dramma  immaginato,e  disteso  dall'  autorenel 

grescritto  termine  di  giorni  diciotto,  e  rappresentato  con  musica  del 
aldara  in  Vienna  la  prima  volta,  nell  mterno  gran  teatro  della 
Cesarea  corte,  .  .  .  il  di  13  febbrajo  1736,  per  festeggiare  le  felicis- 
sime  nozze  delle  AA.  RR.  di  Maria  Teresa  .  .  .  e  di  Stefano  Fran- 
cesco, duca  di  Lorena  .  .  . 

pi.,  [S]-110  p.  26"^.  {Metastasio,  Opere,  t.  v,  Parigi,  vedova 
Eerissant,  1780.) 

Three  acts.    Argument.  ML  49.A2M44 


26  LIBEAEY  OF  CONGBESS 

Achille  in  Sciro.  Dramma  per  musica  e  festa  teatrale  da  rap- 
presentarsi  nel  Regio  Teatro  di  Berlino  per  le  nozze  delle  Altezze  Loro 
reali  il  prencipe  ai  Prussia,  nipote  di  S.  M.  il  Rd  con  la  principessa 
Elisabetta  Christina  Ulrica  di  Brunswico,  per  commando  di  Sua  Ma- 
estk  il  rd  .  .  . 

Berlino,  Haude  e  Spener,  1766.     2p.l.,  IIS,  [3]  p.     /<?'="•. 

Three  acts.  By  Pietro  Metastasio.  Argument,  scenario,  and  name  of  the  compoeer, 
Johann  Friedrich  Ag^ricola.    German  title  "Achilles  in  Scirus  "  and  text  face  Italian. 

First  performed,  as  indicated,  July  16,  1765.  Schatz  66 

Achille  in  Sciro.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  la  Fenice  1'  autunno  dell'  anno  1794. 

Vmezia,  Modesto  Fenzo,  1794.     62  p.     IS'^'^. 

Three  acta.  Argument,  cast,  scenario,  and  name  of  (Marcello  di  Capua)  Bemaxdini 
as  composer,  but  not  of  the  author  Metastasio.  On  p.  27-33  argument,  cast,  and 
detailed  description  of  "Andromeda  e  Perseo,  ballo  eroico  pantomimo  d'  invenzione 
e  composizione  del  Signor  Onorato  Viganb."  The  composer  of  the  music  is  not 
mentioned.  Schatz  829 

Achille  in  Sciro.  Dramma  per  musica  da  rappresentarsi  nel 
nuovo    Teatro    Tron    in    S.    Cassiano    il    carnovaie    dell'    anno 

mdcx:;lxiv  .  .  . 

Venezia,  Paolo  Colomhani,  1764-     54  p-     16^*^. 

Three  acts.  Impresario's  dedication,  argiiment,  cast,  scenario,  and  name  of 
Ferdinando  Giuseppe  Bertoni  as  composer,  but  not  of  the  author  Metastasio.  The 
"primo  ballo"  (p.  27)  is  described  in  form  of  a  sonnet.  At  the  end  of  the  libretto  the 
words  of  "Porto  in  sen  libero"  and  "Vanne  dal  caro  bene,"  two  arias  which  were, to 
be  interpolated  "dopo  brevi  sere"  for  the  primadonnas  "che  resteranno  pienamente 
contente . ' '  Schatz  903 

Achille  in  Sciro.  Dramma  per  musica,  da  rappresentarsi  nel 
Gran  Teatro  dell'  imperial  corte  ...  in  occasione  aelle  felicissime 
nozze  de'  serenissimi  principi  Maria  Teresa,  arciduchessa  d'Austria 
e  Francesco  III,  duca  di  Lorena.  L'  anno  MDCCXXXVI.  La 
poesia  e  del  Sig.  abbate  Pietro  Metastasio  ...  La  musica  h  del  Sig. 
Antonio  Caldara  .  .  . 

Vienna  d^ Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.  2  p.  I.,  76  p. 
15^"^. 

Three  acts.  Argument  and  scenario.  The  ballet  music  at  the  end  of  the  acta  waa 
composed  by  Niccola  Matteis. 

First  performed  at  Vienna,  February  12,  1736.  Schatz  1476 

—  Achilles  in  Scyro  .  .  .  Bey  gelegenheit  der  hoechstbegluek- 
ten  vermaehlung  der  durchleuchtigsten  ertz-hertzogin  Mariae 
Theresiae  mit  Francisco  dem  dritten,  nertzogen  in  Lothringen.  In 
dem  grossen  Theatro  der  kaiserlichen  burg  in  einer  welschen  opera 
vorgestellet  anno  1736.  Poesi  des  herrn  abbate  Pietro  Metastasio  .  .  . 
Von  herrn  Antonio  Caldara  ...  in  die  music  verf asset.  In  das 
teutsche  versetzet  von  herrn  Antonio  Prokoff  .  .  . 

Wien,  Johann  Peter  Ghelen,  1785.     2  p.  I.,  75  p.     15<='^. 

Imprint  on  preliminary  title-page.  Schatz  1477 

Achille  in  Sciro.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  nel  carnovaie  del  1739  .  .  . 

Venezia,  Marino  Rossetd,  1739.     4^  V-     15Y'^. 

Three  acts.  By  Metastasio.  Impresario's  dedication,  argument,  cast,  scenario, 
and  name  of  the  composer,  Pietro  Chiajini.  Schatz  1852 


OPERA   LIBRETTOS  27 

Achille  in  Scire.  Dramma  per  musica  del  celebre  Sig.  abate 
Pietro  Metastasio,  Poeta  Cesareo.  Da  rappresentarsi  nel  Teatro 
Grimani  in  S.  Gio.  Grisostomo  per  la  fiera  delP  Ascensione  dell'  anno 
1766  .  .  . 

Veneda,  Modesto  Fenzo,  J  766.     54  p.     17^'^'^. 

Three  acts.  Dedication,  argument,  caat,  scenario,  and  name  of  the  composer, 
Florian  Leopold  Gassmann.  Schatz  3607 

L'Achille    in    Scire.     Favola    dramatica    da    rappresentarsi    in 
musica  nel  Teatro  a  S.  Stefano  in  Ferrara  1'  anno  1663  ... 
Venetia,  n.  puhl,  1663.     IO4,  [2]  p.     14"'^. 

Three  acts  and  prologue.  Dedication  signed  by  Michiel  Colombo  mentioning 
Giovanni  Legrenzi  as  the  composer,  publishers'  notice  to  the  reader,  argument.  The 
author,  marchese  Ippolito  Bentivoglio,  is  not  mentioned.  The  text  is  followed  by  a 
fly  leaf  with  two  inside  pages  of  errata.  Schatz  5532 

—  L'Achille  in  Scire.  Favola  dramatica  da  rappresentarsi  in 
musica  nel  Teatro  a  S.  Salvatore  per  1'  anno  1664  .... 

Venetia,  Stefano  Curti,  I664.     96  p.     14^"^. 

Prologue  and  three  acts.  Publisher's  dedication  dated  Venice,  January  29,  1664, 
argument,  and  notice  to  the  reader  with  apologies  for  typographical  errors  as  "1'  autore 
non  h^  permesso,  che  ei  legga  il  suo  nome  in  questi  fogli,  ne  meno  ha  voluto  pigliarsi  la 
briga  di  rivedere  queste  minutie." 

Neither  the  composer,  Giovanni  Legrenzi,  is  mentioned  nor  the  author,  marchese 
Ippolito  Bentivoglio.  Schatz  11720 

Achilla  in  Scire.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  carnovale  del  1785  .  .  . 

Torino,  Onorato  Derossi,  n.  d.  viii,  54,  U],  15  p.  17Y'^- 
Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  names  of  Gaetano  Pugnani  as  composer  of  the  opera,  of  Vittorio  Amedeo  Cana- 
vasso  as  composer  of  the  music  for  Paolino  Franchi's  three  ballets,  a  description  of  two 
of  which  is  printed  on  the  last  15  p.  with  separate  imprint,  argument,  and  cast.  The 
titles  were  "La  Galzeuca  ossia  Golconda  liberata  dalla  tirannide  di  Scour-Malou, 
ballo  eroico,  tragico  pantomimo  in  quattro  atti, "  and  "11  matrimonio  per  concorso." 

Schatz  8505 

Achille  in  Scire.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  a  S.  Samuele  per  la  fiera  dell'  Ascens"®  1'  anno  1747. 

n.  i.  n.  d.     48  p.     15'^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication,  argument,  sce- 
nario, cast,  and  name  of  Giovanni  Battista  Buncher  as  the  composer.     Schatz  9151 

Achilla  in  Scire.  Drama  per  musica  da  rappresentarsi  sul 
famosissimo  Theatro  di  Braunsviga  nella  fiera  d  estate  1'  anno 
MDCCXXXXVI.     —Achilles  in  Scu-o  .  .  . 

Wolff enhiittel,  C.  Bartsch  ivittwe,  n.  d.      Unpaged.     18^"^. 

Three  acts.     By  Metastasio,  who  is  not  mentioned.    German  text  faces  Italian. 
Argument,  scenario,  and  name  of  Giovanni  Verocai  as  composer. 

First  performed  in  August,  1746,  as  indicated.  Schatz  10717 

Achilla  placate.  Tragedia  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassano  1'  anno  1707.     Impressione  seconda. 

Venezia,  Marino  Rossetti,  1707.     72  p.     15*^. 

Five  acta  with  "intramezzi  ridicoli."  By  Urbano  Rizzi,  who  is  not  mentioned. 
Argument,  cast,  scenario,  notice  about  the  intermezzi,  and  name  of  Antonio  Lotti 
as  composer.  Schatz  5713 


28  UBRABY  OF  CONGRESS 

Achille  riconosciuto.  Introdutione  di  un  balletto  fatto  dalla 
Ser°"-  Arcid*-  Marianne  d' Austria:  per  il  giorno  natal**-  della  Ser"*- 
Arcid*-  Leonora  d 'Austria.  Attione  dramatica  di  Teofilo  messa  in 
musica  dal  Sig.  Antonio  Draghi  .  .  . 

Vienna,  Joan.  Jacobo  Kiimer,  1668.     Ip.l.,  65  p.     12^^. 

One  act.  Dedication  by  the  author  (real  name  unknown  to  Wotquenne),  notice  to 
the  reader  mentioning  the  archducheBS  Marianne  aa  "il  personaggio  principale,"  and 
on  p.  52-55  cast  (Marianne  having  the  principal  part)  of  the  ballet  and  remark: 

All'  armonia  del  canto  eegui  il  rimbombo  degli  strumenti,  che  diedero  segno  all 
ballo  il  quale  fii  per  1'  aria  composta  dall  Signore  Smelzer  fjohann  Heinrich  Schxaelzer, 
1630-lTOOl,  e  per  i  passi  inventati  dal  Sign.  Santo  .  .  . 

Was  to  be  performed  on  May  21, 1668,  but  performance  was  canceled .    (von  Weilen). 

ML50.2.A29D7 

Achilles.  An  opera.  As  it  is  perform'd  at  the  Theatre-Royal  in 
Covent-Garden  .  .  .  Written  by  the  late  Mr.  Gay.  With  the 
musick  prefix 'd  to  each  song. 

London,  J.  Watts,  1733.  4  p.  I,  68,[S]  p.  W"".  [Bound  vnih  his 
Beggar^ s  opera.    London,  1728] 

Three  acts  with  prologue.  Ballad  opera.  Cast  and  table  of  the  54  songs.  The  airs 
are  given  in  the  text  with  their  titles.  The  text  is  followed  by  a  [3]  p.  publisher's 
list,  first  page  of  which  is  dated  February  28,  1733. 

First  performed,  as  indicated,  February  10,  1733.  ML50.5.B3 

—  ...  Achilles.  An  opera.  As  written  by  John  Gay.  Dis- 
tinguishing also  the  variations  of  the  theatre,  as  performed,  in  two 
acts,  at  the  Theatre  Royal  in  Covent-Garden.  Regulated  from  the 
prompt-book,  by  permission  of  the  managers,  by  Mr.  Wild,  prompter. 

Lond(m,  John  BeU,  1777.     60  p.     17'"". 

Prologue,  cast,  and  at  end  table  of  the  58  songs,  of  which  only  three  are  marked  as 
having  been  introduced  for  these  performances.  The  text  is  printed  in  three  acts, 
but  according  to  a  note  on  p.  38  act  III  became  act  II,  the  two  others  apparently 
being  performed  in  one.    At  head  of  title:  "Bell's  edition."  Schatz  11469 

Achilles.     See  Keiser's  Das  zerstoerte  Troja. 

Achilles  in  petticoats.  An  opera.  As  it  is  performed  at  the 
Theatre  Royal,  in  Covent-Garden  .  .  .  Written  by  Mr.  Gay,  with 
alterations.     The  music  entirely  new  by  Dr.  Arne. 

London,  W.  Strahan,  T.  Lovmdes  [etc.],  1774.     4  P-  I;  38  p.    20^"^. 

Two  acts.  Table  of  the  25  songs,  cast,  and  Advertisement  according  to  which  this 
is  Gray's  "Achilles"  "now  revived  with  no  very  essential  changes  from  the  original 
piece;  the  chief  alterations  consisting  of  abridgement  and  transposition  ..."  They 
were  made  by  George  Colman. 

First  performed  at  London,  Covent  Garden,  December  16,  1773.  Lonob  26 

Achilles  in  Scire.     Tr.  of  Verocai's  Achille  in  Sciro. 

Achilles  in  Scirus.     Tr.  of  Agricola's  Achille  in  Sciro. 

Achilles  in  Scyro.     Tr.  of  Caldara's  Achille  in  Sciro. 

Achilles  und  Ulysses  auf  der  insel  Scyros,  ballet.  See  Bach's 
Lucius  Silla. 

Achills  zuemender  schatten,   ein  tragisches  singspiel  in  fuenf 

aufzuegen    von    Traugott    Benjamin    Berger,    alien    musicalischen 

schauspielern  gewidmet. 
Leipzig,  Christian  Gotttol  Eilscher,  1777.     74,  [6]  p.     IdY"^- 
The  last  [61  p.  contain  a  sale's  list  of  the  publisher.    No  composer  or  performance 

recorded  by  Schatz.  Schatz  11595 


OPERA   LIBRETTOS  29 

Achxnet  et  Almanzine.     Piece  en  trois  actes.     Par  Mrs  le  S  *  *  e 
d'Or  *  *     Les    couplets    des    divertissemens   sont    de    M.    F  *  *  * 
Representee  k  la  Foire  Saint  Laurent  1728. 
Le  TUcLtre  de  U  foire,  Paris,  1728,  t.  vi,  pi,  [S7S]-493  p.     17<^. 

By  Le  Sage,  d'Omeval,  and  Fuzelier.  Largely  en  vaudevilles.  The  aire,  selected 
or  composed  and  arranged  by  Jean  Claude  Gillier,  the  "compositeur  "  of  the  company, 
are  printed  at  the  end  of  the  volume  in  the  "Table  des  aire." 

Pirat  performed  June  30,  1728.  ML48.L2  VI 

Achmet  und  Almanzine.  Ein  singspiel  in  zwei  aufzuegen. 
Nach  dem  franzoesischen  der  herrn  le  Sage  und  d'Ormeville  [!]. 
Aufgefuehrt  auf  den  K.  K.  Hof-Theatern  in  Wien. 

[Wienl,  mit  von  KurtzheTcischen  schriften,  1795.     100  p.     15^'^. 

Johann  Baptist  Schenck  is  mentioned  as  the  composer.  In  the  preface  the 
unknown  author  says  of  his  "gaenzliche  umarbeitung"  of  the  French  original: 

* '  Hier  musste  man  freylich  den  gang  der  handlung  haeufig  veraendern,  und  noch 
haeufiger  die  nicht  selten,  muthwillige  laune  der  verfasser  dem  anstande,  und  der 
eittlichkeit  aufopfern,  so,  dass  von  dem  franzoesischen  originale  wenig  mehr,  als  der 
hauptumriss  uebrig  geblieben  ist." 

Firet  performed,  as  indicated,  July  17,  1795.  Schatz  9591 

Aci,  e  Gkilatea.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  Venier  in  San  Benedetto  I'autunno  dell'  anno 
1792. 

Venezia,  Modesto  Fenzo,  1792.     1^8  p.     17*^. 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  names  of  the  composer, 
Francesco  Bianclu,  and  Giuseppe  Foppa,  the  author. 

Firet  performed  October  13,  1792,  as  indicated.  Schatz  993 

Aci  e  Galatea,  ballet.     See  Cimarosa's  II  fanatico  burlato. 

Aci  e  Qalatea,  ballet.     See  Curcio's  SoUmano. 

Aci  e  Gralatea,  ballet.  See  Tarchi's  II  matrimonio  per  con- 
trattempo. 

Aci  e  Gktlatea,  ballet.     See  Traetta's  Le  feste  d'Imeneo. 

Acis  et  Gkilat^e,  pastorale  heroique  en  musique,  representee  pour 
la  premiere  fois  dans  le  CMteau  d'Anet  devant  Monseigneur  le 
Dauphin.  Par  I'Academie  royale  de  musique.  Suivant  la  copie 
imprim^e  h,  Paris. 

[Amsterdam,  Antoine  Schelte],  l&^Q.     4^  p.  (incl.front.)     IS^*^. 

Prologue  and  three  acts,  without  name  of  composer  or  author.  ML49.A2L9 

—  Acis  et  G^alatee,  pastorale  heroique  representee  par  I'Academie 
royale  de  musique  I'an  1686.  Les  paroles  de  M.  Uapistron  &  la 
musique  de  M.  de  Lully.     XXI.  opera. 

n.  i.,  n.  d.  /^V"-  front.,  179-222  p.  {Recueil  general  des  opera, 
t.  Hi,  Paris,  1703.) 

Detached  copy.    Three  acts  and  prologue. 

First  performed,  as  indicated,  September  17,  1686;  at  Anet,  at  the  palace  of  the 
Duke  of  Venddme,  September  6,  1686.  Schatz  5756 

Second  copy.     ML48.R4 


30  LIBRARY   OF  CONGRESS 

Acis  et  Galat^e — Continued. 

— Tircis  et  DoristSe,  pastorale;  parodie  d'Acis  et  Galat^e;  repre- 
sentee pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du 
roi,  le  4  septembre  1752.     Nouvelle  Edition. 

Paris,  N.  B.  Duchesne,  1759.  60,  U]  p.  19^"^.  (Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  n.) 

•  One  act.  Cast.  En  vaudevilles,  many  of  the  airs  being  printed  in  the  text.  The 
[4]  p.  contain  a  catalogue  of  plays  and  a  "  Catalogue  de  musiques  nouvelles  relatives 
aux  pieces  de  theatres  de  M.  Favart,  &  autres.'  The  arranger  of  the  music  is  not 
mentioned  by  Font.  ML49.A2F1 

—  Acis  und  GkilatSe.  In  einem  hochteutschen  sing-spiel  auf 
dem  hoch-fuerstl.  Wuertemb.  Schauplatz  aufgefuehret. 

StvMgaH,  Paul  Treuen,  1698.     43  p.     15^"*. 

Three  acts  and  prologue  (located  at  Stuttgart!)    Argument.     On  p.  41-43  seven 
additional  arias.    Neither  the  author  is  mentioned,  nor  the  translator,  nor  Lully. 
First  performed  1698,  as  indicated.  Schatz  5757 

Acis  och  Galatea.  Heroisk-ballet  i  tre  acter  upf6rd  p&  den 
Kongl.  Svenska  theatren.     F6rsta  g&ngen  den  10  maji  1773. 

Stockholm,  Anders  Jacohsson  Nordstrdm,  1773.     6  p.  I.,  30  p.     W™. 

Dedication,  argument,  cast,  notice  to  the  reader,  and  statement  that  the  poetry  is 
by  Lars  Samuel  Lalin  (translated  from  John  Gay's  "Acis  and  Galatea"?)  and  that  the 
music  of  the  ballet-opera  is  "dels  ny,  dels  af  Hendels  opera  Acis  och  Galatea  samt 
andre  beroemde  m&stares  arbeten  uts6kt  och  i  ordning  eatt  afven"  by  the  author. 
The  prefatory  note  gives  fiurther  information  on  the  history  of  this  curious  pasticcio 
product,  especially  that  the  recitatives  and  some  of  the  choruses  were  composed  or 
adjusted  by  Henrick  Filip  Johnsen,  the  court  conductor.  Schatz  4494 

Acis  und  Galatea,  ballet  by  Toeschi.     See  Bach's  Lucius  Silla. 

[L'Acomatel 

3-38  p.     16^"^. 

Two  acts.  Aigument,  cast,  scenario.  Title-page  wanting,  but  impresario's  dedi- 
cation to  the  nobility  and  "Popolo  Pisano"  says  "Fa  la  sua  prima  comparsa  su  queste 
scene  rAcoMATE."  Giusepjje  Giordani  is  mentioned  as  the  composer,  and  on  p.  38 
the  date  of  first  performance  is  given  as  April  21.  Consequently  this  is  an  imperfect 
copy  of  the  original  Pisa  edition  by  unknown  author  of  Giordani 's  opera  performed  at 
Pisa,  Teatro  Nuovo,  1783.  ML  48.A5  v.7 

—  L'Acomate.  Dramma  per  musica  da  rappresentarsi  in  Firenze 
la  primavera  dell'  anno  1784  nel  nuovo  Regio  Teatro  degl'  Intrepedi 
detto  La  Palla  a  Corda  .  .  . 


cm 


Firenze,  Stamperia  Bonducciana,  1784-     34  p.     16\ 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.  ("La  musica  h  tutta 
nuova.")  Schatz  3832 

—  Elpinice.     Dramma  serio   per  musica  da  rappresentarsi  in  Bo- 
logna nel  Teatro  Zagnoni  I'autunno  dell'  anno  1783  .  .  . 
Bologna,  Sassi,  n.  d.     62,  [7]  p.     17*''^. 

Though  in  three  acts,  and  in  part  radically  different,  plainly  based  on  "L'Aco- 
mate "  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  Giuseppe 
Gtiordani  as  the  composer.  On  p.  27-37  argument,  cast,  and  description  of  fratelli 
Ricciardi's  ballo  eroitragico  pantomimo  in  five  acta  "La  morte  di  Arrigo  Sesto,  ih 
d'Inghilterra."  music  by  Mattia  Stabingher.  Schatz  3843 


OPERA   LIBRETTOS  31 

L'acteur  dans  son  menage,  tableau  anecdotique,  mdl6  de  vau- 
devilles, par  M'°.  J^.  BouUault.  Repr6sent6,  jjour  la  premiere  fois, 
sur  le  Tne^tre  de  rAmbigu-comique,  le  6®  jour  complementaire, 
an  7.  [Sept.  22,  1799] 

Paris,  chez  le  libraire,  au  TJiedtre  du  Vaudeville,  an  viii'  [1799-1800] 
55  p.    W"^. 

Cast.  Prefatory  note.  On  p.  53-54  the  unaccompanied  "Air  nouveau  du  C.  St.- 
Amans,  membre  du  Conservatoire:  Je  quitte  k  regret."  Not  recorded  by  Dl.  &  L.  or 
Schatz.  Ml  48.M2L 

L'Adalinda.     A.  T.  of  Gl*  inganni  innocenti. 

L'Adaloaldo  furioso.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  Moise  nel  carnovale  1727. 
Venezia,  Carlo  Buonarrigo,  n.  d.     4^  p.     14^'^. 

Three  acts.  By  Antonio  Maria  Lucchini,  who  is  not  mentioned.  Argument, 
scenario,  and  name  of  Giacomo  Macari  as  composer. 

First  performed,  as  indicated,  December  26,  1726.  SOHATZ  5807 

Adela  of  Ponthieu.     A  tragy-pantomime  ballet. 

Noverre,  Jean  George,  Worlcs.  Tr.  from  the  French,  London,  1783, 
V.  S,  p.  [5S\-91.     21^"^. 

Five  actfi.  Noverre's  dedication  and  dedicatory  poem,  "preliminary  discourse," 
argument,  detailed  scene  by  scene  description,  and  note  to  the  effect  that  this  ballet 
was  first  represented  at  the  King's  Theatre,  London,  in  1782.  GV  1787.N8 

Adelaide.  Drama  per  musica  da  recitarsi  nel  Teatro  delle  Dame 
pe'l  carnevale  dell'  anno  1743  .  .  . 

Roma,  Bemaho  e  Luzzarini,  174S.     71  p.     15^*^^. 

Three  acts.  By  Antonio  Salvi  (not  mentioned).  Dedication,  argument,  scenario, 
cast,  and  name  of  the  composer,  Gioacchino  Cocchi.  Schatz  2052 

Adelaide,  dramma  per  musica.  Adelheid,  ein  musicalisches 
schauspiel. 

Hamburg,  gedruckt  mit  Spieringischen  schrifften,  n.  d.  2  p.  I., 
75  p.     18'=^. 

Three  acts.  Cast,  scenario,  and  argument.  German  text  faces  Italian.  Neither 
the  author,  Antonio  Salvi,  nor  the  composers,  Fiuazzi,  Filippo,  Scalabriui,  Paolo, 
etc.,  are  mentioned. 

First  performed  at  Hamburg,  Opemhaus  b.  Cransemarkt,  July  23,  1744. 

Schatz  3101 

Adelaide.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassano  nel  carnevale  1729  .  .  . 

Venezia,  Marino  Rossetti,  1729.     59  p.     15^"^- 
Three  acts.     By  Antonio  Salvi,  who  is  not  mentioned.    Impresario's  dedication 
dated  Venice,  February  6,  1729,  ai^ument,  cast,  scenario,  and  name  of  Giuseppe 
Maria  Orlandini  as  the  composer.  Schatz  7326 

—  Adelaide.  Drama  per  musica,  da  rappresentarsi  nell'  Arciducale 
Teatro  di  Mantova  nel  carnovale  dell'  anno  MDCCXXXI  .  .  . 

Maniova,  Alberto  Pazzoni,  n.  d.     60  p.     16"^. 

Three  acts.  Dedication  dated  Mantova,  December  26,  1730,  argument,  castj 
scenario- and  note:  "La  musica  h  del  Signer  Giuseppe  Orlandini  .  .  .  e  d'altn 
autori."  Salvi  is  not  mentioned.  The  differences  between  the  text  of  Venice, 
1729,  and  this  ed.  are  considerable.  For  instance,  "Ricordati,  cor  mio"  (I,  7)  haa 
become  "Conservati  fedele"  and  "La  tua  fortuna,  o  bella"  (I,  9)  haa  become  "Se 


32  LIBBABY  OF  CONGRESS 

Adelaide — Continued. 

brami  mia  bella."  "La  piet^  del  core  augusto"  has  been  added  to  I,  10,  as  also 
"Va  euperba,  ed  ostinata  to  I,  15,  whereas  "Prendi  uno  sposo"  has  been  dropped 
from  I,  14.  Scene  I,  16,  now  consists  of  "Ma  pur  da  te  dipende  (Rec.) — Ciel  jnil 
tranquillo—Palido  il  Sole,"  including  the  original  recitative  "Quanto  piil  sien  tenaci," 
but  excluding  the  original  aria  "Scnerza  in  mar  la  navicella."  It  is  reasonable  to 
conjecture  that  the  differences  in  the  texts  give  a  clue  to  the  music  "d'altri  autori." 

ML  60,2.A3107 

Adelaide,  ballet.     See  Paisiello's  H  Sismano  nel  Mogol. 

Adelaide.     Drama  per  musica  da  recitarsi  nel  Teatro  Alibert  pe'l 
carnevale  dell'  anno  1723.     Presentato  alia  Maestk  di  Clementina, 
regina  della  Gran  Bretagna,  etc. 
Roma  Bernabb,  172S.     72  p.     15'^. 

Three  acts.     By  Antonio  Salvi,  who  is  not  mentioned.     Dedication,  argument, 
cast,  scenario,  and  name  of  Nicoli  Antonio  Porpora  as  the  composer. 

First  performed,  as  indicated,  January  23,  1723.  Schatz  8376 


Lcm 


—  Adelaide.     Dramma  per  musica. 

Roma,  Pietro  Ferri,  1723.     72  p.     HY 

Three  acts.  Neither  Salvi  is  mentioned,  nor  Porpora.  Argument.  The  arias  in 
this  edition  differ  noticeably  from  those  in  the  Bernabb  edition.  For  instance,  in 
the  latter  I,  1,  has  no  aria,  whereas  the  Ferri  edition  has  "Contro  I'idolo  adorato.'' 
In  the  Ferri  ed.  I,  5,  has  "Om5  la  mia  diletta,"  in  the  Bernabb  ed.  "Per  salvarti, 
idolo  mio,"  etc.,  etc.  ML  50.2.A31P6 

Adelaide,  ballet.     See  Portugal's  Fernando  nel  Messico. 

L'Adelaide.      Drama    per   musica    da    rappresentarsi    nel    Teatro 
Vendramino  k  San  Salvatore.     L'anno  MDCLXXII  .  .  . 
Venetia,  Francesco  Nicolini,  1672.     72  p.     14^^- 
Three  acts.     By  Pietro  Dolfino,  who  is  not  mentioned.     Publisher's  dedication, 
with  the  name  of  Antonio  Sartorio  as  the  composer,  and  dated  Venice,  February  19, 
1672.    Argument  and  scenario.  Schatz  9488 

Adelaide    di    Ghesclino,    ballo    eroico.    See  V.  Fabrizj's    opera 
L'amore  per  interesse. 

Adelaide  di  Guesclin,  ballet.     See  Cafaro's  II  natal  d'Apollo. 

L'Adelaide,  regia  prineipessa  di  Susa.     Dramma  musicale  da 
Gio.  Batista  Rodoteo,  Veneto. 

Venetia,  n.  pull.,  1670.     48  p.     14""^. 

Three  acts.  Argument,  and  notice  to  the  reader  alluding  to  the  first  performances 
of  the  opera  at  Munich,  Hoftheater,  1669.  Giulio  Biva,  the  composer,  is  not 
mentioned.  Schatz  8833 

Adelasia,  ballet.     See  Zingarelli's  II  mercato  di  Monfregoso. 

Adelasia  riconosciuta,  ballet.    See  Cherubini's  Mesenzio  r6  d'E- 
truria. 

Adelasia  riconosciuta,  ballet.    See  Mayr's  Che  originali. 

Adele  di  Ponthieu,  baUet.    See  Borghi's  Artaserse. 

Adelheid.     Tr.  of  Finazzi  and  Scalabrini's  Adelaide. 


OPERA   LIBRETTOS  33 

Adelheid,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau- 
platze  vorgestellet  im  jahr  1727. 

[Hamburg],  Gedruckt  mit  Stromerschen  Schrifften,  n.  d.     Unpaged. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Georg  Philipp 
Telemann  is  mentioned  as  the  composer. 

First  performed  at  Bayreuth,  Hochfuerstl.  Theater,  1724,  aa  "Adelheid,  oder  Die 
ungezwungene  liebe."  Schatz  10254 

Adelheit  von  Veltheim.     Ein  schauspiel  mit  gesang  in  vier  akten. 
Leipzig,  Dyhische  luchhandlung ,  1781.     6  p.  I.,  130,  [2]  p.     17'^'^. 

Dedication  signed  by  the  author  Gustav  Friedrich  Wilhelm  Grossmann  and  the 
composer  Christian  Gottlob  Neefe.  This  is  followed  by  prefatory  remarks  of  Gross- 
mann's  addressed  "An  herm  magister  Dyk"  and  dated  September  10,  1780.  To  the 
same  is  addressed  Neefe's  preface  dated  "Frankfurt  am  Mayn,  den  10.  Sept.  1780." 
In  this  preface  we  are  told: 

"Ich  hiitte  diese  arbeit  schon  laengst  geendiget,  wenn  mein  lieber  Grossmann 
nicht  bisweilen  einen  anfall  von  traegheit  bekommen  und  mich  gehemmt  hatte. — 
Pfui !  was  ich  da  fiir  verleumdungen  geschrieben  habe! — Nicht  traegheit,  sondem 
veraenderung  der  umstaende,  die  viele  andre  geschaefte  von  ihm  erheischten,  sezten 
ihn  ausser  stand,  an  seiner  oper  fortzuarbeiten.  Ich  muss  ihnen  das  sagen,  um  gewis- 
ser  kritischer  spione  willen,  die  einige  gesaenge  darinne  finden  werden,  die  sie 
irgendwo  schon  gelesen  haben,  und  die  sich  weidlich  lustig  machen  moechten,  etwas 
ausgespaeht  zu  haben,  das  sie  berechtige,  ihn  eines  plagiats  zu  beschuldigen.  Aber 
die  herren  wuerden  sich  nur  umsonst  freuen:  denn  eben  diese  gesaenge  hatte  er 
vom  anfange  her  fuer  Adelheit  von  Veltheim  gefertigt!  Umstande  .  .  .  machten 
es  unwahrscheinlich,  dass  diese  oper  je  zu  stande  kommen  wuerde.  Ich  nahm 
daher  einige  gesaenge  in  eine  fremde  operette  auf  .  .  .  Mein  freund  ging  aufs  neue 
an  seine  oper,  und  die  ausgelehnten  gesaenge  wurden  wieder  eingeloest.  Das  Vos- 
sische  lied:  Bey  raeinem  lieben  topf  voll  Reiss  u.  s.  w.  gefiel  meinem  freunde  Gross- 
mann so  sehr  und  passte  so  gut  fuer  einen  seiner  sklaven,  dasser  es  fast  unveraendert 
beybehielt  ..." 

First  performed  at  Frankfurt  a.  M.,  Theater  am  Junghof,  September  23,  1780. 

Schatz  7068 

—  Adelheit  von  Veltheim.  In  vier  akten.  Komponirt  vom  herrn 
hoforganist  Neefe  zu  Bonn. 

n.  i.,  n.  d.     1  p.  I.,  186  p.     17^"". 

The  author,  Grossmann,  is  not  mentioned.  Schatz  11734 

Adelia  e  Roberto.     A.  T.  of  La  selvaggia. 

Adelina  Senese  o  sia  L'amore  secreto.  Dramma  giocoso  per  musica 
da  rappresentarsi  nel  Teatro  in  S.  Samuele  per  la  prima  opera  d'au- 
tunno  1797. 

Venezia,  Stamperia  Valvasense,  n.  d.     71  p.     17^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Prefatory  note,  cast, 
and  name  ot  Gaspare  Spontini  as  composer.  ("La  musica  del  tutto  nuova").  On 
p.  [37]-44  argument,  cast  and  description  without  name  of  the  composer  of  the  music 
of  Antonio  Berti's  "Duglas  ed  Emestina,  ballo  di  mezzo  carattere.        Schatz  9991 

Arien  und  ^esaen^e  zum  trauerspiel  Adelstan  und  Roeschen  von 
Schink.     Die  musik  von  herrn  Hiller. 
n.  i.,  n.  d.     [8]  p.     16^"^. 

Two  acts.    Composed  by  Friedrich  Adam  Hiller. 

Firet  performed  at  Gustrow,  Theater  im  Rathhause,  September.6,  1792. 

Schatz  4714 
72251°— VOL  1—14 3 


34  LIBRARY   OF  CONGRESS 

Ademira.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  30  oi  maggio  1789  festeggiandosi  il  glorioso  nome 
di  Ferdinando  IV  .  .  . 

Napoli,  Vimenzo  Flavto,  1789.     56  p.     15^"^. 

Three  acts.  By  Ferdinando  Moretti  who  is  not  mentioned.  Impresario's  dedica- 
tion, dated  Naples,  May  30,  1789,  argument,  scenario  and  name  of  Pietro  Guglielmi 
as  the  composer.  A  footnote  states  that  for  brevity's  sake  the  "recita"  in  the  third 
act  would  be  omitted  and  its  music  transferred  to  I,  7.  On  p.  9-20  cast  and  descrip- 
tion of  Sebastiano  Gallet's  "Amor  pub  tutto,  oesia  II  trionfo  del  valore,  ballo  panto- 
mimo  in  tre  atti,"  music  by  "diversi  autori."  Schatz  4231 

Ademira.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  per  la  fiera  dell'  Ascensione  dell'  anno  1784. 

Venezia,  Modesto  Fenzo,  1784,     ^^  P-     -^^""• 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario  and  name  of  Andrea  Luchesi,  as  composer.  On  p.  21-34  description,  argu- 
ment, cast,  but  not  name  of  the  composer  of  the  music  of  Paolino  Franchi's  "Hurtado 
e  Miranda,  ballo  tragico-pantomimo. 

First  performed  May  2,  1784,  as  indicated.  Schatz  5739 

Ademira.     Dranmia  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  I'autunno  dell'  anno  1787. 
Venezia,  Modesto  Fenzo,  1787.     59  p.     17 Y"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario  and  note  "La  musica  h  del  Sig.  Angelo  Taxchi,  e  d'altri  rinomati  autori." 
On  p.  [471-59  prefatory  note,  argument,  cast  without  name  of  the  composer  of  the 
music  ana  description  of  Domenico  Ballon's  "La  conquista  del  Peru  ossia  Amazili  e 
Telesco,  ballo  eroico  tragico  tratto  dall'  Incas  del  Sig.  Marmontel."  His  second 
ballet  is  called  "La  vedova  ingegnosa  ossiano  Le  bizzarie  del  bel  sesso." 

First  performed  at  Milan,  Teatro  alia  Scala,  December  27,  1783.       Schatz  10211 

Admeto.  Dramma  per  musica  di  Giuseppe  Palomba.  Da  rappre- 
sentarsi nel  Real  Teatro  del  Fondo  di  Separazione  per  second  opera 
di  quest'  anno  1794  .  .  . 

Napoli,  Vincenzo  Flauto,  179^.     43  p.     i5<=™. 

Two  acta.  Impresario's  dedication  dated  Naples,  October  5,  1794,  cast  and  name 
of  Pietro  GugUelmi  as  the  composer.  On  p.  6-13  argument,  cast  and  description  of 
Giovanni  Battista  Giannini's,  "La  fata  benefica,  ballo  persiano  favoloso,"  music  by 
Giuseppe  Ercolani.  Schatz  4286 

Admeto. 

Three  act  opera  by  Georg  Friedrich  Handel.  Text  an  altered  version  of  Aurelio 
Aureli's  "L'Antigona  delusa  da  Alceste." 

First  performed  at  London,  Haymarket,  January  31,  1727. 
Not  in  L.  of  C. 

—  Admetus,  koenig  in  Thessalien.  In  einer  opera  auf  dem 
Hamburgischen  Schau-Platze  vorgestellet.     Im  jahr  1730. 

[Hamburg],  GedrucJct  mit  Stromerschen  schriften,  n.  d.      Unpaged. 

Three  acts.  Argument  and  scenario.  Neither  C.  G.  Wendt,  the  translator  of 
"Admeto,"  nor  Georg  Friedrich  Handel,  the  composer  is  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  January  23,  1730. 

Schatz  4470 

—  Admetus,  koenig  in  Thessalien,  in  einer  opera  auf  dem  Ham- 
burgischen Schau-Platze  vorgestellet.     Im  jahr  1731. 

Hamburg,  mit  Piscators  schrifften,  n.  d.      Unpaged.     18*^^. 

Three  acts.  Scenario  and  "  Historischer  bericht"  (argument)  with  names  of  Wend 
as  translator,  and  Georg  Friedrich  Handel  as  composer.  The  Italian  text  of  the  arias 
is  added  to  the  German.  Schatz  11713 


OPERA   LIBRETTOS  35 

Adnieto  ed  Alceste.  A.  T.  of  the  ballet  La  maggior  impresa 
d'Ercole. 

Admeto  ed  Alceste,  ballet.     See  Jommelli's  L'Olimpiade. 

Admeto  re  di  Tessaglia.  Melodrama  da  recitarsi  nel  Regie 
Teatro  di  Milano  .  .  . 

Milano,  Marc'  Antonio  Pandolfo  Malatesta,  1702.     67  p.     15'^'^. 

Three  acts.  Dedication  by  the  author  Pietro  d'Averara,  argument,  scenario,  and 
notice  to  the  reader  with  name  of  Paolo  Magni  as  the  composer,  compliment  to  the 
impresarios  Piantanida  for  their  generosity  in  staging  the  opera  and  remark: 

"Mi  son  ristretto  ne'  recitativi,  e  nelle  agnizioni  tediose,  massime  nel  fine  ...  In 
Bomma  ho  cercato  il  tuo  diletto,  chfe  e  la  regola  principale  della  Drammatica,  e  I'oggetto 
della  mia  attezione  .  .  ."  Schatz  5839 

Admetus,  koenig  in  Thessalien.     Tr.  of  Handel's  Admeto. 

Adolphe  et  Clara,  ou  Les  deux  prisoiiniers,  comedie  en  un  acte  et 
en  prose,  melee  d'ariettes.  Paroles  de  B.  J.  Marsollier.  Musique 
du  citoj^en  d'Aleyrac.  Representee,  pour  la  premiere  fois,  a  Paris, 
sur  le  Theatre  de  I'Opera-comique-national,  rue  Favart,  le  22  pluvidse, 
an  7  [February  10,  1799]. 
Paris,  Cailleau,  An  septieme  [1799].  ^6  p.  19^'="' 
Cast.  ML  50.2.A33D2 

L'Adone,  tragedia  musicale  del  clarissimo  Signot  Paolo  Vendra- 
mino.  Rappresentata  in  Venezia  1'  anno  1639.  All'  Ulustrissimo 
Sig.  Antonio  Grimani  fu  dell'  illustrissimo  Signor  Vettor. 

Venetia,  Sarzina,  I64O.     71  p.     13^"^. 

Five  acts  with  prologue.  The  dedication  is  signed  by  Francesco  Manelli  and 
dated  Venice,  December  21,  1639.  It  is  followed  by  a  Lettera  del  Signor  Ven- 
dramino  al  Manelli,"  dated  Bologna,  December  16,  1639,  in  which  the  author  says: 

"Intendo,  che  V.  S.  vuol  porre  alle  stampe  I'Adone.  Me  ne  rincresce  altretanto, 
quanto  m'h^  gi^  doluto  la  sua  risoluzione  di  farlo  recitare,  non  ostante  la  mia  lonta- 
nanza,  ch'  6  a  dire,  senza  i  lumi  piii  necessarii  dell'  apparenze,  co'quali  doveva  illus- 
trarsi  I'azione  ..." 

The  letter  is  followed  by  the  argument.  Monteverdi,  the  composer^  is  not 
mentioned.  Schatz  6594 

Adone  e  Venese,  ballet.     See  Pugnani's  Demofoonte. 

v/Adone  in  Cipro.  Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Vendramino  di  S.  Salvatore.  L'anno  MDCLXXVI. 
Inventato  dal  dottor  Giannini  .  .  . 

Venetia,  Francesco  Nicolini,  1676.     60  p.     14^^- 

Three  acts.  Publisher's  dedication,  dated  Venice,  December  18,  1675,  ailment, 
and  note  that  all  the  "versi  appuntati  sono  dell'  inventore  di  questo  drama,"  which 
implies  that  the  others  were  not.  According  to  Schatz,  Tebaldo  Fattorino  retouched 
Giannini's  original  text.     The  compHsser,  Giovanni  Legrenzi,  is  not  mentioned. 

Schatz  5540 

Adone   re   di    Cipro.     Drama   per   musica   di   Filippo    Vanstryp 
romano,  da  rappresentarsi  nella  sala  degl'  illustrissitni  Signori  Cap- 
ranica  nel  carnevale  dell'  anno  1731  .  .  . 
Roma,  Rossi,  n.  d.    64  p-     16'^^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of  the 
composer,  Michele  Caballone.  Schatz  1446 


36  LIBRARY   OF   CONGRESS 

The  adopted  child,  a  musical  drama,  in  two  acts.     As  it  is  per- 
formed at  the  Theatre  Royal,  Drury-Lane.     By  Samuel  Birch. 
LoTidon,  C.  DiUy,  1795.'  2  p.  I,  4I  p.     20^"". 

Cast  and  prefatory  note.     The  composer,  Thomas  Attwood,  is  not  mentioned.    In 
Longman  &  Broderip'a  vocal  score  "Woman  is  curious"  is  headed  as  "Selected 
by  Mrs.  Bland  "  and  added  in  pencil  is  the  name  of  the  air  "Boded  no  good." 
'  First  performed  May  1,  1795.  Longe  230 

Adrast  und  Isidore,  oder  Die  nachtmusik.  Eine  komische  oper  in 
zween  aufzuegen.  Nach  Moliere.  Aufgefuehrt  im  K.  K.  National- 
Theater. 

Wien,  heym  Logenmeister,  1780.     52  p.     15''^. 

By  Christoph  Friedrich  Bretzner.     Neither  he  nor  the  composer,  Franz  Adam,  ritter 
vonMitscha,  is  mentioned. 

First  performed  at  Vienna,  Nationaltheater  n.  d.  Burg,  April  26,  1781. 

ScHATz  6535 

Arien  aus  Adrast  und  Isidore.  Eine  komische  oper,  in  zween 
akten.     Nach  Moliere. 


cm 


n.  i.,  1787.     16  p.     15^ 

Neither  the  author,  Christoph  Friedrich  Bretzner,  is  mentioned,  nor  the  composer, 
von  Kospoth. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  October  16,  1779;  at  Dresden, 
Hoftheater,  February  22,  1779.  Schatz  5217 

Adrast  und  Isidore,  oder  Die  serenate.  Eine  komische  oper  in 
zween  akten.  Nach  Moliere.  [silhouette]  Componirt  vom  herrn 
Preu  in  Leipzig. 

[193]  -254  p.     (C.  F.  Bretzner,  Operetten,  hd.  I,  Leipzig,  1779.)     W"^. 

The  silhouette  is  a  portrait  of  M.  Bauser.  In  the  Vorbericht  Bretzner  says  of  this 
play: 

"  Das  dritte  stueck  ist  posse,  und  als  solche  betrachtet,  schluepft  es  vielleicht  mit 
durch.  In  Wien  erhielt  es  eine  premie,  und  wird  vermutlich  von  dort  aus,  unter  dem 
titel:  die  Nachtmusik,  gedruckt  erscheinen.  Ich  habe  seitdem  vershiedne  ver- 
aenderungen  darinn  gemacht,  und  haette  gem  in  den  liedem  noch  mehrere  gemacht, 
wenn  es  nicht  bereits  componirt  gewesen  waere  .  .  ." 

First.performed  at  Dresden,  Hoftheater,  February  22,  1779.  Schatz  11680 

Second  copy.     Schatz  8462 

Adrasto  re  d'Egitto.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  il  carnevale  dell'  anno  1792  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     96  p.     16'^'^. 

Three  acts.  Impresario's  dedication  dated  Milan,  February  4,  1792,  author's 
notice  to  the  reader,  ai^ument,  cast,  scenario  and  names  of  Giovanni  de  Gamerra  as 
author,  of  Angelo  Taxchi  as  composer.  Schatz  10233 

Second  copy.    ML  50. A5    v.  8 

Adrasto  re  degli  Arg^vi.     Dramma  per  musica  da  cantarsi  nella 
Real  villa  di  Queluz  per  celebraie  il  relicissimo  giorno  natalizio  di 
S.  M.  .  .  .  D.  Pietro  ill  .  .  .  li  5.  luglio,  1784. 
[Lisboa],  Nella  stamperia  reale,  n.  d.     30  p.     15'^'^. 

One  act.  By  Gaetano  Martinelli.  Argument,  cast,  and  names  of  the  composer, 
Joao  de  Souisa  Carvalho,  and  the  author.  Schatz  1670 

Adrian  in  Syrien.     Tr,  of  Bernasconi's  Adriano  in  Siria. 


OPERA  LIBKETTOS  37 

L'Adriano.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassiano  il  carnovale  delF  anno  MDCCXLVIII. 

n.  i.     66  p.     IS''"'. 

Three  acts.  By  Metastasio  ("Adriano  in  Siria").  Argument,  cast,  scenario  and 
name  of  the  composer  Vincenzo  Legrenzio  Ciampi. 

First  performed  at  Venice  as  indicated .  Schatz  1875 

Adriano  en  Syria..    Tr.  of  Conforto's  Adriano  in  Siria. 

L'Adriano  in  Siria. 

{75]-1j^7  f.  W™.  (Pietro  Metastasio,Operedrammatiche,  Venezia, 
Giuseppe  BeUinelli,  1738-37,  v.  1.) 

Three  acts  and  Licenza.     Argument.     No  composer  is  mentioned. 

This  belongs  to  those  texts  which  exist  in  different  versions  by  Metastasio  him- 
self.    Some  of  the  telling  differences  are  as  follows: 

The  original  version  (as  here  represented)  has  in  I,  8,  the  aria  "E  vero  che  op- 
presso."  Its  scene  1, 13,.begins  "E  nessunosadirmi,"  its  scene  1, 14,  begins  "Misera, 
dove  fuggo?  "  and  has  the  aria  "Se  non  ti  moro  allato." 

The  later  versions  (as  below  1755,  t.  I  and  1780,  t.  I)  do  not  have  the  aria  in  I,  8. 
Their  I,  13,  begins  "Se  quel  folle  si  perde"  and  their  I,  14,  begins  "Senti.  Come 
mi  lascia  "  and  has  no  aria.  ML  49.A2M4 

—  Adriano  in  Siria. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  I,  [111]'204  p. 

Three  acts  and  licenza.    Argument. 

"Nella  forma  in  cui  sono  stati  ridotti  dall'  autore."     {See  note  on  p.  169  of  v.  vi.) 

Same,  t.  VI,  [171]-280  p.     16'^^'. 

"Come  .  .  .  neir  altre  edizioni."  ML  49.A2M42 

—  Adriano  in  Siria.  Rappresentato  con  musica  del  Caldara  la 
prima  volta  in  Vienna  nelF  interno  gran  Teatro  della  Corte  Cesarea  alia 
presenza  degli  augustissimi  sovrani,  il  di  4  novembre  1731,  per  festeg- 
giare  il  nome  delF  imperator  Carlo  VI  .  .  . 

p.  I.,  [113]-212  p.  £6^™.  (Pietro  Metastasio,  Opere,  Parigi,  vedova 
Herissant,  t.  I,  1780. 

Three  acts  and  licenza.     Argument.  ML  49.A2M44 

—  Adrien. 

Metastasio,  Tragedies-opera,  Vienne,  1751,  t.  ii,  123  p.     14-'^^. 
Three  acts.     Richelet's  translation  of  Adriano  in  Siria.  ML49.A2M47 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1780. 

Venezia,  Modesto  Fenzo,  1780.     56  p.     16^""- 

Three  acts.  By  Pietro  Metastasio.  Argument,  cast,  scenario,  and  name  of  Felice 
Alessandri  as  composer.  Schatz  153 

Adriano  in  Siria,  ballet.     See  Bertoni's  Eumene. 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  di  corte  .  ,  .  nel  carnevale  dell'  anno  1755.  La  poesia  e  del 
Sig.  abbate  Pietro  Metastasio  ...  La  musica  h  del  Sig.  Andrea  de 
Bernasconi  .  .  . 

Monaco,  Giov.  Giac.  Vbtter,  n.  d.     151  p.     19^"^. 

Three  acts.  Argument,  cast  and  scenario.  German  title-page  "Adrian  in  Syrien  " 
and  text  face  Italian.  Schatz  854 


355973 


38  LIBRARY   OF   CONGRESS 

Adriano  in  Siria,  rappresentato  e  recitato  nel  nuovo  Teatro  Ducale 

in  Stuggarda,  1737. 

n.  i.,  n.  d.    237  p.,  1  I.     i^""*.  • 

Three  acts.  By  Metastasio,  followed  by  the  licenza,  p.  190-195  and  the  three  act 
intermezzo  " PoUastrella  &  Parpagnocco"  (text  by  Panati),  p.  196-237.  Argument, 
cast  and  scenario.  German  title-page  "Der  in  Syrien  triumphirende  Kayser  Hadri- 
anus"  and  text  face  Italian.  Riccardo  Broschi's  name  is  not  mentioned,  but,  as  he 
was  then  the  first  conductor  at  the  Stuttgart  court,  it  stands  to  reason  that  he  com- 
posed this  opera.  Schatz  1338 

Adriano  in  Siria.     Dramma  per  musica  da  rappresentarsi  nel  nuovo 
Teatro  Grimani  di  S.  Benedetto  il  carnovale  aell'  anno  MDCCLVII. 
Venezia,  Modesto  Fenzo,  1757.     58  p.     Ij^Y"^. 

Three  acts.  By  Metastasio.  Argument,  cast,  and  scenario  but  without  name  of 
the  composer,  Francesco  Brusa.  Schatz  1376 

Adriano  in  Siria.  Drama  per  musica  da  rappresentarsi  nella 
Cesarea  corte  per  il  nome  gloriosissimo  della  Sac*  Ces."  e  Catt.  Real 
Maesth,  di  Carlo  VI  .  .  .  L'anno  MDCCXXXII.  La  poesia  h  del 
Sig.  abbate  Pietro  Metastasio  ...  La  musica  e  del  Sig.  Antonio 
Caldara  .  .   . 

Vienna  d' Austria,  Gio.  Pietro    Van  Ghelen,  n.  d.     4  V-  ^-y  '^^  P- 

Three  acts  and  licenza.  Argument  and  scenario.  The  ballet  music  at  the  end  of 
the  acts  was  composed  by  Niccola  Matteis. 

First  performed  as  indicated,  November  9,  1732.  Schatz  1478 

Adriano  in  Siria.  Opera  drammatica  da  rappresentarsi  nel  Regio 
Teatro  del  Buon-Ritiro.  Festeggiandosi  il  gloriosissimo  giorno  natalizio 
di  sua  Maesta  Cattolica  il  re  nostro  Signore  D.  Ferdinando  VI  .  .  . 
amio  MDCCLVII. 

{At  end)  Madrid,  Michele  Scrivano.  n.  d.  13  p.  I.,  157  p.     20^'"'. 

Three  acts.  By  Metastasio  and  somewhat  reduced  by  him  as  a  note  informs  the 
reader.  With  dedication  signed  by  Carlo  Broschi  Farinelli  and  dated  "Madrid,  20. 
settembre  1757,"  argument,  cast,  scenario  and  name  of  the  composer  Niccolb  Con- 
forto.     Spanish  title  "Adriano  en  Syria"  and  text  face  the  Italian.     Schatz  2121 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Vendramin  di  S.  Salvatore  nella  fiera  dell'  Ascensione  dell'  anno  1760. 

Venezia,  Modesto  Fenzo,  1760.     56  p. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  and 
name  of  Baldassare  Galuppi  as  composer.  "La  musica  tutta  nuova,"  consequently 
his  second  setting  of  the  text.  Schatz  3473 

Adrian©  in  Siria.     Dramma  per  musica  di  Pietro  Metastasio  trk  gli 
Arcadi  Artino  Corasio,  da  rappresentarsi  nel  famosissimo  Teatro  Gri- 
mani di  S.  Gio.  Grisostomo.     II  carnovale  dell'  anno  1733  .  .  . 
Venezia,  Carlo  Buonarrigo,  1733.     72  p.     IJ^Y"^. 

Three  acts.  By  Metastasio  with  alterations  indicated  in  the  libretto.  Impresario's 
dedication,  argument,  cast,  scenario  and  name  of  Geminiano  Giacomelli  as  the  com- 
poser. Schatz  3805 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  famo- 
sissimo Teatro  Grimani  di  S.  Gio.  Grisostomo  il  carnovale  dell'  anno 
1740  .  .  . 

Venezia,  Marino  Rossetti,  1740.     60  p.     15'=^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, cast,  scenario  and  name  of  Giovanni  Antonio  Giai  as  the  composer. 

Schatz  3819 


OPERA   LIBRETTOS  39 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
nobile  di  S.  Benedetto  il  carnovale  dell'  anno  MDCCLXVI. 

Venezia,  Giorgio  Fossati,  n.  d.     55  p.     17"^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  and 
name  of  Pietro  Guglielmi  as  the  composer.  The  last  page  contains  the  additional 
aria  for  II,  6  "Alia  tua  bella  face." 

First  performed,  as  indicated,  December  26,  1765.  Schatz  4232 

Adriano  in  Siria,  dramma  per  musica,  da  rappresentarsi  nel  Teatro 
della  Regia  elettoral  corte  di  Dresda,  nel  carnevale  dell'  anno 
MDCCLII. 

Dresda,  la  vedova  Stossel,  n.  d.     4  P-  ^-j  ^^  P-     19^^- 
Three  acts.    Argument,  scenario,  cast  and  names  of  Metastasio  as  author,  of  Johann 
Adolph  Hasse  as  composer. 

First  performed,  as  indicated,  Jan.  17,  1752.  Schatz  4503 

—  Adriano  in  Siria,  dramma  per  musica,  da  rappresentarsi  nel 
Teatro  della  Regia  elettoral  corte  di  Dresda,  nel  carnovale  dell' 
anno  MDCCLII 

Dresda,  la  vedova  Stossel,  n.  d.     7  p.  I.,  89,  89  p.     19^'^. 

Three  acts.  The  same  as  Schatz  4503,  except  that  German  title  "Adrianus  in 
Syrien"  and  text  face  Italian.  Schatz  4504 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  alia  corte 
elettorale  palatina  in  occasione  delle  felicissime  nozze  di  Sua  Altezza- 
Serenissima  Federigo  Au^usto  elettore  di  Sassonia  etc.  etc.  e  di  Sua 
Altezza  Serenissima  Amalia  Augusta  contessa  palatina  de'  Due  Ponti 
I'anno  MDCCLXIX. 

Mannheim,  Stamperia  elettorale,  n.  d.     100,  [7]  p.     15^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author,  of  Ignaz 
Holzbauer  as  the  composer.  The  7  additional  pages  contain  Mattia  Verazi's  Licenza. 
Performed,  as  indicated,  at  Mannheim,  Hoftheater,  January  1769;  first  performed 
there  November  4,  1768.  Schatz  4778 

—  Hadrian  in  Syrien.  Ein  musicalisches  trauerspiel,  welches  an 
dem  hoechsten  namensfeste  Ihro  Churfuerstlichen  Durchlaucht  zu 
Pfalz  .  .  .  bey  Hof  aufgefuehret  worden. 

Mannheim,  mit  Academischen  schriften,  1768.     1  p.  I.,  Ill,  20  p. 

German  translation  for  the  above  performance.  Argument,  cast,  scenario,  and 
names  of  Metastasio  and  Holzbauer.  The  20  additional  pages  contain  casts  and 
descriptions  of  Bouqueton's  ballets  "Cephal  imd  Procris"  and  "Reinald  und  Armide," 
music  by  "Cannabich  und  Toeschi."  Schatz  4779 

Adriano  in  Siria.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuel  nella  fiera  dell'  Ascensione  dell'  anno  1760. 
Venezia,  Modesto  Fenzo,  1760.     56  p.     l^Y"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  the  composer  Antonio  Maria  Mazzoni  ("  La  musica  sar^  nuova.") 

First  performed  May  14,  1760.  Schatz  6225 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  in  propriety  de'  quattro  cavalieri  patrizi  della  Regio-inclita 
cittk  di  Pavia  nella  prima  vera  dell'  anno  1777  .  .  . 

Pavia,  Porro  e  Bianchi,  n.  d.     52  p.     l^-V^- 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Joseph  Misliweczek  as  the  composer.  Schatz  6533 


40  LIBRAKY   OF  CONGRESS 

L'Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  ne\ 
Ducal  Teatro  di  corte  il  carnovale  dell'  anno  1775  .  .  . 

Modena,  gli  eredi  di  Bartolomeo  Soliani,  n.  d.     4^  p.     18"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast, 
and  name  of  Gaetano  Monti  as  the  composer.  On  p.  48  the  reader  is  informed  that 
after  publication  of  the  libretto  scenes  8  and  10,  act  II  were  cancelled,  Sabina's  aria 
"Non  ha  raeione  ingrato"  transferred  from  II,  8,  to  I,  111,  etc. 

First  performed,  as  indicated,  January  31,  1775.  Schatz  6605 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
alia  Scala  il  carnevale  1790  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     68,  [10]  p.     i^J"™. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impressario's  dedication, 
dated  Milan,  December  26,  1789,  argument,  cast,  scenario,  and  name  of  Sebastiano 
Nasolini,  maestro  della  Capella,  e  della  Direzione  Teatrale  di  Trieste,  as  the  com- 
poser. 

With  the  opera  were  performed  Francesco  Clerico's  ballets  "La  morte  d'Ercole" 
and  "La  superba  innamorata  a  suo  dispetto"  (argument  on  the  10  unnumbered  p.). 
The  composer  of  the  music  is  not  mentioned.  Schatz  6998 

Second  copy.    ML  48. A5    v.  9 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel  nobil 
Teatro  di  Torre  Argentina  il  carnovale  dell'  anno  1758. 

Roma,  Fausto  Amidei,  n.  d.     72  p. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Binaldo  di  Capua  as  composer. 

First  performed  at  Rome,  Teatro  Argentina,  January  2,  1758.    ML  50.2.A36R4 

Adriano  in  Siria.     Dramma  per  musica  da  rappresentarsi  nel  Regio 

Teatro  di  Torino  nel  carnovale  del  1782  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  64  p.     15Y'^- 

Three  acts.     By  Metastasio,  who  is  not  mentioned.    Argument,  cast,  scenario,  and 

name  of  Giacomo  Rust  as  the  composer.    With  the  opera  were  performed,  music  by 

Vittorio  Amedeo  Canavasso,  Sebastiano  Gallet's  ballets  "Lauso  e  Lidia,"  "II  manes- 

calco,"  and  "Popoli  della  Siria." 

First  performed  December  26,  1781.  Schatz  9166 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  San  Benedetto  la  fiera  dell'  Ascensione  dell' 
anno  1771. 

Venezia,  Modesto  Fenio,  1771.     61  p.     17 '^'^^ 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Antonio  Sacchini  as  the  composer  Schatz  9204 

Adriano  in  Siria.  Dramma  per  musica  da  rappresentarsi  nel 
nobil  Teatro  a  Torre  Argentina  nel  carnevale  dell'  anno  1779  .  .  . 

Roma,  LuigiBendio,  1779.     48  p.     16""^. 

Three  acts.     By  Metastasio,  to  whom  this  typical  note  refers: 

"Tuttocib,  chi  si  6  tolto,  aggiunto,  o  sconnesso  nel  presente  dramma,  si  e  fatto  per 
adattarsi  alle  circostanze  del  modemo  teatro,  e  non  mai  per  correggere  il  celeber- 
rimo  Poeta  Cesareo,  alle  opere  di  cui  si  protesta  tutta  la  stima  e  la  venerazione." 

Argument,  cast,  scenario,  and  name  of  Giuseppe  Sarti  as  the  composer.  On  p.  7 
argument  without  name  of  the  composer  of  the  music  of  Paolino  Franchi's  ballet 
"Gustavo  Vaza."     Second  ballet  called  "La  cappricciosa." 

First  performed,  as  indicated,  December  28,  1778.  Schatz  9470 

L'Adriano  in  Siria.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassiano  nel  carnovale  dell'  anno  MDCCLII. 

[Venezia],  n.  puhl.     1  p.  I.,  60  p.     15^'^. 

Three  acts.  By  Metastasio  (not  mentioned),  with  acknowledged  alterations  "per 
comodo  del  teatro,  e  per  le  convenienze  degl'  attori."  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Scarlatti  as  the  composer.  Schatz  9540 


OPERA   LIBRETTOS  41 

Adriano   in   Siria.     Dramma   per   musica   da   rappresentarsi   nel 
Teatro  di  S.  Samuelle  il  carnevale  dell'  anno  MDCCLIV. 
Venezia,  Angiolo  Geremia,  n.  d.     58,  [1]  p.     16^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Scolaxi  as  the  composer.  Schatz  9802 

Adrianus  in  Syrien.     Tr.  of  Hasse's  Adriano  in  Siria. 

Adrien.    Tr.  of3Ietastasio's  text  Adriano  in  Siria. 

Adrien,  opera  en  trois  actes,  repr^ente  pour  la  premiere  fois,  sur 
le  Theatre  de  la  Republique  et  des  Arts,  le  16  Prairial,  an  VIT. 

Paris,  Ballard,  An  vii  de  la  Republique,  [1799].     Ip.l.,  79  p.    26'^. 

"Paroles  du  ci  toy  en  Hoffmann.     Musique  du  citoyen  M6h.ul."     Cast. 

First  performed  June  4,  1799.  Schatz  6276 

An  adventure  at  Margate.     A.  T.  of  Arnold's  Summer  amusement. 

Adventures  of  twelve  hours.     A.  T.  of  Love  in  the  East. 

Aeneas  in  Latium.     Tr.  of  Righini's  Enea  nel  Lazio. 

Der  aepfeldieb.     A.  T.  of  Gaertner's  Ich  heisse  Theiss. 

Der  aepfeldieb.  Ein  originalsingspiel  in  einem  aufzuge.  Vom 
herrn  Bretzner.  Aufgefuehrt  auf  dem  k.  k.  Hof-Nationaltheater  von 
der  in  der  schauspielkunst  sich  uebenden  jugend.  Die  musik  dazu 
ist  neu,  vom  herrn  Jast. 

Wien,  beym  logenmeister,  1781.     ^5  p.     16'^^. 

At  end  imprint  of  Joseph,  edler  von  Kurzbeck.  Composer  F.  Jast,  also  known 
as  Jost.  Schatz  4979 

Der  aepfeldieb,  oder  Der  schatzgraeber,  Eine  operette  in  einem 
akte.  [silhouette]  Componirt  vom  herrn  Kaffka,  Schaiispieler 
beym  Churfuerstl.  Saechs.  Theater. 

W^"^.  [255\-298  p.  (C.  F.  Bretzner,  Operetten,  bd.  I,  Leipzig, 
1779.) 

The  silhouette  is  that  of  the  composer,  J.  C.  Kaffka.  Of  this  piece  Bretzner  says, 
in  his  Vorbericht: 

"Der  aepfeldieb  war  als  lustspiel  bereits  in  meinen  ersten  Beytraegen  ['Neue 
theatralische  beytraege,'  1771]  gedruckt;  hier  habe  ich  nichts  davon  als  den  plan 
beybehalten;  den  dialog  aber  gaenzlich  umgearbeitet." 

First  performed  at  Berlin,  Dobbelin'sches  Theater,  June  26,  1780. 

Schatz  11680 
Second  copy,  detached.    Schatz  4982 

Der  aerndtekranz.     Eine  komische  oper,  in  drey  aufzuegen. 

Leipzig,  in  der  Dyckischen  buchhandlung ,  1771.     214  V-     IS*^"^. 

Neither  the  author.  Christian  Felix  Weisse,  nor  the  composer,  Johann  Adam 
Hiller,  is  mentioned. 

First  performed  at  Leipzig,  Theater  am  Rannstaedter  Thore,  1771. 

Schatz  4718 

—  Der  aerntekranz.     Eine  komische  oper  in  drey  aufzuegen. 

C.  F.  Weisse,  Komische  opem,  Carlsruhe,  1778,  th.  Hi,  p.  [135]-264 
p.  18^"^. 

The  composer,  Johann  Adam  Hiller,  is  not  mentioned.  ML  49.A2W2 


42  LIBRARY  OF   CONGRESS 

Aesopus  bey  hofe,  in  einem  singspiele  auf  dem  Hamburgischen 
Schau-platze  vorgestellet  im  jahr  1729. 

[Hamburg],  Gedruckt  mit  Stromerischen  schriften,  n.  d.     Unpaged. 

Five  acts.    Argument  and  scenario.     Neither  Johann   Mattheson,   the  author, 
(reap,  translator),  nor  Georg  Philipp  Telemann,  the  composer,  is  mentioned. 
First  performed,  as  indicated,  February  28,  1729.  ,  Schatz  10255 

Aetius.     Tr.  of  Metastasio's  text  Ezio. 

Aetius.     Tr.  of  Graun's  Ezio. 

Aetius.     Tr.  of  Jommelli's  Ezio. 

Gli  aflfetti  generosi.     A.  T.  of  Metastasio's  text  L'Atenaide. 

Gli  affetti  piu  grandi,  vinti  dal  piu  giusto.  Drama  per  miisica 
nel  felicissimo  giorno  natalizio  della  S.  R.  M**  di  Giuseppe  I.  r^  de' 
Romani  .  .  .  1  anno  MDCCI.  Posto  in  musica  dal  Sig""  Giovanni 
Bononcini  .  .  .  con  I'arie  per  li  balletti  del  Sig"^  Gio.  Gioseffo  Hoffer 

Vienna  d' Austria,  Susannxi  Cristina,  vedova  di  Matteo  Cosmerovio, 
n.  d.     77  p,     l^Y"^. 

Three  acts  and  lictnza.  Dedication,  signed  and  dated  by  the  author,  Donate 
Cupeda,  Vienna,  July  26,  1701,  argument,  and  scenario.  Schatz  1199 

Aftenen.  Et  syngespil  i  een  akt.  Ved  Frederik  H0egh  Guldberg. 
Sat  i  musik  af  hr.  koncertmester  Schall. 

Ej0henlhavn,  Niels  Christensen,  1795.     78  p.     W"^. 

Dedicatory  poem  and  preface. 

Firet  performed  at  Copenhagen,  Royal  Theatre,  April  23,  1795.  Schatz  9581 

AgamemnoiL  venge.  Ballet  tragique  en  cinq  actes  par  M.  Noverre. 
Ex6cut6  sur  les  theatres  ae  Vienne  1771. 

[Vienne],  de  Ghelen,  n.  d.     42  p.     17^. 

Scene  by  scene  description  preceded  by  Noverre's  highly  interesting  "Reflexions 
justificatives,  sur  le  choix  et  rordonnance  du  sujet"  on  p.  3-13,  in  which  Noverre 
outlines  his  entire  bold  system  of  ballet  of  which  the  leading  thought  is: 

"Un  balet  n'est  pas  un  drame  .  .  .  une  production  de  ce  genre  ne  pent  se  sub- 
ordonner  aux  regies  ^troites  d'Aristote  .  .  .  c'est  toujours  en  grand  que  la  pantomime 
doit  peindre  ..." 

No  composer  mentioned.  ML  52.2.A2 

—  Agaraemnon  revenged.     A  tragic  ballet  in  five  acts. 

Noverre,  Jean  George,  Worlcs.  Tr.  from  the  French,  London,  1783, 
V.  3,  p.  [183]-262.     21^"^. 

"Remarks  in  justification  of  the  author's  choice  and  management  of  the  subject" 
and  detailed  scene  by  scene  description.  GV  1787. N8 

Agaton  und  Psiche,  ein  drama  mit  gesang,  von  Friedrich  Christian 
Schlenkert. 

Leipzig,  Paul  Gotihelf  Rummer,  1780.     86  p.     W"^. 

No  composer  or  performance  recorded  by  Schatz.  Schatz  11598 

L'age  viril  ou  L'amour  coquet.  Entree  in  Campra's  Les  ages, 
ballet. 


OPERA   LIBRETTOS  43 

les  ages,  ballet,  represente  par  I'Academie  royale  de  musique,  I'an 
1718.  Paroles  de  M.  Fusiber.  Musique  de  M.  Campra.  XCV. 
opera. 

n.  i.,  n.  d.  pL,  317-376  p.  l^"^-  {Recueil  general  des  opera. 
Paris,  1734,  t.  xii,  no.  6.) 

Detached  copy.  Prologue  and  three  entrees  called  "La  jeunesse  ou  L'ambur 
ingenu,"  "L'age  viril  ou  L'amour  coquet,"  "La  vieillesse  ou  L'amour  enjou^."  In 
his  Avertissement  the  author  says: 

"Je  n'ai  pretendu  donner  qu  un  tissu  de  maximes  enjouees,  liees  par  une  intrigue 
legere,  qui  piit  occasionner  des  airs  gracieux  &  des  danses  variees.  C'est  ce  me 
eemble,  ce  qui  doit  constituer  le  fonds  d'un  ballet." 

First  performed,  as  indicated,  October  9,  1718.  Schatz  1540 

Second  copy.    ML  48.R4 

Agesilao.     Dramma  per  musica  da  rappresentarsi  Del  nobilissimo 
Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno  1788. 
Venezia,  ModeMo  Fenzo,  17S7.     64  p.     ;7«™. 

Three  acts.  Cast,  argument,  scenario,  and  name  of  Gaetano  Andreozzi  as  com- 
poser but  not  of  librettist,  who  is  unknown  to  Schatz.  On  p.  47-64  the  argomento 
and  detailed  description  of  "  Sardanopalo,  r^  degli  Assirj  ballo  eroico  tragico,  tratto 
dair  Istoria  del  regno  assiro,  d'invenzione,  e  composizione  di  Monsieur  Domenico 
Ballon."     The  composer  of  the  music  is  not  mentioned.  Schatz  221 

—  L' Agesilao.  Dranuna  per  masica  da  rappresentarsi  nel  maffni- 
fico  Teatro  dell'  Accademia  Filarmonica  di  Verona  il  came  vale  dell' 
anno  1792. 

Verona,  Dionigi  Ramanzini,  n.  d.     37  p.     17^'^^'. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedica- 
tion, argimient,  cast,  scenario  and  name  of  Andreozzi  as  composer.     ML  50.2.A38A5 

Agesilao.     O.  T.  of  Francesco  Ballani's  text  Lisandro.  - 

Agide  re  di  Sparta.  Dramma  per  musica  di  Luisa  Ber^alli  da  rap- 
presentarsi nel  Teatro  Giustiniano  di  San  Moise  I'anno  MDCCXXV 

Venezia,  Marino  Rossetti,  n.  d.    front.,  57  p.     IS*^^. 
Three  acts.    Argument,  cast,  scenario,  name  of  Giovanni  Porta  as  the  composer, 
and  author's  dedfcation,  in  which  she  calls  this  "mio  debole  primo  componimento." 

Schatz  8387 

Aglae   eller   St0tten.     Comedie  i  een  act   af   lir.   de  Sivry  .  .  . 
oversat  af  det  franske  og  for0get  med  arier  hvortil  musiquen  er  sat 
af  hr.  Sarti. 
n.  i.,  n.  d.    50  p.     15^'^. 

By  Claus  Fasting  and  A.  G.  Carstens,  who  are  not  mentioned. 

First  performed  at  Copenhagen,  Hoftheater,  February  16,  1774.         Schatz  9423 

Songs,  chorusses,  etc.,  in  the  new  musical  farce  called  the  Agreeable 
surprise,  as  it  is  performed  at  the  Theatre  Royal  in  the  Hay- 
Market. 

London,  T.  Cadell,  1781.     24  p.     20'='^. 

Two  acts.  By  John  O'Keefe,  who  is  not  mentioned.  The  overture  and  all  the 
airs  in  the  libretto  are  indicated  as  by  Samuel  Arnold,  except  airs  IV,  VI,  XI,  XII, 
XIII,  for  which  popular  tunes  (mostly  Irish)  were  used.  According  to  Biog.  Dr.  the 
opera  was  originally  produced  at  Dublin  as  "The  secret  enlarged,  in  1776,  but  Law- 
rence foimd  no  trace  of  this." 

First  performed  at  London,  Haymarket,  September  3,  1781.  ML  50.2.A4A7 


44  UBRARY  OF   CONGRESS 

Agreeable  surprise — Continued. 

—  Songs,  chorusses  etc.  in  the  new  musical  farce  called  the  Agree- 
able surprise.  As  it  is  performed  at  the  Theatre  Royal  in  the 
Hay-Market.     Fourth  edition. 

London,  T.  Cadell,  1782.     24  p.     21^^. 

Two  acts.  Cast.  The  author,  John  O'Keefe,  is  not  mentioned.  The  overture 
and  moet  of  the  songs  are  headed  as  composed  by  Arnold.  Longe  91 

—  The  agreeable  surprise.  A  comic  opera,  in  two  acts.  By  Mr. 
O'Keefe.     The  music  composed  by  Dr.  Arnold. 

Dublin,  W.Wilson,  1786.     48  p.     17  h'"^. 

Cast.  Longe  149 

—  The  agreeable  surprise.     A  comic  opera. 

{117]-14S  p.  16'='".  (A  volume  of  plays  Dublin,  Printed  for  the 
booJcseUers,  1791.) 

Without  name  of  author  or  composer.  PR  1269. V6 

Agrippina.     Drama  per  musica.     Da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  I'anno  MDCCIX. 
Venezia,  Marino  Rossetti,  1709. 

Three  acts.  Argument,  cast,  scenario.  Neither  the  author,  Vincenzo  Grimani,  nor 
Georg  Friedrich  HSndel,  the  composer,  is  mentioned. 

First  performed,  as  indicated,  December  26,  1709.  Schatz  4471 

—  Agrippina.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
d'Hamburgo  I'anno  1718. — Agrippina  in  einer  opera  vorgestellet  .  .  . 

Hamburg,  Caspar  Jakhel,  n.  d.      Unpaged.     181'="*. 

Three  acts.  German  text  faces  Italian.  Neither  Grimani  nor  Handel  is  men- 
tioned. The  Italian  text  follows  the  original  closely,  though  with  some  differences. 
For  instance,  I,  3  "A  cenni  tuoi  sovrani"  has  become  "Ah  Pallante,  Pallante,"  and 
I,  4  "Or  che  Pallante  6  vinto"  has  become  "Di  occulto  arcano."  Schatz  4472 

L' Agrippina,  moglie  di  Tiberio.  Dramma  per  musica  di  Guido 
Riviera  Piacentino  da  rappresentarsi  nel  Regio-Ducal  Teatro  di 
Milano  nel  carnov^le  deU'  anno  1743  .  .  . 

• 

Milano,  Giuseppe  Richino  Malatesta,  1743.     6  p.  I.,  70  p.     15<=^. 

Three  acts.  Dedication,  argument,  scenario,  cast,  and  name  of  Giovanni  Battista 
San  Martino  (Sammaxtini)  as  composer.  It  is  said  on  5th  p.  1.  that  the  character  of 
Emilio  was  added  for  these  performances. 

First  performed  in  January,  1743,  as  indicated.  ML  48.A5     v. 18 

Ahtor  ed  Erma,  ballet.     See  G.  Nicolini's  Artaserse. 

Ahtor  ed  Erma,  ballet.     See  Prota's  I  studenti. 

Aigle.     See  Lagarde's  Egl^. 

L'Ajace.     Dramma  per  musica  del  Signor  A.  D.  Averara  [!]. 

Napoli,  Dom.  Ant.  Parrino  e  Michele  Luigi  Mutio,  1697.  76  p. 
ISY'"^. 

Three  acts.  Dedication  by  Nicola  Serino  as  impresario,  argument,  cast,  scenario, 
and  notice  to  the  reader: 

"Eccoti  un  drama,  ch'  havendo  alcuni  anni  sono  riportato  nel  Teatro  di  Milano  un 
sommo  applauso,  &  in  quello  delli  Signori  Capranica  in  Roma  [1697]  estremo  gradi- 
mento,  uscendo  per  la  terza  volta,  alia  luce  in  questa  fedelissima  citt^  di  Napoli  aspira 
al  tuo  gradimento  .  .  .     Hora  ti  si  aggiunge,  che  secondo  la  prima  impressione,  il 


OPERA   LIBRETTOS  45 

L'Ajace — Continued. 

riconoscimento,  che  Idraspe  sia  figlio  del  rb,  e  fratello  di  Ajace  ei  faceva  per  mezzo  di 
Zelta  vecchia  nutrice  di  corte,  ed  essendosi  dovuta  sostituire  una  damigella  giovanetta 
k  convenuto  per  salvar  parte  dell'  impropriety  supporre,  che  questa  sia  figlia  della 
medesima  nutrice  informata  di  tutto.  L'opera  troverai  mutata  quasi  in  tutte  I'ariette 
con  I'aggiunta  di  alcune  scene  ridicole,  e  ci5  si  e  fatto  per  piu  compiacerti  ..." 

Schatz  records  as  composers  Carlo  Ambrogio  Lonati  and  Paolo  Magni.  He  also 
records,  in  accordance  with  the  title  page,  A.  D.  Averara  as  author,  but  the  title  page 
of  the  Rome,  1697  ed.  (Brussels  Conservatory)  haa  "signer  A.  d'Averara,"  which 
Wotquenne  reads  to  mean  "I'abbe  Pietro  d'Averara,"  who  is  of  some  note  as  librettist, 
whereas  an  A.  D. 'Averara  haa  not  otherwise  come  to  my  notice.  Probably  Wot- 
quenne's  conjecture  is  correct. 

First  performed  at  Milan,  Teatro  al  Ducale  Palazzo,  1694.  Schatz  5682 

Ajace  e  Cassandra,  ballet.     See  Borghi's  Ricimero. 

Ajax,  tragedie,  representee  pour  la  premiere  fois  par  I'Acad^mie 
royale  de  musique,  le  lundi  20.  avril  1716.  Les  paroles  de  M.  Men- 
nesson  &  la  musique  de  M.  Bert  in.     LXXXIX  opera. 

n.  i. ,  n.  d.  pi.,  [419]-472,  [4]  p.  Z-^*"".  (Recueil  general  des  opera,  t. 
xi,  Paris,  1720.) 

Detached  copy.     Prologue  and  five  acts.  Schatz  878 

Second  copy.    ML  48. R4 

—  Ajax,  tragedie  representee  pour  la  premiere  fois,  par  L'Academie 
royale  de  musique,  de  Lyon  en  I'annee  1742. 
Lyon,  Aime  Belaroche,  1742.     67  p.     23'^'^. 

Five  acts.  Cast.  Neither  the  author,  Mennesson,  is  mentioned,  nor  the  com- 
poser, T.  Bertin  de  la  Dou6.  Schatz  11668 

Al  fatto  ci  vuol  pazienza.  Intermezzi  per  musica  a  quattro  voci 
da  rappresentarsi  nell'  antico  Teatro  di  Tordinona,  nel  carnevale  dell' 
anno  1753  .  .  . 

Roma,  Giuseppe  Agazzi,  1753.     22  p.     IS'^. 

Two  parts.  Publisher's  dedication  and  cast.  The  characters  are  PoUmante, 
Dorilla,  Fumantino,  and  ScruUetta.  Neither  author  nor  composer  mentioned  and 
both  unknown  to  me.  ML  50.2.A42 

Alarbas.     A  dramatick  opera.     Written  by  a  gentleman  of  qual- 
ity  .  .  . 
London,  Printed  by  M.  J.  for  J.  Morphew,  1709.     3  p.  I.,  51,  [1]  p. 

21^"^. 

Three  acts  with  prologue  and  epilogue.  In  his  preface  the  unknown  author  says: 
"...  The  poem  being  some  time  since  drawn  according  to  the  model  of  our 
English  dramatick  opera's,  any  person  that  is  the  least  acquainted  with  the  late 
performances,  will  easily  account  lor  its  appearing  in  this  manner  before  it  had  pass'd 
the  stage,  if  they  will  be  pleas'd  to  observe,  that  the  nature  of  the  play  will  not 
admit  of  its  representation  in  either  house.  The  opera-theatre  being  wholly  taken 
up  with  Italian  airs,  and  the  other  totally  excluding  the  musical  part."     Longe  132 

L'Alarico.  Drama  per  musica  da  rappresentarsi  nel  Teatro  For- 
magliari  Testate  dell'  anno  1716  .  .  . 

Bologna,  Giampietro  Barhiroli,  n.  d.     59  p.     13'^'^. 

Three  acts.  Dedication  signed  by  Francesco  Antonio  Novi  and  dated  Boloena, 
June  5,  1716,  argument,  scenario,  cast,  and  notice  to  the  reader.  Neither  the  auuior, 
Borso  Buonacossa,  is  mentioned,  nor  the  composer,  Giov.  Battista  Bassani. 

First  performed,  as  indicated,  June  7,  1716;  at  Ferrara,  Teatro  del  conte  Pinamonte 
Buonacossi  in  1685.  Schatz  633 


46  LIBBARY   OF   CONGRESS 

Alarico  il  Baltha,  cioe  I'Audace,  re  de  Gothi.  Drama  per  musica 
comandato  dalF  Altezza  Serenissima  di  Massimiliano  Emanuele  duca 
deir  una  e  I'altra  Baviera  .  .  .  per  celebrare  il  di  natal.zio  dell' 
Augustissima  consorte  .  .  .  Maria  Antonia  .  .  .  Tanno  1687.  Com- 
posto  da  Luigi  Orlandi  .  .  .  e  posto  in  musica  dal  S.  Agostino  StefTani 
.  .  .  con  I'arie  per  i  balletti  del  S.  Melchior  d'Ardespin  maestro  di 
concerti  e  ajutante  di  camera  di  S.  A.  E. 

Monaco,  Giovanni  JecTclino,  n.  d.     4  V-  ^-y  ^4  V-     i^Y"^- 
Three  acts.    Author's  dedication  dated  Munich,  January  H,   1687,  argument, 
scenario,  and  names  of  the  "cavalieri "  who  danced  Francisco  Rodier's  three  incidental 
ballets  on  this  occasion,  January  18,  1687,  at  the  Hoftheater.  Schatz  10036 

Alba   Cornelia,    musicalische   opera,   welche   auf   dem   Teatro   zu 
Bresslau  anno  1726  in  der  fastnacht  vorgestellet  .  .  .  wie  auch  .  .  . 
zu  den  heurigen  fuersten-tag  dediciret  wu-d  .  .  . 
n.  i.,  n.  d.      Unpaged.     18'^'". 

Three  acts.  By  Pietro  Pariati.  Impresario's  dedication,  argument,  scenario,  and 
names  of  the  author  and  the  composer,  Francesco  Bartolomeo  Conti.  German  text 
faces  Italian,  which  Schatz  attributes  to  Silvio  Stampiglia! 

According  to  Schatz  the  opera  was  first  performed  at  Milan,  Regio  Ducal  Teatro, 
carnival  1704  and  at  Vienna,  February,  1714.  Schatz  2203 

L'Albagia  in  fumo,  ballet.     See  Tarchi's  La  congiura  Pisoniana. 

L'alberga trice  vivace.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  in  Parma  nel  R.  D.  Teatro  di  Corte  il  carnevale  dell'  anno 
MDCCLXXXI  ... 

Parma,  Filippo  Carmignani,  n.  d.     3  p.  I.,  62  p.     17^™. 

Two  agts.  Author  unknown  to  Schatz.  Impresario's  dedication,  cast,  and  name 
of  the  composer,  Luigi  Caruso. 

First  performed  at  Venice,  Teatro  di  S.  Samuele,  carnival  1780.        Schatz  1655 

L'Albergia  smascherata  o  sia  II  cittadino  rinnobilito.  Dramma 
giocoso  per  musica  da  rappresentarsi  ne'  Teatri  privilegiati  di  Vienna 
nel  camovale  dell'  anno  1767. 

Vienna,  Ghelen,  n.  d.     95  p.     17'^'^. 

Three  acts.  Author  not  mentioned  and  imknown  to  Schatz.  Prefatory  poem  by 
the  publisher,  cast,  and  name  of  Giuseppe  Pasqua  (Pa^que)  as  the  composer. 

First  performed,  as  indicated,  February  23,  1767.  Schatz  7782 

Albert  der  Dritte  von  Bayern.     Im  originale.     Ein  singspiel  in 
fuenf  aufzuegen.     Mit  musik  von  Georg  Vogler  .  .  . 
n.i.,1781.     88  p,     16'^. 

"Vorerinnerung"  signed  "Th.  T***r."     (Karl  Theodor  von  Traiteur). 
First  performed  at  Stuttgart,  National  schaubiihne  im  kleinem  theater,  Decem- 
ber, 1781.  Schatz  10791 

Albion  and  Albanius :  an  opera.     Perform'd  at  the  Queens  theatre, 
in  Dorset  Garden.     Written  by  Mr.  Dryden  .  .  . 
London,  J.  Tonson,  1685.     6  p.  I.,  30  p.     28'^'^. 

Three  acts.  Prologue,  Epilogue,  description  of  "the  frontispiece,"  and  Dryden's 
extraordinary,  esthetical,  historical,  polemical  preface,  with  postscript.  The  opera 
was  first  performed  at  the  Theatre  Royal,  in  Dorset  Garden,  June  6,  1685  (Grove). 
As  specimens  of  Dryden's  opinions,  may  be  quoted  from  the  prefac?: 
"...  An  opera  is  a  poetical  tale,  or  fiction,  represented  by  vocal  and  instrumental 
mus'ick,  adorn  d  with  scenes,  machines,  and  dancing.  The  suppos'd  persons  of  this 
musical  drama,  are  generally  supernatural,  as  Gods  and  Goddesses,  and  Heroes,  which 
at  least  are  descended  from  them,  and  are  in  due  time,  to  be  adopted  into  their  number. 


OPERA  LIBRETTOS  47 

Albion  and  Albanius — Continued. 

The  subject  therefore  being  extended  beyond  the  limits  of  humane  nature,  admits 
of  that  sort  of  marvellous  and  surprizing  conduct,  which  is  rejected  in  other  plays. 
Humane  impossibilities  are  to  be  receiv'd,  as  they  are  in  Faith;  because  where  Gods 
are  introduc'd,  a  Supreme  Power  is  to  be  understood,  and  second  Causes  are  out  of 
doors:  Yet  propriety  is  to  be  observ'd  even  here  .  .  . 

"The  recitative  part  of  the  Opera  requires  a  more  masculine  beauty  of  expression 
and  sound :  the  other,  which  (for  want  of  a  proper  English  word)  I  must  call  the  Songish 
Part,  must  abound  in  the  softness  and  variety  of  numbsrs;  its  principal  intention, 
being  to  please  the  hearing,  rather  than  to  gratifie  the  understanding  ...  I  have 
probable  reasons,  which  induce  me  to  believe,  that  some  Italians  having  curiously 
observ'd  the  gallantries  of  the  Spanish  Moors  at  the  Zambra's,  or  royal  feasts,  where 
musick,  songs  and  dancing  were  in  perfection;  together  with  their  machines  .  .  . 
may  possibly  have  refin'd  upon  those  Moresque  divertisements,  and  produc'd  this 
delightful  entertainment,  by  leaving  out  the  warlike  part  of  the  carousels,  and  forming 
a  poetical  design  for  the  use  of  the  machines,  the  songs,  and  dances  .  .  , 

"...  The  Italian  .  .  .  seems  indeed  to  have  been  invented  for  the  sake  of  poetry 
and  musick  .  .  .  their  very  speaking  has  more  of  musick  in  it  than  Dutch  poetry  and 
song  .  .  .  the  French,  who  now  cast  a  longing  eye  to  their  country,  are  not  less  ambi- 
tious to  possess  their  elegance  in  poetry  and  musick;  in  both  of  which  they  labour  at 
impossibilities  .  .  .  The  English  has  yet  more  natural  disadvantages  than  the  French ; 
our  original  Teutonick  consisting  most  in  monosyllables,  and  those  incumbred  with 
consonants,  cannot  possibly  be  freed  from  those  inconveniences.  The  rest  of  our 
words,  which  are  deriv'd  from  the  Latin  chiefly,  and  the  French,  with  some  small 
sprinklings  of  Greek,  Italian  and  Spanish,  are  some  relief  in  poetry  and  help  us  to 
soften  our  uncouth  numbers ;«»which  together  with  our  English  genius,  incomparably 
beyond  the  trifling  of  the  French,  in  all  the  nobler  parts  of  verse,  will  justly  give  us 
the  preheminence.  But,  on  the  other  hand,  the  effeminacy  of  our  pronunciation,  (a 
defect  common  to  us,  and  to  the  Danes,)  and  our  scarcity  of  female  rhimes,  have  left 
the  advantage  of  musical  composition  for  songs,  though  not  for  recitative,  to  our 
neighbours. 

"Through,  these  difficulties,  I  have  made  a  shift  to  struggle,  in  my  part  of  the  per- 
formance of  this  opera;  which,  as  mean  as  it  is,  deserves  ai  least  a  pardon,  because  it 
has  attempted  a  discovery  beyond  any  former  undertaker  of  our  nation  .  .  .  Yet  I 
have  no  great  reason  to  despair;  for  I  may  with  out  vanity,  own  some  advantages, 
which  are  not  common  to  every  writer;  such  as  are  the  knowledge  of  the  Italian  and 
French  language,  and  the  being  conversant  with  some  of  their  best  performances  in 
this  kind;  which  have  fumish'd  me  with  such  variety  of  measures,  as  have  given  the 
composer  Monsieur  [Louis]  Grabut  what  occasions  he  cou'd  wish,  to  shew  his  extraor- 
dinary talent  .  .  .  And  let  me  have  the  liberty  to  add  one  thing;  that  he  has  so 
exactly  express'd  my  sense,  in  all  places,  where  I  intended  to  move  the  passions,  that 
he  seems  to  have  enter'd  into  my  thoughts,  and  to  have  been  the  poet  as  well  as  the 
composer.  This  I  say,  not  to  flatter  him,  but  to  do  him  right;  because  amongst  some 
English  musicians  and  their  scholars,  (who  are  sure  to  judge  after  them)  the  imputa- 
tion of  being  a  Frenchman,  is  enough  to  make  a  party,  .who  maliciously  endeavour  to 
decry  him.  But  the  knowledge  of  Latin  and  Italian  poets,  both  which  he  possesses, 
besides  his  skill  in  musick,  and  his  being  acquainted  with  all  the  performances  of  the 
French  opera's,  adding  to  these  the  good  sense  to  which  he  is  born,  having  rais'd  him 
to  a  degree  above  any  man,  who  shall  pretend  to  be  his  rival  on  our  stage.  WTien  any 
of  our  Country-men  excel!  him,  I  shall  be  glad,  for  the  sake  of  old  England,  to  be 
shewn  my  errour;  in  the  mean  time,  let  vertue  be  commended,  though  in  the  person 
of  a  stranger  .  .  . 

"The  same  reasons  which  depress  thought  in  an  opera,  have  a  stronger  effect  upon 
the  words;  especially  in  our  language:  for  there  is  no  maintaining  the  purity  of 
English  in  short  measures,  where  the  rhime  returns  so  quick,  and  is  so  often  female,  or 
double  rhime,  which  is  not  natural  to  our  tongue,  because  it  consists  too  much  of 
monosyllables,  and  those  too,  most  commonly  clogg'd  with  consonants;  for  which 
reason  I  am  often  forc'd  to  coin  new  words,  revive  some  that  are  antiquated,  and 
botch  others;  as  if  I  had  not  serv'd  out  my  time  in  poetry,  but  was  bound  'prentice 
to  some  dowgrel  rhimer,  who  makes  songs  to  tunes,  and  sings  them  for  a  livelihood. 
'Tis  true,  I  have  not  been  often  put  to  this  drudgery;  but  where  I  have,  the  words  will 
sufficiently  shew,  that  I  was  then  a  slave  to  the  composition,  which  I  will  never  be 
again:  'Tis  my  part  to  invent,  and  the  musician's  to  humour  that  invention.  I  may 
be  counseli'd,  and  will  always  follow  my  friend's  advice,  where  I  find  it  reasonable; 
but  will  never  part  wnth  the  power  of  the  militia  .  .  . 

"It  [this  opera]  was  originally  intended  only  for  a  prologue  to  a  play,  of  the  nature 
of  the  Tempest;   which  is  a  tragedy  jnix'd  with  opera;  or  a  drama  written  in  blank 


48  LIBRARY  OF  CONGRESS 

Albion  and  Albanius — Continued. 

verse  adom'd  with  scenes,  machines,  songs  and  dances:  so  that  the  fable  of  it  is  all 
spoken  and  acted  by  the  best  of  the  comedians;  the  other  part  of  the  entertainment 
to  be  penorm'd  by  the  same  singers  and  dancers  who  are  introduc'd  in  this  present 
overa  .  .  .  But  some  intervening  accidents  having  hitherto  deferr'd  the  performance 
or  the  main  design,  I  propos'd  to  the  actors,  to  turn  the  intended  prologue  into  an 
entertainment  by  itself,  as  you  now  see  it,  by  adding  two  acts  more  to  what  I  had 
already  written.  The  subject  of  it  is  wholly  allegorical  .  .  .  The  descriptions  of 
the  scenes  and  other  decorations  of  the  stage,  I  had  from  Mr.  Betterton,  who  has  spar'd 
neither  for  industry,  nor  cost,  to  make  this  entertainment  perfect,  nor  for  invention 
of  the  ornaments  to  beautifie  it  .  .  ." 

In  the  "Post-Script"  Dryden  says  that  though  the  whole  preface  was  written 
before  the  death  of  Cliarles  II.,  he  found  himself  so  satisfied  with  it  even  after  the 
King's  death,  that  he  saw  no  reason  for  alterations  except  "for  the  addition  of  twenty 
or  thirty  lines  in  the  Apotheosis  of  Albion"  to  "save"  the  piece  "from  a  botch'd 
ending."  He  also  says  that  by  the  late  King's  command  the  opera,  especially  the 
first  and  third  acts  of  it,  had  been  "practis'd  before  him"  to  his  entire  satisfaction 
with  opera.     He  died  just  before  the  first  performance.  ML  50.2.A43 

—  Albion   and   Albanius :  an   opera.     Perform'd   at   the   Queens 
Theatre  in  Dorset-Garden.     Written  by  Mr.  Dryden  ... 
London,  Jacob  Tonson,  1691.    .7  p.  l,  34  p.     21'='". 

P.  32-33  incorrectly  numbered  24-25. 

Three  acts.     Text  and  contents  as  in  the  1685  edition.  Schatz  4060 

Albion  restored,  or  Time  turned  ocuUst:  a  masque. 
London,  J.  Seymour,  1758.     22  p.     20^"^. 

One  act.  Dedicated  "To  the  Grand  President  ...  of  the  Laudable  Order  of 
Anti-Gallicans  ...  by  the  author,  a  true  Anti-Gallican."  No  further  data  in 
Clarence's  "The  Stage,"  except  that  the  masque  was  produced  in  1757.  "Not  acted 
and  probably  never  set  t<?  music  "  (Squire).  ML52.2.A3 

L'Alboino  in  Italia.     Drama  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimano  di  SS.  Gio.  e  Paolo  I'anno  1691  .  .  . 
Venetia,  Nicolini,  1691.     57  p.     i^'™. 

Three  acts.  Dedication  signed  with  the  initials  of  Giulio  Cesare  Corradi,  argu- 
ment, scenario,  and  notice  to  the  reader,  speaking  of  this  as:  "due  miracoli  di  musica, 
{)rodotti  da  due  gran  maestri,  e  publicati  da  sette  voci  canore  tutte  ammirabili  nel 
oro  essere."  These  two  composers  were  Giuseppe  Felice  Tosi  and  Carlo  Francesco 
PoUaroU.  Schatz  10382 

Albumazar.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramini  a  S.  Salvatore  la  prima  vera  dell   anno  MDCCXXVII. 
Venezia,  Marino  Rossetti,  1727.     48  p.     14^"^- 

Three  acts.     By  the  composer,  Giuseppe  Maria  Bulni  (Schatz).     Argument. 
First  performed  at  Bologna,  Teatro  Formagliari,  carnival  1727.  Schatz  1387 

L'Alcate.  Drama  di  Marc'  Antonio  Tirabosco.  Rappresentato  in 
musica  nel  Teatro  novissimo  di  Venetia  I'anno  1642  .  .  . 

Venetia,  Gio.  Battista  Suriano,  I642.     96  p.     14""^. 

Prologue  and  three  acts.  Author's  dedication  dated  Venice,  February  13,  1642, 
with  name  of  Francesco  Manelli  as  composer,  his  notice  to  the  reader  and  argument. 

Schatz  5890 

L'Alcatrasso  geloso.  Drama  per  musica  di  D.  Carlo  Antonio  Mar- 
chesini  Mantovano  .  .  . 

Vicenza,  Giacomo  Amadio,  1672.     72  p.     14'='^. 

Three  acts.  Impresario's  dedication,  notice  to  the  reader,  scenario,  and  argument. 
The  composer,  Alessandro  Spinazzaxi,  is  not  mentioned. 

First  performed  at  Vicenza,  Teatro  di  Piazza,  1672.  Schatz  9975 


OPERA   LIBRETTOS  49 

Alceste.     Tragedia  per  musioa. 

Vienna,  Ghelen,  1767.     54  p.     7  <?'="'. 

Three  acts.  By  Ranieri  de  'Calsabigi,  who  signed  the  dedication.  Argument 
and  scenario,  but  no  cast,  and  Gluck,  the  composer,  is  not  mentioned. 

First  performed  at  Vienna,  December  26,  1767.  (Wotquenne  incorrectly  sub- 
stitutes December  16  in  his  Thematic  catalogue  without  giving  his  reasons.) 

ScHATZ  3885 

—  Alceste.  Tragedia  per  musica  da  rappresentarsi  in  Bologna  nel 
Nuovo  Pubblico  .Teatro  nella  pJmavera  dell'  anno  MDCCLXXVIII. 

Bologna,  Sassi,  n.  d.     60,  [2]  p.     19^"^. 

Three  acts.  Argument,  cast,  and  names  of  Calsabigi  as  author,  of  Gluck  ("Sig. 
cavaliere  Gluk  fra  gli  Arcadi  Armonide  Terpsicoreo")  as  composer. 

First  performed,  as  indicated.  May  9,  1778.  ML48.A5  v.  29 

—  Alceste,  tragedie-opera,  en  trois  actes,  representee  pour  la  pre- 
miere fois  par  rAcademie-royale  de  musique,  le  mardi  16  avril  1776. 
Et  rimise  au  theatre  le  vendredi  22  octobre  1779. 

Paris,  aux  depens  de  V Academie.  de  Vimprimerie  de  P.  de  Lormel, 
1779.     52  p.     24^^"^. 

Three  acts.  Cast.  By  Du  RouUet,  who  in  the  unsigned  Avertissement  comments 
on  the  liberties  which  he  took  with  Calsabigi's  text.  Gluck  is  mentioned  as  the 
composer. 

Originally  performed  at  Paris,  Academie  royale  de  musique,  April  23,  1776  (de- 
ferred from  April  16,  the  date  of  the  original  libretto),  and  not  on  April  30,  as  the 
printed  score  has  it.     (Comp.  Wotquenne.)  Schatz  3888 

—  Alceste,  tragedie-op^ra  en  trois  actes;  representee  devant  Leurs 
Majestes,  a  Fontainebleau,  le  13  octobre  1785,  et  remise  a  Paris,  sur 
le  Theatre  de  I'Academie  royale  de  musique,  le  vendredi  24  fevrier 
1786. 

Paris,  P.  de  Lormel,  1786.     47  p.     24^"^. 

Three  acts.  By  Du  Roullet,  who  is  not  mentioned.  Cast  and  name  of  Gluck  as 
the  composer.  Schatz  3940 

Second  copy.    ML48.M2B 

—  Alceste.  Eine  ernsthafte  oper  in  drey  akten  von  Schmieder.  Die 
musik  ist  von  Ritter  Gluck. 

n.  i.,  1792.     48  p.     13^^. 

First  performed  at  Mayence,  National  theater,  April  9,  1791.  Schatz  3889 

—  La  bonne  femme,  ou  Le  Phenix,  parodie  d'Alceste,  en  deux 
actes,  en  vers,  mdles  de  vaudevilles  et  de  danses;  representee  pour 
la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  Roi,  le 
dimanche  7  juillet  1776. 

Paris,  Chardon,  1776.     47  p.     19'"^. 

Neither  author  nor  composer  recorded  by  Schatz.  Schatz  11484 

Alceste.  Dranmia  tragico  da  rappresentarsi  nel  Regio-Ducal  Teatro 
di  Milano  nel  carnovale  dell'  anno  1769  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1768.     6  p.  I.,  46,  [1]  p.     14h'^' 
Three  acts.     By  Ranieri  de'  Calsabigi,  who  is  not  mentioned.     Dedication,  argu- 
ment, cast,  scenario,  and  name  of  Pietro  Guelielmi  as  the  composer.     Pasted  on  the 
p.  following  the  (unnumb.)  p.  46  the  aria  "  V^go  la  sposa,  oh  Die"  as  substitute  for 
So,  che  morir  dovrei,"  III,  2. 
First  performed,  as  indicated,  December  26,  1768.  Schatz  4233 

72251°— VOL  1—14 4 


50  LIBRARY   OF  CONGRESS 

Alceste.  Tragedia  per  musica  del  Signer  Antonio  Simon  Sografi 
A.  V.  Poeta  del  nobilissimo  Teatro  La  Fenice.  Composta  per  il 
teatro  stesso  pel  carnovale  1799. 

Venezia,  Stamperia  Valvasense,  n.  d.     64  p-     17*^^. 

Three  acts.  Cast,  scenario,  and  name  of  Marcos  Portugal  as  the  composer  ("La 
musica  tutta  nuova").  On  p.  63  a  substitute  scene  for  III,  1.  On  p.  [53J-62  Argu- 
ment, cast,  description,  and  name  of  Luigi  Gianella  as  composer  of  la  musica  tutta 
nuova"  of  Onorato  Viganb's  "La  morte  di  Geta,  ballo  eroico  tragico  pantomime"  in 
five  acts. 

First  performed,  as  indicated,  December  26,  1798.  .  Schatz  8396 

Alceste.     Ein  singspiel  in  fuenf  aufzuegen. 

n.  L,  1773.     48  p.     18^"^. 

Cast.  Neither  Wieland,  the  author,  is  mentioned  nor  Anton  Schweitzer,  the 
composer. 

First  performed  at  Weimar,  Kleines  Schlosstheater,  May  28,  1773.    Schatz  9768 

—  Alceste.  Ein  singspiel  in  fiinf  aufzuegen.  In  musik  gesetzt  von 
dem  kapellmeister  Anton  Schweitzer,  und  in  den  jahren  1773  und  74 
auf  dem  damahligen  Weimarischen  Hoftheater  aufgefiihrt. 

n.  i.     58  p.     26^"^.     (Wielands  Sdmmtl.  werJce,  xxvi.  bd.) 

Before  1800?  Schatz  9768a 

Alceste  ou  Le  triomphe  d'Alcide,  tragedie.     Representee  devant  Sa 
Majeste  k  Fontainebleau.     Suivant  la  copie  imprimee  h,  Paris. 
[Amsterdam,  Antoine  Schelte],  1688.     68  p.  {incl.  front.)     13Y^. 

Prologue  and  five  acts.  Cast  and  dedicatory  poem  to  the  king.  Neither  author 
nor  composer  mentioned.  ML  50.2.A49L9 

—  Alceste,  ou  Le  triomphe  d'Alcide,  tragedie  representee  par 
FAcademie  royale  de  musique  Fan  1674.  Les  paroles  sont  de  M. 
Quinault  e  la  musique  de  M.  de  LuUy.     V.  opera. 

n.  i.,  n.  d.  14'^^-  front.,  205-272  p.  {Recueil  general  des  opera, 
t  i,  Paris,  1703.) 

Detached  copy.     Dedicatory  poem,  prologue,  and  five  acts. 
First  performed,  as  indicated,  January  19,  1674.  Schatz  5758 

Second  copy.    ML  48. R4 

—  Alceste,  ou  Le  triomphe  d'Alcide,  tragedie.  Representee  par 
FAcademie  royale  de  musique,  en  1674. 

Quinault,  Theatre,  t.  iv,  Paris,  1739.     pi,  p.  [143]-189.     17'^'^. 
Prologue  and  five  acts.     Liilly  is  not  mentioned.  PQ1881.A1739 

—  Alceste,  parodie.  Par  les  Srs.  Dominique  &  Romagnesi  .  .  . 
Representee  pour  la  premiere  fois,  par  les  Com^diens  italiens  ordi- 
naires  du  roi,  le  28  juin  1728. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  iv,  [121]-182  p.     16^<=^. 

One  act.  The  airs  and  vaudeville  used  are  printed  at  end  of  the  volume  in  the 
"Table  des  aire"  (92  p.).  ML  48.P3 

—  La  noce  interrompue,  parodie  d'Alceste,  representee  pour  la 
premiere  fois;  par  les  Comediens  italiens,  ordinaires  du  roi,  le  jeudi 
26  Janvier  1758. 

Paris,  la  veuve  Delonnel  &  flls,  1 758.  2  p.  I.,  64  p.  19^"^.  ( Theatre 
de  M.  Favart,  Paris,  Duchesne,  1763-77,  t.  iv.) 

Three  acta.  Cast.  No  music  printed  in  the  text!  Composer,  resp.  arranger,  not 
knowB  to  Font.  ML  49.A2F1 


OPERA   LIBRETTOS  51 

Alceste;  or,  The  triumph  of  conjugal  love.     A  tragic  ballet. 

Noverre,  Jean  George,  ^Yorks.  Tr.  from  the  French,  London,  1783, 
V.  3,  p.  [301]-330.     21 Y"^' 

Detailed  description  of  the  nine  scenes.  GV  1787. N8 

Alceste  e  Admeto,  ballet.     See  Monza's  Cleopatra. 

Alceste  ed  Admeto.  A.  T.  of  the  baUet  La  discesa  d'  Ercole  all' 
inferno. 

Alcesti,   o  sia  L'amor  sincero.     Tragedia  musicale,   nelle  seconde 
nozze  deUa  Reale  Altezza  di  Savoia.     L'anno  1665. 
Torino,  Bartolomeo  Zavatta,  1665.     76,  [1]  p.     17Y^\ 
Prologue  anfl  five  acts.     Argument.     Not  recorded  by  Schatz.  ML  50.2.A5 

Der  alchymist.  See  Meissner's  text  Der  liebesteufel  oder  Der 
alchymist. 

L'Alciade  overo  L?  violenza  d'amore,  opera  tragicomica  da  rappre- 
sentarsi  in  Bergamo  nella  partenza  .  .  .  dell'  illustriss.,  e  eccel- 
lentiss.  Sig""  Francesco  Donaldo  .  .  . 

Milano,  Giuseppe  Pandolfo  Malatesta,  1709.     52  p.     14'^"^. 

Three  acts.  By  Marc'  Antonio  Gasparini,  who  is  not  mentioned,  and  whose 
original  alternative  title  was  "L'eroico  amore."  The  one  quoted  above  is  pasted  over 
the  original.  Argiunent,  scenario,  cast,  and  names  of  the  composers,  Carlo  Francesco 
Gasparini,  act  I;   Carlo  Francesco  Polaroli,  act  II;   Francesco  Ballarotti,  act  III. 

Schatz  3597 

—  L'amante  impazzito.  Drama  per  musica,  da  rappresentarsi 
nel  Teatro  di  S.  Fantino  Fautunno  dell'  anno  1714  .  .  . 

Venetia,  Girolamo  ATbrizzi,  n.  d.     If.6  p.     IJ^.'^™-. 

Three  acts.  Merely  a  later  version  of  "L'Alciade  overo  La  violenza  d'amore."  The 
dialogue  not  so  different  in  the  two  versions  as  the  arias.  For  instance,  the  opening 
aria  of  third  act  "Sento  che  a  poco  a  poco"  has  been  dropped,  "Qui  la  vipera  sog- 
gioma"  (III,  5)  has  become  "Sul  mio  crin  di  sdegno  armato,"  "Come  sento  in  un 
momento"  (III,  7)  has  become  *'T'  intendo  si  mio  cor,"  etc.  Neither  author  nor  the 
composers  are  mentioned.     Dedication,  notice  to  the  reader,  and  scenario. 

Schatz  3598 

■^  L'Alciade.  Drama  decimo  quarto  di  Giovanni  Faustini.  Da  rap- 
presentarsi in  musica  nel  famoso  Theatro  Grimano  di  SS.  Gio.  e 
Paolo  l'anno  MDCLXVII  ... 

Venetia,  Francesco  Nicolini  e  Steffano  Curti,  1667.     83  p.     15*^^. 

Prologue  and  three  acts.  Nicolini's  dedication,  argument,  scenario,  and  this  notice 
to  the  reader: 

"II  Signor  Giouanni  Fauetini  nell'  etil  sua  piii  giouenile  per  diletto  proprio  applic6 
I'ingegno  alle  compositioni  Dramatiche  Musicali,  nelle  quali  riusci  ammirabile  nell' 
invetione  in  particolare;  Onde  nel  corso  di  soli  anni  nove  (essendo  stato  troppo  pre- 
maturemente  rapito  dalla  morte  l'anno  1651.,  nel  trigesimo  secondo  dell'  etk  sua)  si 
viddero  rappresentare  nei  Theatri  di  questa  Citt^  con  gli  applausi  maggiori  la  Virtil 
de  Strali  d'Amore,  L'Egisto,  L'Ormindo,  il  Titone,  La  Doriclea,  L'Ersilda,  L'Euripo, 
L'Oristeo,  La  Rosinda,  La  Calisto,  L'Eritrea,  &  doppo  la  di  lui  morte  ancora  I'Eupa- 
tra,  poi  L' Elena  rapita  da  Teseo,  vestita  col  man  to  di  Poesia  da  sublime  virtuoso, 
tutte  poste  in  Musica,  6  dalla  Adrtti  singolare  del  Signor  Francesco  Cavalli  dignissimo 
Organista  della  Serenisslma  Republica,  6  dal  Signor  Don  Pietro  Andrea  Zianni  hora 
Maestro  di  Capella  della  Maest^  dell'  Imperatrice,  incontrarono  non  solo  nel  genio, 
&  nella  sodisfattione  di  questa  Citt^  tanto  delicata  nell'  vdire  simili  rappresentationi, 
m^  di  molte  altre  principali  dell'  Italia,  nelle  quali,  piii,  e  piu  volte  sono  state  rap- 
preeentate  con  ogni  pienezza  d'applauso;    anzi  che  con  I'lnuentioni  multiplici,  & 


62  LIBRARY  OF  CONQRESS 

L'Alciade — Continued. 

varie  d'  esse  quasi  come  di  cose  obliate  si  sono  addobbate,  &  arrichite  altre  com- 
poeitioni.  Restano  ancora  tre  fatiche  di  questo  virtuoso:  La  Medea  placata,  L'Al- 
ciade, &  il  Meraspe,  overo  il  Tiraimo  humiliato  d'Amore:  L'anno  presente  com- 
parianno  nel  Nobilissimo  Theatro  Grimano  prima  I'Alciade,  &  poi  il  Meraspe,  pro- 
messi  dall'  Auttore  nelle  sue  stampe  l'anno  1651.,  che  passb  ad  altra  vita;  L'inyen- 
tioni  saranno  nuove,  curiose,  &  dilettevoli,  havendo  procurato  d'allontanarsi  da 
introdurvi  in  esse  femine  in  habito  virile  datesi  ^  credere  per  huomeni,  &  altre  cose 
ancora,  piu,  &  piu  volte  vedute,  rappresentate;  Onde  si  puo  credere,  che  anco  queste 
fiiano  per  incontrare  nella  sodisfattione  della  Citt^.  Nell'  Alciade  si  sono  aggionte 
alcune  cose,  composte  da  virtuoso  sog^etto  per  favorire,  &  k  richiesta  di  chi^  rap- 

f>resentare  il   DRAMA.     La  compositione  aella  Musica  d'Esso  6  del  Si^nor  Zianni 
Pietro  Andrea  Ziani],  che  conforme  al  suo  solito  h^  fatto  cose  mirabi'li;   Viui  in 
tanto  lieto,  &  tatendi  alia  favela."  Schatz  11211 

Alcibiade.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassano  I'autunuo  dell'  anno  MDCCKLVI. 


cm 


n.  i.,  n.  d.     72  p.     15 

Three  acts.     By  Gaetano  Roccaforte.     With  argument,  cast,  scenario,  and  name 
of  the  composer,  Giuseppe  Carcano,  but  not  of  librettist. 

First  performed  at  Venice,  as  indicated.  Schatz  1621 

/  L'Alcibiade.     Drama  per  musica  nel  famosissimo  Teatro  Grimano  ^ 
SS.  Gio.  e  Paolo.     Di  Aurelio  Aurelii.     Opera  XX.  .  .  . 

Venetia,  Francesco  Nicolini,  1680.     72  p.  (incl.  front.)     l^*^^. 

Three  acts.    Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
■with  name  of  Marc'  Antonio  Ziani  as  the  composer. 

First  performed,  as  indicated,  carnival  1680.  Schatz  11177 

Second  copy.    ML  48. M2 

Alcide,  tragedie  representee  par  I'Academie  royale  de  musique  I'an 
1693.  Les  paroles  de  M.  Capistron,  &  la  musique  de  M""  Louis  de 
Lully,  &  de  M*"  Marais.     XXIX.  opera. 

n.  i.,  n.  d.     14'^'"K    front.,  229-280  p.     {Recueil  general  des  opera,  t. 
iv,  Paris,  1703.) 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  February  3,  1693.  Schatz  5785 

Second  copy.     ML  48. R4 

—  La  mort  d'Hercule,  tragedie,  representee  pour  la  premiere  fois 
par  I'Academie  royale  de  musique,  sous  le  titre  d'Alcide,  le  [blank] 
d'avril  1693.     Remise  au  theatre  le  23  juin  1705. 

Paris,  CtiristopJie  Ballard,  1705.     6  p.  I.,  48,  [1]  p.     23  p. 

Prologue  and  five  acts.     Cast.     Neither  Campistron  nor  the  composers,  Louis  de 
Lully  and  Marin  Marais,  are  mentioned.  ML  50.2.A51L9 

Alcide  al  Bivio.  Questa  festa  teatrale,  tutta  allusiva  ai  sicuri  se^ni 
d 'indole  generosa  dati  fin  dalla  prima  sua  adolescenza  dal  gran  prm- 
cipe  per  cui  e  scritta,  fu  d'ordine  sovrano  composta  in  Vienna,  e  rap- 
presentata  con  musica  dell'  Hasse  nella  Cesarea  corte  .  .  .  per  le 
nozze  delle  AA.  RR.  di  Giuseppe  II  ...  e  della  principessa  Isabella 
di  Borbone,  l'anno  1760. 

pi.,  [207]-248  p.     26'^'^.     {Metastasio,  Opere,  t.  viii,  Parigi,  vedova 
Herissant,  1781.) 

One  act.    Argument.  ML  49.A2M44 


OPERA   LIBRETTOS  53 

Alcide  al  bivio.  Festa  teatrale  da  rappresentarsi  in  musica  per  le 
felicissime  nozze  delle  LL.  AA.  RR.  I'arciduca  Giuseppe  d'Austria  e 
la  principessa  Isabella  di  Borbone  ...     In  Vienna  I'anno  MDCCLX. 

n.  %.,  n.  d.      Unpaged.     211'^^. 

The  ornamental  engraved  title  page  is  preceded  by  a  frontispiece  engraved  by 
Ant.  Tischler  and  followed  by  exquisite  head  and  tail  pieces  by  the  same  artist. 

One  act.  Argument,  cast,  and  name  of  Johann  Adolph  Hasse  as  the  composer. 
The  author,  Metastasio,  is  not  mentioned. 

First  performed  at  Vienna,  Grosser  Redontensaal,  October  8, 1760.      Schatz  4505 

—  Alcides  an  der  doppel-strasse.  Ein  theatralisch-musicalisches 
schauspiel,  so  bey  dem  glorreich  begangenen  vermaehlungs-feste 
Ihrer  Koenigl.  Honeiten  des  Durchleucntigsten  erz-herzogens  Joseph 
von  Oesterreich,  und  der  Durchleuchtigsten  prinzessin  Isabella  von 
Bourbon  ...  in  Wien  aufgefuehret  worden,  im  jahr  1760.  Ver- 
fasset  von  herrn  abbate  Metastasio  .  .  .  und  in  das  teutsche  ueber- 
setzt  von  J.  A.  E.  v.  G. 

[TFien],   Gedruckt   mit  von  Ghelischen  schriften,    n.   d.      Unpaged, 

One  act.  Translated  by  Johann  Anton,  edler  van  Ghelen.  Argument,  cast,  and 
name  of  Johann  Adolph  Hasse  as  composer.  ,  Schatz  4506 

—  Alcide  al  bivio.  Dramma  per  musica,  da  rappresentarsi  nel 
Regio  Teatro. — Alcides  ved  te  to  veie  .  .  . 

K%0benhavn,  H.  J.  Graae,  1774.     79,  [3]  p.     17^. 

One  act  and  licenza.  Argument,  cast,  and  name  of  Johann  Adolph  Hasse  as  the 
composer.     Danish  text  faces  Italian. 

First  performed,  as  indicated,  February  2,  1774.  Schatz  4507 

Alcide  negli  orti  Esperidi,  ballet.     See  P.  Guglielmi's  Tomiri. 

Alcides  an  der  doppel-strasse.     Tr.  of  Hasse's  Alcide  al  bivio. 

Alcides  ved  te  to  veie.     Tr.  of  Basse's  Alcide  al  bivio. 

Alcimena  principessa  dell'  Isole  Fortunate  o  sia  L'amore  fortu- 
nato  ne'  suoi  disprezzi.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  San  Cassiano  il  carnovale  dell'  anno  1750. 

Venezia,  Modesto  Fenzo,  1750.     39  p.     IGY"^' 

Modern  transcript.  By  Pietro  Chiari,  who  is  not  mentioned.  Argument,  cast,  and 
name  of  Galuppi  as  composer. 

First  performed,  as  indicated,  December  26,  1749  (Pavan),  Schatz  3479 

Alcina.  An  opera:  as  it  is  perform'd  at  the  Theatre  Royal  in 
Covent-Garden.     The  third  edition. 

London,  T.  Wood,  1736.     48  p.     17'"^. 

Three  acts.  Argument  and  caet.  Neither  the  author,  Antonio  Marchi,  nor  the 
composer,  Georg  Friedrich  Handel,  is  mentioned.  An  English  translation  faces 
Italian,  which  is  an  altered  version  of  Marchi's  "Alcina  delusa  da  Ruggiero." 

First  performed,  as  indicated,  April  16,  1735.  Schatz  4496 

Alcina  delusa  da  Rugero.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassan  I'autunno  dell'  anno  MDCCXXV.  Di 
Antonio  Marchi. 

Venezia,  Marino  Rosetti,  1726.     68  p.     l^Y"^- 

Three  acts.  Notice  to  the  reader,  east,  scenario,  and  name  of  Tommaso  Albinoni 
ae  composer.  Schatz  113 


54  LIBRAT^Y  OF   CONGRESS 

Alcina  delusa  da  Rugero — Continued. 

—  or  evenimenti  di  Rugero.  Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  Giustiniano  di  vS.  Mois6  il  carnevale  dell  anno 
MDCCXXXII.     Di  Antonio  Marchi  .  .  . 

Venezia,  Siefano  Valvasense,  1732.     Jfi  p.     IS^""^. 

Three  acts.  Cast,  scenario,  and  notice  to  the  reader.  Merely  a  somewhat  altered 
version  of  Albinoni's  "Alcina  delusa  da  Rugero."  For  instance,  the  opening  four 
lines  of  the  first  scene  "Care  spiaggie,  amato  lido,"  were  dropped.  Schatz  93 

Alcina  e  Leone,  ballet.     See  Rust's  Alessandro  nelV  Indie. 

Alcina  e  Ruggero.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  camovale  del  1775  alia  presenza  dalle 
Maestk  Jjoro. 

Torino,  Onorato  Derossi,  n.  d.     viii,  68  y.     15^'^. 

Three  acts.  Notice  to  the  reader,  scenario,  cast,  and  names  of  Vittorio  Amedeo 
Cigna-Santi  as  author,  Felice  Alessandri  as  composer.  The  ballet  music  was  com- 
posed by  "Paolo  Ghebart,"  of  Vienna.  Schatz  141 

Alcina  ed  Astolfo,  ballet.     See  Zingarelli's  Annibale  in  Torino. 

Alcine,  tragedie.  Re'^:)r^sentee  par  I'Academie  royale  de  musique 
I'an  1705.  IjCS  paroles  de  M.  Danchet  &  la  musique  de  M.  Campra. 
LXIII.  Opera. 

n.  %.,  n.  d.  front.,  333-392  p.  14'^^.  (Becueil  general  des  opera, 
Paris,  1706,  t.  viii,  no.  7.) 

Detached  copy.     Five  acts,  with  prologue.  Schatz  154 

Second  copy.    ML  48.R4 

—  Alcine,  tragedie,  representee  par  I'Academie  royale  de  musique  le 
quinzieme  jour  de  Janvier  1705. 

Amsterdam,  Henri  Schelte,  1707.     69  (incl.  front.),  [3]  p.     IJf"'. 
Five  acts  with  prologue.    Cast.     Neither  Campra  nor  Danchet  mentioned.    On 
the  [3]  p.  a  "Catalogue  de  tons  les  opera"  published  by  Schelte.    ML  50.2.A512C2 

—  Alcine,  tragedie.  Representee  par  I'Academie  royale  de  musique, 
I'an  1705. 

{335\-398  p.     17 Y"^.     (Antoine  Danchet,  TJiedtre,  t.  ii,  Paris,  1751) 

Prologue  and  five  acts.     The  composer,  Andr^  Campra,  is  not  mentioned. 

PQ  1972.D2 

Alcines  oe.     Tr.  of  Gazzaniga's  L'isola  d' Alcina. 

Alcione.  Dramma  per  musica  per  celebrare  il  felicissimo  giorno 
natalizio  della  serenissima  Signora  Donna  Maria  Francesca  Benedetta 
principessa  del  Brasile  li  25  luglio  1787. 

[Lishona],  Nella  stamperia  reale,  n.  d.     28  p.     15'^'^. 

One  act.  By  Gaetano  Martinelli.  Argument,  cast  and  names  of  the  author  and 
the  composer,  Joao  de  Sousa  Carvalho.  Schatz  1674 

Alcione,  tragedie,  representee  par  I'Academie  royale  de  musique 
le  jeudy  dix-huitieme  revrier  1706. 

Amsterdam,  Henri  Schelte,  1707.     67  {incl.  front ,),  [3]  p.     I4  <^™. 

Five  acts  with  prologue.  Cast.  Neither  the  author,  La  Motte,  nor  the  composer, 
Marais,  mentioned.  On  the  [3]  p.  "Catalogue  de  tous  les  opera"  published  by 
Schelte.  ML  50.2.A513M2 


OPERA   LIBEETTOS  55 

Alcione — Continu  ed . 

— Alcione,  tragedie  representee  par  TAcademie  royale  de  musique 
I'an  1706.  Les  paroles  de  M.  de  la  Mothe  &  la  musique  de  M.  Marais. 
LXVI.     Opera. 

n.  i.,  n.  d.  pL,  p.  65-114  {Recueil  general  des  opera,  Paris,  1710, 
t.  ix)     U'^'^. 

Detached  copy.    Five  acts  and  prologue.  Schatz  5919 

Second  copy.    ML  48. R4 

A  Aldeana  em  corte.     Tr.  of  Rust's  La  contadina  in  corte. 

Aldiso.  Drama  per  musica  da  rappresentarsi  nel  famosissimo  Teatro 
Grimani  a  S.  Gio.  Grisostomo.     Nel  carnovale  delF  anno  1726. 

Venezia,  Marino  Rossetti,  1726.     59  p.     ^4^^™. 

Three  acts.  By  conte  Claudio  Nicola  Stampa,  who  is  not  mentioned.  Argument, 
cast,  scenario  and  name  of  Giovanni  Porta  as  the  composer.  Schatz  8383 

Alessandro. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  iv,  85  p.     16'''^. 

Three  acts.     Argument.     Same  as  his  "Alessandro  nell' Indie." 

"Nella  forma  in  cui  sono  stati  ridotti  dalF  autore."     {See  note  on  p.  169  of  v.  VI.) 

This  revised  version  is  easily  identified  from  the  first  scene,  which  has  no  aria 

and  has  the  lines  in  Poro's  monologue  "Delia  spoglia  piii  grande  /  II  trionfo a  cestui 

.  .  .    Ma  la  mia  sposa."     Also  its  III,  1  begins  "Malasciami,  Erissena"  and  has 

the  aria  "Se  troppo  crede  al  ciglio." 

Same,  t  vii,  117  p.     W"^. 

["Come  .  .  ,.  neir  altre  edizioni."  (Note,  VI,  169.)  This  original  version  has  in 
I,  1  the  aria  "  E  prezzo  leggiero  "  and  the  lines  in  Poro's  monologue  "  Delia  spoglia 
piu  grande  /  II  trionfo  a  cestui.  Gia  visse  assai;  "  also  its  III,  1  begins  "  Erissena  / 
Che  miro  "  and  has  the  aria  "  Risveglia  lo  sdegno."  ML  49.A2M42 

Alessandro. 

[£21]-258  p.  17*^^.  (RoUi,  Componimenti  poetid,  Nuova  edizione, 
Verona,  G.  Tumermani,  17 44-) 

Three  acts.     Argument.    The  composer,  Handel,  is  not  mentioned. 

First  performed  at  London,  Haymarket,  May  5,  1726.  ML  49.A2R7 

—  Der  hochmuethige  Alexander,  in  einem  sing-spiele  auf  dem 
Hamburgischen  schau-Platze  vorgestellet  ini  jahr  1726. 

Hamburg,  Gedruckt  mit  Stromerschen  schrifften,  n.  d.    Unpaged.   18"'^. 

Three  acts.  German  version  by  C.  G.  Wendt  of  "Alessandro"  by  Rolli,  neither 
of  whom  mentioned.  Argument,  scenario  and  name  of  Hendel  (Georg  Friedrich 
Handel)  as  the  composer.     Italian  text  of  the  arias  added  to  the  German. 

Schatz  4473 

Alessandro.  Dramma  pej  musica  in  due  atti,  con  balli  analoghi. 
Da  rappresentarsi  nei  Teatri  di  S.  M.  I.  nel  1799. 

S.  Pietrohurgo,  Stamperia  impeHale,  1799.     35  p.     W^. 

Author  not  mentioned  and  unknown  to  Schatz.  Argument  (in  Italian  and  French), 
cast  and  name  of  Friedrich  Heinrich  Himmel  as  the  composer.  Schatz  4741 

•  Ij' Alessandro  amante.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  San  Moise  I'anno  MDCLXVII  .  .  . 
Venetia,  Francesco  Nicolini  cfc  Steffano  Curti,  1667.   5  p.  I., 69  p.    14*^^' 

Three  acts  with  prologue.  Impresario's  dedication,  dated  January  28,  1667, 
notice  to  the  reader,  and  scenario. 

According  to  the  preface,  in  which  Giovanni  Antonio  Boretti  is  mentioned  as 
composer,  the  libretto  was  finished  after  the  death  of  the  author,  Giacinto  Andrea 


56  LIBRARY   OF  CONGRESS 

L'Alessandro  amante — Continued. 

Cico^ini,  "da  altro  virtuoso  eoggetto."  For  these  performances  at  Venice  in  1667 
the  hbretto  was  considerably  altered  by  an  (anonymous)  "virtuoso  ingegno"  to  con- 
form to  the  tastes  of  the  time.  Cicognini's  libretto  was  originally  called  "Gli  amori 
di  Alessandro  e  di  Rossane"  and  as  such  was  performed  at  Venice  in  1651  with  Fr. 
Luzzo's  music.  With  music  by  Benedetto  lerrari  the  libretto  was  performed  at 
Bologna  in  1656  and  in  1663  Lupardi  published  a  new  edition  at  Rome  under  the 
title  "La  Rosane,  con  gli  Amori  di  Alessandro  Magno."  Both  of  these  editions  are 
preserved  at  Brussels  and  described  by  Wotquenne.  Schatz  1215 

Alessandro  e  Campaspe,  ballet.     See  Mayr's  Un  pazzo  ne  fa  cento. 

Alessandro  e  Poro.     Dramma  per  musica  da  rappresentarsi  nel 
Regie  Teatro  di  Berlino  per  ordine  di  Sua  Maest^. 
Berlino,  A.  Hande,  17 U-     187,  [3]      16^"^. 

Three  acts.  Metastasio  (original  title:  "Alessandro  nell'  Indie")  is  mentioned  as 
author  and  Carl  Heinrich  Graun  as  the  composer.  Argument  and  scenario.  Ger- 
man title  page  "Alexander  und  Porus"  and  text  face  Italian. 

First  performed  as  indicated,  December  21,  1744.  Schatz  4087 

Alessandro  e  Timoteo.  Dramma  per  musica  da  rappresentarsi  nel 
R.  D.  Teatro  di  corte  nella  primavera  dell'  anno  MDCCLXXXII. 

Parma,  Stamperia  reale,  n.  d.     8  p.  I.,  37  p.     28^^. 

One  act.  Dedicatory  poem  signed  by  the  author,  conte  Gastone  della  Torre  di 
Rezzonico.  Argument,  cast,  scenario  and  name  of  Giuseppe  Saxti  as  the  com- 
poser.    ("La  musica  sar^.") 

First  performed  as  indicated,  April  6,  1782.  Schatz  9424 

Alessandro  fra'  le  Amazon!.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  I'anno  1715  .  .  . 

Venezia,  Marino  Rossetti,  1715.     60  p.     16"™. 

Three  acts.  By  Grazio  Braccioli.  Author's  dedication,  notice  to  the  reader,  cast, 
scenario  and  name  of  the  composer,  Fortunato  CheUeri.  Schatz  1812 

Alessandro  il  vincitor  di  se  stesso.  Tragicomedia  musicale. 
Di  Francesco  Sbarra  in  questa  terza  impressione  ridotta  all'  intera 
sua  forma  .  .  . 

Lucca,  Francesco  Marescandoli,  1654-     177,  [1]  p.     13^"^. 

Three  acts,  with  two  prologues,  author's  dedication  dated  Lucca,  Feb.  1,  1654, 
notice  to  the  reader,  argument,  and  at  end  (p.  170-177)  source  of  plot,  allegoria,  cast, 
and  names  of  the  two  composers.  ("La  musica  f u  per  la  maggior  parte  del  Sig.  Antonio 
Cesti  .  .  .  et  il  resto  del  Sig.  Marco  Bigongiari  .  .  .")  The  one  additional  page 
contains  a  sonnet  by  Dalli  to  Sbarra.  The  one  prologue  is  that  "recitato  in  Venetia," 
1651,  with  Cavalli's  music,  the  other  that  "rappresentato  in  Lucca."  The  author's 
notice  to  the  reader  is  in  substance  similar  to  that  in  the  Venice,  1651,  ed.  of  the  text 
(see  infra),  but  special  emphasis  is  laid  on  the  fact  that  the  original  version  ' '  precipitato 
dalla  mia  penna,  si  port6  k  Venetia  per  le  poste,  ove  per  accomodarsi  alia  brevit^,  che 
in  simili  funtioni  si  desidera,  fii  ridotto  in  forma  molto  minore  di  quella,  che  port6 
dalla  sua  nascita,  ricoperto  in  gran  parte  questo  defetto  dalla  magnificenza  delle  scene, 
e  machine,  dalla  vaghezza,  e  bizzarria  delle  comparse,  e  de  bsuli,  e  sopra  tutto  dall' 
eccellenza  della  musica,  e  dall'  esquisitezza  de  gl'  attori;  hoggi  per6  che  s'espuone 
sopra  il  nostro  teatro  non  potendo  farsi  vedere  con  quegl'  aLodoDbi,  de  i  quali  fti 
arricchito  in  Venetia,  comparisce  se  non  vagho,  almeno  intero,  e  con  tutte  le  sue 
parti  .  .  ." 

The  differences  between  the  two  editions  are  quite  noticeable.  For  instance, 
I,  9  of  the  Venice  ed.,  "Piii  celar  non  si  pub,"  is  I,  11  in  the  Lucca  ed.;  I,  9  of  the 
Lucca  ed.,  "Alessandro,  che  pensi,"  is  I,  10  in  the  Venice  ed.;  I,  14  in  the  Lucca 
ed.,  "Ohimfe,  dov'6," as  I,  12  in  the  Venice  ed.  Schatz  1786 


OPERA   LIBRETTOS  57 

Alessandro  in  Armenia.     Dramma  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  di  S.  Benedetto  rautunno  delF  anno  1768. 
Venezia,  Modesto  Fenzo,  1768.     48  p.     17^"^. 

Three  acts.  Dedicatory  sonnet  addressed  by  "Dolenio,  P.  A."  to  the  author,  argu- 
ment, cast,  and  names  of  the  composer  Giovanni  Battista  Borghi,  and  the  librettist, 
"Cleofonto  Doriano  P.  A.  Accademico  Quirino,  Infecondo  ec.  ec.  ec."  Wotquenne 
does  not  mention  this  Arcadian  name  in  his  "Essai  d'un  dictionnaire  des  noms 
academiques  .  .  ."  (Brussels  Catalogue,  Annexe  I.),  but  Schatz  identifies  him  with 
conte  Antonio  Papi. 

First  performed,  as  indicated,  November  26,  1768.  Schatz  1226 

Alessandro  in  Sidone. 

Apostolo  Zeno,  Poesie  drammaiiche,  Venezia,  llliJt.,  t.  ix,  p.  [29S\' 
4I6  p.     W"". 

Five  acts.  Ai^ument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are 
given  as  Vienna,  1721.  ML  49.A2Z3 

—  Alessandro  in  Sidone.  Pubblicato  per  la  prima  volta  in 
Vienna  1721. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785 ~86,  t.  xi,  p.  223- 
347.     21""^. 

Five  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Alessandro  in  Sidone.  Tragicom media  per  musica,  da  rappre- 
sentarsi nella  Cesarea  corte  .  .  .  nel  carnevale  dell'  anno  MDCCXXI. 
La  musica  e  del  Sig.  Francesco  Conti  ... 

Vienna  d^ Austria,  Gio.  Van  Ghelen,  n.  d.     4  P-  ^v  ^^  V-     14Y^- 

Five  acts.  By  Apostolo  Zeno  and  Pietro  Pariati,  who  are  not  mentioned.  Argu- 
ment and  scenario.  Nicpola  Matteis  is  mentioned  as  the  composer  of  the  ballet 
music. 

First  performed  at  Vienna,  Hoftheater,  February,  1721.  Schatz  2192 

—  Alessandro  in  Sidone.  Tragicomedia  per  musica  da  rappre- 
sentarsi sul  famosissimo  Teatro  di  Braunsviga  nella  fier?  d'estate 
I'anno  1726. — Alexander  in  Sidon  ... 

Wolffenbuttel,  Christian  Bartsch,  n.  d.     Unpaged.     18'^'^. 

Three  acta.  Scenario  and  name  of  Francesco  Conti  as  composer.  The  argument 
is  in  German.  Text  in  Italian  and  German.  The  first  act  exactly  like  the  first  act 
in  the  Vienna,  1721,  five-act  ed.  The  first  nine  scenes  of  the  second  also  identical, 
but  then  the  differences  begin,  owing  to  the  contraction  of  the  text  into  three  acts. 
For  instance,  the  scene  "Tu,  Addolonimo,  sei "  (II,  11)  has  been  dropped,  also  "Come 
pensi  echemirle"  (III,  1)  and  "Due  soli  di  nostr'  alma"  (III,  2)  has  become  II,  12. 

Schatz  219i 

Alessandro  in  Susa.  Tragicomedia  da  rappresentarsi  in  musica 
nel  famosissimo  Teatro  Grimano  di  S.  Gio.  Grisostomo  Tanno 
1708  ... 

Venezia,  Marine  Rosetti,  1708.     60  p.     14^"^- 

Five  acts.  By  conte  Girolamo  Frigimelica  Roberti,  who  is  not  mentioned.  Print- 
er's notice  to  the  reader,  dedication  in  form  of  argument,  "fondamento  istorico,  e 
poetico,"  cast,  scenario.  Luigi  Manza,  the  composer,  is  not  mentioned.  (Schatz 
records  a  Carlo  Manza  as  composer,  Eitner,  perhaps  more  correctly,  the  above.) 

Schatz  5916 


58  LIBRAEY  OF   CONQEBSS 

'  Alessandro  Magno  in  Sidone.  Drama  per  miisica.  Da  rappre- 
sentarsi  nel  famoso  Teatro  Grimano  k  SS.  Gio.  Paolo  di  Aurelio 
Aureli.     Opera  XIX  .  .  . 

Venetia,  Francesco  Nicolini,  1679.     70,  [1]  p.     l^*^. 

Three  acts.  Dedication,  argument,  scenario,  and  author's  notice  to  the  reader, 
in  which  he  mentions  the  "giovinetto  Signer  Marc'  Antonio  Ziani,"  and  says: 

"Amico,  sbche  ti  sembrera  stravagante  successo  il  veder  la  mia  Musa,  che  dopo 
haver  nel  corso  di  due  lustri  esule  pellegrina  dal  famoso  Teatro  Grimano,  ora 
conosciuta,  ora  mascherata,  ed  occulta  passeggiato  sovra  altri  teatri,  ritorni  in  quest' 
anno  h,  calcar  quella  scena  dove  tra  pomposi  e  dorati  cotumi  campeggi6  fortunata  ne 
la  rappresertatione  di  undici  continuati  miei  drami  .  .  ." 

First  performed,  as  indicated,  carnival,  1679.  Schatz  11178 

—  Alessandro  Magno  in  Sidone.  Dfama  in  musica,  rappresen- 
tato  in  Venetia  nel  famosissimo  Teatro  Grimano  di  S.  S.  Giovanni  e 
Paolo.     Hora  da  rappresentarsi  con  alcune  aggionte  in  Vicenza  .  .  . 

Vicenza,  gVH.  di  Giacomo  Amadio,  1681.     68  p.     14*^^. 
Three  acts.     Dedication,  argument,  scenario.    Neither  Aureli,  nor  Ziani  men- 
tioned. ML  50.2.A515Z3 

—  La  virtu  sublimata  dal  grande,  ovvero  II  Macedone  conti- 
nente.  Drama  per  musica.  Da  rappresentarsi  nel  Teatro  di  Canal 
regio  I'anno  MDCLXXXIII. 

Venetia,  Francesco  Nicolini,  1683.     60  p.     l^Y'^. 

Three  acts.  Argument,  scenario,  and  prefatory  notice  to  the  reader  with  apolo- 
^es  for  this  replica  of  "Alessandro  Magno  in  Sidone"  in  a  small  theatre  with  an 
inferior  cast.  Neither  the  author,  Aureuo  Aureli,  nor  the  composer,  Marc'  Antonio 
Ziani,  is  mentioned. 

First  performed  under  the  new  title,  as  indicated,  carnival  1683.    Schatz  11209 

L' Alessandro  nell'  Indie. 

[243'\-322  p.  19^^.  (Pietro  Metastasio,  Opere  drammatiche,  Vene- 
zia,  Giuseppe  BettineUi,  1733-37,  v.  2.) 

Three  acta.    Argument.    No  composer  mentioned.     {Comp.  next  entry.) 

ML49.A2M40 

— Alessandro  nell'  Indie.  Rappresentato  con  musica  del  Vinci  la 
prima  volta  in  Roma  nel  Teatro  detto  delle  Dame,  il  26  decembre 
deir  anno  1729. 

J)l.,  [263]-356  p.     26'^'^.     (Pietro   Metastasio,  Opere,  t.  4,  Parigi, 
ova  Herissant,  1780.) 
Three  acts.    Argument.    The  revised  version  of  his  "Alessandro,"  which  see  for 
telling  differences  between  the  versions.  ML  49.A2M44 

Alessandro  nell'  Indie.  Drama  per  musica  da  rappresentarsi  nel 
teatro  di  Torre  Argentina  nel  carnevale  dell'  anno  1772  .  .  . 

Roma,  Archangelo  Casaletti,  n.  d.     71  p.     15'^'^. 

Three  acts.  Impresario's  dedication  with  indication  of  Metastasio  as  author, 
argument,  cast,  scenario,'  and  name  of  Pasquale  Anfossi  as  composer. 

First  performed  January  7,  1772,  as  indicated.  Schatz  282 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi  in 
Oranienbaum  .  .  .  La  poesia  k,  del  celebre  Signor  abbate  Pietro 
Metastasio  ...     La  musica  e  del  Signor  Francesco  Araja  .  .  . 

St.  Pietrohurgo,  nella  Stamperia  delV  Accademia  imperiale  deUe 
scienze,  1759.     125  p.     18'='^. 

Three  acts.     Cast  and  scenario.     French  text  faces  Italian. 

First  performed  at  St.  Petersburg,  Court  opera,  Dec.  8  (19),  1743.        Schatz  304 


OPEEA  LIBRETTOS  59 

Alessandro  nell'  Indie.  Dramma  serio  per  musica  da  rappresen- 
tarsi  in  Bologna  nel  Teatro  Zagnoni  rautunno  dell'  anno  1787  .  .  . 

Bologna,  Sassi,  n.  d.     51,  [2]  p.     17 Y"^. 

Imprimatur  dated  October  8,  1787.  Impresario's  dedication,  argument,  cast, 
scenario  and  name  of  Francesco  Bianchi  as  composer.     Metastasio  is  not  mentioned. 

ML  50.2.A517B25 

— Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  nuovo  e  nobilissimo  Teatro  detto  La  Fenice  I'autunno  dell'  anno 
1792. 

Venezia,  Modesto  Fenzo,  1792.     64  p.     leV"^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Francesco  Bianchi  as  com- 
poser, but  not  of  the  librettist,  Pietro  Metastasio.  On  p.  29-32  argument  and  cast  of 
the  "Ballo  primo.  Giulio  Sabino  .  .  .  composto  e  diretto  dal  Signor  Onorato  Vi- 
ganb."  Neither  of  this  nor  of  his  second  ballet  "Lafolliaelasaggiezza"  is  the  com- 
poser of  the  music  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  January  28,  1785 

SCHATZ    974 

Alessandro  nell'  Indie,  ballet.     See  Cimarosa's  Circe. 

[Alessandro  nell'  Indie]  Alexander  in  Indien,  ein  musical  isches 
schauspiel  aufzufuehren  auf  dem  grossen  hochfuerstl.  Braunschw. 
Theatre  im  Opern-hause  in  der  AVinter-Messe  1752. 

Braunschweig,  Keitel,  n.  d.      Unpaged.     18'^^. 

Three  acts.  By  Metastasio.  German  text  faces  Italian.  Argument,  scenario, 
cast,  and  name  of  the  composer  "Ignazio  Fiorillo,  maestro  di  capella  di  corte." 
("di  nuova  composizione") 

Accordingly  *  E  prezzo  leggero"  was  added  to  1, 1,  and  "Se  vuol  mirarti  esangiie" 
to  II,  8.'    The  latter  is  not  by  Metastasio. 

Second  setting,  first  performed  at  Stuttgart,  Hochfiirstl.  Theatre,  in  February,  1752. 
The  first  setting  was  first  performed  at  Mantova,  Nuovo  Arciducale  Teatro,  carnival 
1738  (Piovano).  Schatz  3198 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  di  San  SamueUe  per  la  fiera  dell'  Ascensione  dell'  anno 
MDCCLV. 

Venezia,  Angiolo  Geremia,  n.  d.     60  p.     15Y™'. 

Three  acts.  By  Metastasio.  Argument,  scenario,  cast,  and  name  of  Baldassare 
Galuppi  as  composer.     Between  p.  6-7  one  page  of  "Arie  aggiunte  e  mutate." 

Schatz  3430 

—  Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  nuovo  Teatro  di  corte  per  comando  di  S.  A.  S.  E.  Massimiliano 
Gioseppe  .  .  .  nel  giorno  glorioso  di  suo  nome  li  12,  ottobre  1755. 
La  poesia  e  del  Sig.  abbate  Pietro  Metastasio  .  .  .  La  musica  e  del 
Signor  Baldassare  Galuppi  ...  •  ' 

Monaco,  Gio.  Giac.  V'otter,  n.  d.     131,  [1]  p.     W™. 

Three  acts.  Argument,  scenario,  and  cast.  German  title  "Alexander  in  Indien" 
and  text  face  Italian.    At  end,  one  page  of  Errata.  Schatz  3431 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  S.  Carlo  nel  di  4  di  novembre  1789  per  resteggiarsi 
il  glorioso  nome  di  Sua  Maesth.  la  regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1789.     70  p.     i^*"™. 

Two  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication  dated, 
Naples,  November  4,  1789,  cast,  argument,  scenario,  and  name  of  Pietro  Guglieliai 
as  the  composer.  On  p.  9-28  cast  and  description  of  Sebastiano  Gallet's  "Telemaco 
neir  isola  cii  Calipso,  ballo  eroico  pantomimo  m  cinque  atti,"  music  by  Pietro  Dutil- 
lieu.  On  p.  29-31  synopsis  of  the  ballet  "Di  rado  Tuom  sa  giudicar  se  stesso,"  also 
by  Gallet.  Schatz  4234 


60  UBRAEY  OF   CONGRESS 

Alessandro  nell'  Indie,  ballet.     See  P.  Guglielmi's  Enea  e  Lavinia. 

L'Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  camovale 
deir  anno  1736  ..  . 

Venezia,  Marino  Rossetti,  1736.     72  p.     loY"^. 

Three  acts.  By  Metastaaio.  Dedication  by  Domenico  Lalli,  argument,  cast, 
Bcenario,  and  name  of  Johann  Adolph  Hasse  as  the  composer.  Mennicke  lists  this 
as  a  second  version,  numbering  the  "Cleofide"  of  1731,  whose  text  was  based  on 
"Alessandro  nelle  Indie  "  as  the  first  version.  Schatz  4508 

—  Alessandro  nell'  Indie.  Dramma  per  musiea,  da  rappre- 
sentarsi nel  Nuovo  Teatro  di  Prespurgo  nell'  estate  del'  anno  1741  ..  . 

Preshurgo,  Eredi  Royeriani,  n.  d.     103  p.     ISV'^. 

Three  acts.  Dedication  by  Pietro  Mingotti,  argument,  cast,  scenario,  and  name  of 
Franz  Joseph  Pirker  aa  the  translator  of  the  German  text,  which  faces  the  Italian. 
Neither  the  author,  Metastasio,  nor  the  composer,  Johann  Adolph  Hasse,  is  men- 
tioned. The  text  is  somewhat  different  from  that  in  the  original  Venice  edition  of 
1736.  For  instance,  I,  5  has  now  the  aria  "Scherza  il  nocchier  tal'  ora"  instead  of 
"O  su  gli  estivi  ardori,"  and  the  scene,  I,  12,  "Non  condannarmi,  amico,"  has  be- 
come 1,9.  Schatz  4509 

—  Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresen- 
tarsi nel  famosissimo  Teatro  Grimani  di  S°.Gi6.  Grisostomo  net  carne- 
vale  1743  .  .  . 

n.i.,n.d.     1  p.  I.,  67  p.     ./5<="». 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Joh.  Ad.  Hasse  as  the  com- 
pjoser.  The  text  is  somewhat  different  from  the  Dresden  ed  of  1741  and  the  Venice  ed. 
of  1736.  For  instance,  their  aria  at  end  of  I,  2,  "Vedrai  con  tuo  periglio,"  has  been 
dropped,  and  their  aria,  "  Vil  trofeo  d'un'  almaimbelle,"  in  1, 3,  has  become  "  Vadan  li 
rei  felloni."  In  this  Venice,  1743  ed.,  the  original  aria,  "Osu  gli  estivi  ardori,"  for  1,5, 
has  been  restituted,  as  also  the  scene  "Non  condannarmi,  amico,"  as  I,  12.  Indeed, 
the  Venice,  1743,  ed.,  as  might  be  expected,  is  more  like  the  Venice,  1736,  ed.  than 
like  the  Dresden,  1741,  ed.  Schatz  4593 

L'Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresen- 
tarsi nel  Teatro  ducale  di  Stutgart  festeggiandosi  il  felicissimo 
fiorno  natalizio  di  Sua  Altezza  Serenissima  Carlo,  Duca  regnante  di 
^irtemberg  e  Teck,  etc.,  etc.  La  poesia  e  del  Signor  abbate  Pietro 
Metastasio  ...  La  musica  b  nuovamente  composta  dal  Signor 
Nicolo  Jommelli  .  .  . 

Stutgart,  Cristqfero  Frederico  Cotta,  1760.     201  p.     19^^, 
Three  acts.    Argument,  scenario,  cast.     German  title  page  "Alexander  in  Indian" 
and  text  face  Italian.     The  ballets  have  no  specific  titles. 

First  performed  at  Stuttgart,  as  indicated,  February  11,  1760.  Schatz  4841 

—  Prologo  da  recitarsi  avanti  I'opera  Alessandro  nell'  Indie  nel 
Teatro  ducale  di  Stutgart  nel  solenne  giorno  natalizio  di  Sua  Altezza 
Serenissima  Carlo,  duca  regnante  di  Wirtemberg  e  Teck,  etc  etc. 

Stutgart,  Cristqfero  Frederico  Cotta,  1760.     15  p.     18^"^. 

Cast.    German  title,  "Prologus,"  and  text  face  Italian.  Schatz  11754 

—  Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresen- 
tarsi nel  Keal  Teatro  dell'  Ajuda  nel  felicissimo  giorno  natalizio  del 
fedelissimo  monarca  D.  Giuseppe  I  .  .  .  nel  di  6  giugno  1776. 

[Lisbona],  Stamperia  reale,  n.  d.     79  p.     15'^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author,  of 
Niccol6  Jommelli  as  composer.  The  text  is  somewhat  different  from  that  of  1760, 
as  it,  for  instance,  jumps  from  the  aria  "Se  mai  turbo  il  tuo  riposo"  (I,  7)  to  the  former 
I,  10  "Principessa  adorata"  as  I,  9,  interpolating  as  I,  8  the  scene  "Dei,  che  tormento 
^questo."  Schatz  4899 


OPERA   LIBRETTOS  61 

Alessandro  nell'  Indie.     Dramjna  per  mueica  da  rappresentarsi 
nel  Teatro  Tron  di  San  Cassiano.     II  carnovale  dell'  anno  1753  .  .  , 
Venezia,  Modesto  Fenzo,  1753.     60  p.     75'=™. 

Three  acts.  By  Metastaaio,  who  is  not  mentioned.  Dedication  by  "Li  virtuosi," 
who  had  assumed  the  management  of  the  theatre,  argument,  cast,  scenario,  and  note 
that  the  music  was  "in  gran  parte"  by  Gaetano  Latilla,  the  rest  by  "altri  bravi 
autori."    .  Schatz  5455 

T^Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  di  S.  Benedetto  la  fiera  dell'  Ascensione  dell' 
anno  1778. 

Venezia,  Modesto  Fenzo,  J  778.     64  p.     17 Y"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Luigi  Marescalchi  as  the  composer  ("La  musica  e  tutta  nuova"). 

On  p.  27-40  cast,  argument,  and  description  of  Onorato  Vigan6's  "II  Rinaldo,  ballo 
tragico  eroico  pantomimo  di  lieto  fine, "  in  six  parts.  The  composer  of  the  music  is 
not  mentioned. 

First  performed  as  indicated.  May  27,  1788.  Schatz  5946 

Alessandro  nell'  Indie.     Dramma  per  musica  del  Signore  abate 
Pietro   Metastasio,  Poeta   Cesareo    da   rappresentarsi   nel   pubblico 
Teatro  di  Lucca  nell'  autunno  dell'  anno  MDCCLXXXIII. 
Lucca,  Francesco  Bonsignore,  n.  d.     68  p.     l^Y^- 
Three  acts.    Argument,  cast,  scenario,  and  name  of  Michele  Mortellari  as  the 
composer. 

First  performed  at  Siena,  Teatro  degl'  Intronati,  July  22, 1778;  at  Lucca,  August  9, 
1783.  Schatz  6683 

Alessandro  nell'  Indie,  dramma  per  musica  da  rappresentarsi  nel 
gran  teatro  nuovamente  eretto  alia  real  corte  di  Lisbona,  nella 
primavera  dell'  anno  MDCCLV.  Per  festeggiare  il  felicissimo 
giorno  natalizio  di  Sua  Maesta  fedelissima  D.  Maria  Anna  Vit- 
toria  .  .  .  La  poesia  del  dramma  e  del  .  .  .  Pietro  Metastasio  .  .  . 
La  licenza  e  del  Sig""  Giuseppe  Bonechy  ...  La  musica  h  del  Sig*" 
David  Perez  ... 

Lishonu,  Regia  stamperia  Sylviana,  1755.  front.,  4  p.  I.,  53,  [2]  p., 
9  folded  pi.     19^. 

Three  acts.  Argument,  cast,  and  scenario.  The  plates  are  by  I.  Berardi,  Le 
Bouteux,  J.  B.  Dourneau.     The  front,  by  S.  Manelli. 

First  performed,  as  indicated,  March  31, 1755;  at  Genova,  Teatro  di  Sant'  Agostino, 
December  26,  1745.  Schatz  7882 

Alessandro  nell'  Indie.  Dramma  per  musica  di  Pietro  Metastasio 
fra  gli  Arcadi  Artino  Corasio.  Da  rappresentarsi  nel  Teatro  di 
S.  Angelo  nel  carnovale  dell'  anno  1732. 

Venetia,,  Carlo  Buonarrigo,  n.  d.     70  p.     l^h*^^- 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Giovanni  Battista  Pescetti 
as  the  composer.  Schatz  7960 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  di  via  della  Pergola  nel  carnevale  del  MDCCLXXVII  .  .  . 

Firenze,  Gio.  Risaliti,  n.  d.     39  p.     15^'^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast, 
and  name  of  Niccolb  Piccinni  as  the  composer.  Schatz  calls  this  his  second  setting 
of  the  text. 

First  performed  at  Naples,  Teatro  di  S.  Carlo,  January  12,  1774.        Schatz  8137 


62  LIBRARY   OF   CONGRESS 

Alessandro  nell'  Indie.  Dramma  per  musica  del  Si<^.  abate  Pietro 
Metastasio  .  .  .  Da  rappresentarsi  nel  nobil  Teatro  di  S.  Samuel  la 
fiera  dell'  Ascensione  I'anno  1775  .  .  . 

Venezia,  Gio.  Battista  Casaii,  1775.    36  p.     17''"'. 

Three  acts.  Dedication  by  Giacomo  Bust,  who  is  mentioned  as  the  composer, 
cast,  and  scenario. 

With  the  opera  was  performed  Antonio  Pi  trot's  ballet  "Alcina  e  Leone,"  music 
by  Piombanti,  a  description  of  which  is  said  to  have  been  published  separately. 

SCHATZ  9175 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  Vendramino  di  San  Salvatore  nella  fiera  dell  Ascensione 
deir  anno  1763. 

Venezia,  Francesco  Valvasense,  1763.     Jf.8  p.     15'^^. 

Three  acts.  By  Metastasio,  who  is  not  mentoined.  Cast,  scenario,  and  name  of 
Antonio  Sacchini  as  the  composer.     ("La  musica  sari  tutta  nuova.") 

ScHATz  9243 

—  Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  Kegio  Teatro  di  Torino  nel  carnovale  del  1766  .  .  . 

Torino,  Stamperia  reale,  n.  d.     viii,  62  p.,  [2]  I. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Antonio  Sacchini  as  composer.  Giuseppe  Antonio  Le  Messier  com- 
posed the  ballet  music.  The  [2]  1.  contain  the  aria  "Se  vedi  il  caro  bene"  substi- 
tuted for  "Tu,  che  il  tenor  gia  sai"  (II,  8),  and  the  imprimatur.         Schatz  11746 

Alessandro  nell'  Indie.     Dramma  per  musica  del  celebre  Sig.  abate 
Pietro    Metastasio  .  .  .     Da    rappresentarsi    nel    Nuovo    Pubblico 
Teatro  di  Bologna  la  primavera  dell'  anno  1764  .  .  . 
Bologna,  Lassi,  n.  a.     68,  [2]  p.     W"". 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  On  the  last  page  the  addi- 
tional aria  "Se  possono  tanto"  (I,  9).  Impresario's  dedication,  argument,  cast, 
scenario,  and  name  of  Gregorio  Sciroli  as  the  composer.     ("La  musica  6  tutta  nuova. ") 

First  performed  May  3i,  1764,  as  indicated.  Schatz  9781 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  famoso  Teatro  Vendramin  di  S.  Salvatore  per  la  solita  fiera  dell' 
Ascensione  dell'  anno  1759  .  .  . 

Venezia,  Modesto  Fenzo,  1759.     56  p.     15^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
scenario,  cast,  and  name  of  Giuseppe  Scolari  as  composer.  Schatz  9786 

Alessandro  nell'  Indie.  Dramma  serio  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  dell'  Accademia  degli  Awalorati  in  Livorno 
I'autunno  dell'  anno  1791  .  .  . 

[Livorno],  Tommaso  Masi  e  comp.,  n.  d.     4-8  p.     W^. 

Two  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication,  cast, 
scenario,  and  name  of  Angelo  Tarchi  as  the  composer.  On  p.  [26J-34  argument  and 
description  without  name  of  the  composer  of  the  music  of  Francesco  Clerico's  "Am- 
leto,  ballo  tragico  pantomimo,  in  quattro  atti."  His  second,  a  "ballo  comico,"  waa 
called  "I  due  vedovi." 

Schatz  distinguishes  this  opera,  first  performed  at  London,  Haymarket,  spring  of 
1789,  as  first  setting  of  the  text,  from  the  opera  of  the  same  title,  first  performed  at 
Torino,  Regio  Teatro,  carnival  1798,  which  he,  without  giving  his  reasons,  calls  the 
aecond  settmg.  Schatz  10228 


OPERA  LIBRETTOS  63 

Alessandro  nell'  Indie.  Dramma  per  musica  da  rappresentarsi 
nel  rinovato  Teatro  di  Piazza  di  Vicenza  il  came  vale  dell'  anno 
JVIDCCL  .  .  . 

Vicenza,  Pierantonio  Bemo,  1750.     52  p.     15*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
ai^ument,  cast.  Note :  "La  musica  eara  diretta  dal  Sig.  Antonio  Tiraboschi,  maestro 
di  cappella,"  whom  Schatz  calls  the  composer  of  this  opera.  Schatz  10355 

Alessandro  nell'  Indie.  Drama  per  musica  di  Pietro  Metastasio 
fra  gli  Arcadi  Artino  Corasio.  Da  rappresentarsi  nel  Teatro  detto 
delle  Dame  nel  came  vale  dell'  anno  1730  ... 

Roma,  Zempel  e  il  de  Mey,  n.  d.     S3  p.     IS^™-. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of 
Leonardo  Vinci  as  composer. 

First  performed,  as  indicated,  December  26,  1729.  Schatz  10742 

—  Alessandro  nell'  Indie.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  A.  S.  E.  di  Baviera  net  carnevale  dell'  anno  1735. 

Monaco,  Giovanni  Giacomo  Votter,  n.  d.     82,  [1]  p.     15*''^. 

Three  acta.  Argument  and  cast.  By  Metastasio,  who  is  not  mentioned.  The 
composer  unknown  to  Schatz,  but  the  name  of  [Leonardo]  Vinci  is  written  in  pencil 
on  the  title  page.  Schatz  11297 

Alessandro  Severo. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744}  i-  ^j  V-  [•^7'/]- 
355.     i^^™. 

Three  acts.  Argument.  No  composer  is  mentioned.  In  the  "Catalogo"  at  end 
of  t.  X,  date  and  place  of  first  ed.  are  given  as  Venice,  1717.     {See  below.)     ML49.AZ3 

—  Alessandro  Severo.  Pubblicato  per  la  prima  volta  in  Venezia 
1717. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  iv,  p.  353- 
430.     21'='^. 

Three  acts.     Argument.     No  composer  is  mentioned.  ML  49.A2Z4 

Alessandro  Severo.  Dramma  per  musica  da  rappresentarsi  nel 
famoso  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  camovale  del 
1739  .  .  . 

Venezia,  Marino  Rossetti,  1738.     58  p.     15^'^. 

Three  acts.  By  Apostolo  Zeno.  Dedication  by  Dom.  Lalli.  Argument,  scenario, 
cast,  and  name  of  librettist,  but  not  of  composer,  Andrea  Bemasconi. 

First  performed  at  Venice,  as  indicated,  December  27,  1738.  Schatz  867 

—  Salustia.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Vendramin  di  San  Salvatore  per  I'occasione  della  fiera  dell'  Ascen- 
sione  dell'  anno  MDCCLIII  .  .  . 

Venezia,  Modesto  Fenzo,  n.  d.     58  p.     14¥'^- 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Andrea  Bemas- 
coni as  composer,  but  not  of  author  of  libretto,  which  is  a  condensation  and  otherwise 
altered  version  of  Zeno's  "Alessandro  Severo."  In  this  the  three  acts  have  15,  15,  11 
scenes,  in  "Salustia"  12,  12,  11.  Schatz  866 

Alessandro  Severo.  Drama  per  musica,  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S.  Giovanni  Grisostomo  .  .  . 

Venezia,  Marino  Rossetti,  17 17 .     60  p.     15^"^. 

Three  acts.  Dedication  signed  by  the  author,  Apostolo  Zeno,  with  his  initials, 
argument,  cast,  scenario,  and  name  of  Antonio  Lotti  as  composer. 

First  performed,  as  indicated,  December  26,  1716.  Schatz  5714 


64  LIBRARY  OF   CONGRESS 

Alessandro  Severe.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  S.  Benedetto  il  carnovale  dell'  anno  1763. 
Venezia,  Paolo  Colombani,  1763.     48  p.     i5J<='». 

Three  acts.    Argument,  cast,  scenario,  and  name  of  Antonio  Sacchinl  as  the  com- 
poser.    Text  by  Apostolo  Zeno,  who  is  not  mentioned. 
First  performed,  as  indicated,  December  26,  1762.  Schatz  9241 

Alessandro    Severe.     Drama    per   musica   da   rappresentarsi   nel 
Teatro  di  S.  Bartolomeo  nel  maggio  del  1719  .  .  . 
Napoli,  MicTiele  Luigi  Muzio,  1719.     60  p.     W^^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Dedication  dated  Naples, 
May  14,  1719,  argument,  scenario,  cast,  and  name  of  Domenico  Sbjito  as  composer. 

Schatz  9412 

Alessandro  trienfante  nell'  Indie,  ballet.     See  Salieri's  La  scuola 
de'  gelosi. 

Alessandro  vincitor  di  se  stesso.  Dramma  musicale  del  Signor 
Francesco  Sbarra,  gentilhuomo  Lucchese.  Dedicato  all'  Altezza 
Sereniss.  di  Leopoldo  Guglielmo  da  Gio.  Battista  Balbi,  inventore 
degli  apparati  di  scena,  machine,  e  balli.  Rappresentato  in  Venezia 
nel  Theatro  di  S.  Gio.  e  Paolo. 

Venetia,  Giacomo  Batti,  1651.     11  p.  I.,  72  p.     IS""^. 

Three  acts,  with  prologue.  Dedication  dated  Venice,  January  20,  1651,  a  "Lettera 
deir  autore  al  Signor  Michel'  Angelo  Torcigliani  "  dated  Lucca,  December  29,  1650, 
and  argument. 

In  his  "Lettera"  Sbarra  says: 

"II  Padre  Cesti,  miracolo  della  musica,  con  altri  virtuosi  rappresentb  nel  passato 
autimno  un  gentilissimo  dramma  nella  citt^  nostra;  io  se  bene  all'  hora  relegato  in 
letto  da  una  lunga,  e  pericolosa  indispositione,  a  dispetto  del  male,  che  voleva  trk 
I'altre  miserie,  che  seco  adduce,  privarmi  ancora  della  vista  drquesta  virtuosa  attione, 
mi  portai  a  vederla:  il  gusto,  ch'io  ne  retrassi,  fu  riconosciuto  da  me  per  I'unico  mio 
rimedio  .  .  .  Per  sodisfare  all'  istanze  di  questi  virtuosi,  da'  quali  riconosceva  la 
ricuperata  salute,  intrapresi,  e  ultimai  un  dramma,  in  quel  pochi  giomi,  che  d'otio 
mi  concesse  la  mia  convalescenza,  tempo  ma^ore,  e  piu  opportune  non  venendomi 

rjrmesso  dalla  necessity,  che  tenevano  di  rappresentarlo  prontamente  in  Venetia. 
parti,  che  sono  concepiti  in  stato  simile  di  non  intera  saniti,  sono  sepre  imperfetti: 
ma  questi  6  piii  d'ogni  altro,  non  havendo  havuto  ben  minimo  tempo  di  rivederlo, 
necessitate  dall'  angustia  del  tempo  a  lasciarlo  metter  sotto  le  note  nella  stessa  forma, 
che  alia  giornata  I'andava  abbozzado.  S'a^iunge,  che  per  esser  riuscito  troppo 
lungo  per  la  musica,  b  convenuto  a  i  medesimi  d'accorciarlo,  si  che  e  impossibile,  one 
qualche  storpiatura  non  apparisca,  &  in  questa  maniera  mi  avvisano,  che  sono  neces- 
sitati  a  stamparlo  ..." 

He  further  calls  this  "quest'opera,  prima  che  si  stampi,  che  in  questa  conformity 
Bcrivo."    In  his  notice  to  the  "spettatori  del  dramma"  Sbarra  remarks: 

"S6  che  I'ariette  cantate  da  Alessandro,  &  Aristotile,  si  stimerano  cotro  il  decoro 
di  personaggi  si  gradi;  ma  s5  ancora,  ch'e  improprio  il  recitarsi  in  musica,  non  imitan- 
dosi  in  questa  maniera  il  discorso  naturale,  e  togliendosi  I'anima  al  coponimeto  dra- 
matico,  che  no  deve  esser  altro,  che  un'  imitatione  dell'  attioni  humane,  e  pur  questo 
difetto  non  solo  h  tolerate  dal  secolo  corrente;  ma  ricevuto  con  applause;  questa 
specie  di  peesia  hoggi  non  hk  altro  fine  che  il  dilettare,  ende  conviene  accommodarsi 
air  use  de  i  tempi;  se  lo  stile  recitative  non  venisse  intermezzato  con  simili  scherzi, 
porterebbe  piii  fastidio,  che  diletto  .  .  .  se  in  questo  spettacolo  ritroverai  con  che 
appagare  il  tuo  gusto,  il  tutto  riconosci  dall'  esquisitissime  inventioni  del  mirabile 
Sig.  Gio.  Battista  Balbi,  autore  non  meno  de'  balli,  e  delle  machine,  che  d'ogni  altro 
scenico  apparato." 

It  will  be  noticed  that  the  composer,  in  this  case  no  less  a  master  than  Francesco 
Cavalli,  is  mentioned  nowhere. 

First  performed  carnival  1651,  as  indicated. 

(For  further  data,  see  Cesti's  Alessandro  il  vincitor  di  se  stesso,  Lucca,  1654.) 

Schatz  1715 


OPERA   LIBRETTOS       '  65 

Alessandro  vincitor  di  se  stesso — Continued. 

—  Alessandro    vincitor    di    se    stesso.     Dramma    musicale    del 

signer  Francesco  Sbarra,  gentiluomo  lucchese  .  .  . 

Bologna,  Giacomo  Monti,  1655.    front.,  92  p.     W^. 

Prologue  and  three  acts.     Dedication  by  Pietro  Antonio  Cerva,  notice  to  the  reader, 
argument.    The  composer,  Francesco  Cavalli,  is  not  mentioned. 

First  performed  at  Bologna,  Teatro  Gua8ta\-illani,  1655.  Schatz  11681 

Alessio  ed  Eloisa  o  sia  II  disertore,  ballet.  See  Astaritta's  Iper- 
mestra. 

Alexander  in  Indien.     Tr.  of  Fiorillo's  Alessandro  nell'  Indie. 

Alexander  in  Indien.     Tr.  of  Galuppi's  Alessandro  nell'  Indie. 

Alexander  in  Indien.     Tr.  of  Jommelli's  Alessandro  nell'  Indie. 

Alexander  in  Sidon.     Tr.  of  Fr.  Conti's  Alessandro  in  Sidone. 

Alexander  und  Porus.     Tr.  of  Graun's  Alessandro  e  Poro. 

Alexandre  aux  Indes,  opera  en  trois  actes,  represents,  pour  la 
premiere  fois,  sur  le  Theatre  de  rAcademie-rovaie  de  musique,  le 
mardi  26  aotit  1783. 

Paris,  P.  de  Lormel,  1783.     vi,  43  p.     24""^. 

By  Etienne  Morel  de  Chefdeville,  who  is  not  mentioned.     On  p.  ii  Jean  Nicolas 
Le  Froid  de  MSreaux  is  mentioned  as  the  composer.    Cast.  Schatz  6310 

Alexandre  et  Thalestris,  ballet-heroique  en  trois  actes. 

Venard  de  La  Jonchere,  Theatre  lyrique,  Paris,  1772,  t.  i,  p.  [289]- 
343.     18^"^. 

"Avant-propos"  (p.  291-302).     No  composer  mentioned,  and  none  recorded  by 
CI.  &  L.  ML  49.A2L2 

Alexis,  ou  L'erreur  d'un  bon  pere.  Comedie,.  en  un  acte,  et  en  prose, 
mSlee  d'ariettes.  Paroles  du  citoyen  Marsollier,  musique  du  citoyen 
Daleyrac.  Represente  sur  le  theatre  Feydeau,  le  5  pluviose,  an  6  de 
la  R^publique  [January  24,  1798]. 

Paris,  Barha,  (1798).  An  vi.     40  p.     19^'"'". 

Cast.  ML  50.2.A52D2 

Alexis  et  Justine,  comSdie-lyrique,  en  deux  actes  et  en  prose,  m^lSe 
d'ariettes;  representee  pour  la  premiere  fois,  a  Versailles,  devant 
Leurs  Majestes,  le  vendredi  14  Janvier  1785;  &  k  Paris,  sur  le  Th6&tre 
de  la  Comedie  italieime,  le  lundi  17.  Paroles  de  M.  de  Monvel, 
musique  de  M.  De  Zede. 

Toulouse,  BroulUet,  1785.     40  p.  22^"^. 

Cast.  ML  50.2.A53D3 

Alfonso  di  Castiglia,  ballet.     See  Paer's  Tegene  e  Laodicea. 
72251°— VOL  1—14 5 


66  LIBRARY   OF   CONGRESS 

Alfea  reverente.  Rappresentata  nella  seconda  vemita  della  Serenis- 
sima  Vittoria  della  Rovere  gran  duchessa  di  Toscana  in  essa  cittk 
I'anno  1639. 

[Atend]     In  Pisa,  appresso  Francesco  deUe  Dote,  1639.    20  p.    20*^™. 

Historical-allegorical  "funzione,"  "sovra  pompoeo  carro,  tirato  da  sei  bianchi 
e  generoei  dsetieri"  fully  described  on  p.  3-12  preceding  the  text.    On  p.  20: 

"Li  noue  gentiV  huomini  a  caxtaUo  jurono  .  .  .  [follow  the  names,  as  ninth  that 
of]  II  Sig.  cav.  Pietro  Cascina.     Del  quale  sono  I'inventioni,  e  le  compositioni. 

II  carro  fti  disegno  del  Sig.  Alfiere  Giovanni  Navarretti,  la  direzione  del  quale 
oper6  molto  in  questa  funzione. 

Le  musiche  furono  del  Sig.  Antonio  Pisani  organista  della  Chiesa  de  Ca\alieri  di 
S.  Stefano  di  Pisa. 

II  musico  che  rappre8ent6  Alfea  fu  il  Sig.  Luca  Angeletti,  musico  di  S.  A.  S. 

Quello  che  fece  la  prima  ninfa  del  coro,  e  doppo  rappre8ent6  la  Fama,  f u  il  Sig. 
Chrietofano  Bastini,  musico  dell'  eccell.  Repub.  di  Lucca,  condotto  per  questa  fun- 
zionze  dalli  suddetti  nove  gentil'  huomini,  li  quail  fecero  anche  il  rimanente  di 
tutta  la  spesa. 

Le  ninfe  dell'  Amo  erano  musici  delle  due  Cappelle  della  Chiesa  Primatiale,  e  di 
S.  Stefano,  con  I'assistenza  del  Sig.  Lorenzo  Brunelli  maestro  di  capella  della  mede- 
eima  Chiesa  di  S.  Stefano,  in  assenza  del  medeeimo  Sig.  Pisani."  Schatz  8191 

Alfonso,  dramma  per  miisica  rappresentato  per  regie  comando  in 
Dresda  in  occasione  delle  auguste  nozze  di  Carlo  re  delle  Due  Sicilie, 
e  Amalia,  principessa  reale  di  Polonia,  duchessa  di  Sassonia, 
MDCCXXXVIII. 

n.  i.,  n.  d.     4  p.  I.,  68,  22  p.     18^'"". 

At  end  of  opera  the  imprint  of  "la  vedova  Stossel." 

Five  acts.  Dedication  by  the  author  Stefano  Benedetto  Pallavicini,  argument, 
caat,  and  name  of  Johann  Adolph  Hasse  as  the  composer. 

The  22  additional  pages  contain  text  (by  unknown  author)  and  cast  of  Hasse'a 
"II  tutore.  Intermezzi  ...  In  Dresda,  I'anno  1738,"  first  performed  at  Naples, 
Teatro  di  S.  Bartolomeo,  1730. 

"Alfonso"  was  first  performed  as  indicated,  May  11,  1738.  Schatz  4510 

—  Alfonso,  dramma  per  musica  rappresentato  per  regio  comando 
in  Dresda  .  .  .  MDCCXXXVIII. 

Dresden,  verwittibte  Hqf-hucMr.  Stoessel,  n.  d.     135  p.     16Y'^. 

Five  acts.  Argument,  cast,  scenario,  names  of  Pallavicini  as  author,  of  Hasse 
as  the  composer.  The  same  as  Schatz  4510,  except  that  German  title  "Alfonso" 
and  text  face  Italian  and  that  the  intermezzi  do  not  appear  in  this  edition,  issued  in 
honor  of  the  same  nuptial  festivities.  Schatz  4511 

Alfonso  Primo.  Drama  per  musica.  Da  recitarsi  nel  Teatro  Ven- 
dramino  di  S.  Salvatore.     L'anno  1694.     Di  Matteo  Noris  .  .  . 

Venetia,  Nicolini,  1694.     ^4  P-     H'^'^- 

Three  acts.  Author's  dedication,  brief  argument,  and  scenario.  The  composer, 
Carlo  Francesco  PoUaroli,  is  not  mentioned.  Schatz  8268 

Alfred :  a  masque.  Represented  before  Their  Royal  Highnesses  the 
prince  and  princess  of  Wales,  at  Cliff  den,  on  the  fii'st  of  August,  1740. 

London,  Printed  for  A.  MiUar,  1740.     44  p.     19^'^. 

Two  acts.  Cast.  Neither  authors  nor  composer  mentioned.  {See  next  entry.) 
On  p.  42-43  "An  ode.     When  Britain,  first,  at  heaveri's  command."    AC  901.M5v.590 

—  Alfred,  a  masque.  As  it  is  now  revived  at  the  Theatre-Royal,  in 
Drury  Lane,  by  His  Majesty's  servants. 

London,  T.  CadeU  and  T.  Beclcet  [etc.],  1 773.     4  p.  I.,  72,  [2]  p.    19^"^. 

Three  acts  and  "Prologue,  by  a  friend.  Spoken  by  Mr.  Garrick,  when  it  was  first 
acted."    Cast,  argument,  and  this  prefatory  note: 

"Alfred,  a  masque,  was  written  by  Mr.  [James]  Thompson,  in  conjunction  with 
Mr.  [David]  Mallet,  at  the  request  of  his  Royal  Highness  Frederick  Prince  of  Wales, 


OPERA   LIBRETTOS  67 

Alfred — Continued . 

before  their  Royal  Highnesses,  on  the  first  of  August,  1740.  Ten  years  after  it  was 
adapted  for  the  stage  by  Mr.  Mallet  and  was  received  with  great  applause.  Mr. 
Mallet,  in  his  advertisement  (after  giving  an  account  of  his  joining  with  Mr.  Thompson 
in  the  performance)  goes  on — 

"  'But  to  fit  it  for  the  stage,  I  foimd  it  would  be  necessary  to  new  plan  the  whole, 
as  well  as  write  the  particular  scenes  over  again;  to  enlarge  the  design,  and  make 
Alfred  what  he  should  have  been  at  first,  the  principal  figure  in  his  own  masque. 
This  I  have  done;  but,  according  to  the  present  arrangement  of  the  fable,  I  was 
obliged  to  reject  a  great  deal  of  what  I  had  written  in  the  other,  neither  could  I  retain 
of  my  friend's  part,  more  than  three  or  four  single  speeches,  and  a  part  of  one  song, 
I  mention  this  expressly,  that  whatever  faults  are  found  in  the  present  performance, 
they  may  be  charged,  as  they  ought  to  be,  entirely  to  my  account. 

"  'D.  Malletr 

The  note  then  goes  on  to  say : 

"It  is  now  rev-ived  with  some  few  alterations,  and  with  some  new  music;  the 
favourite  airs  of  Dr.  Ame,  as  they  stood  in  the  masque  altered  by  Mallet,  are  reserved; 
there  are  some  few  alterations,  which  are  now  published." 

David  Garrick  is  supposed  to  have  been  responsible  for  this  second  revision. 
The  last  [2]  p.  contain  "^Mien  Britain  first,  at  heav'n's  command,"  with  first  refrain 
line  "Rule,  Britannia,  rule  the  waves"  and  headed  by  note:  "The  following  song 
was  altered  by  the  author,  and  is  now  printed  as  it  is  sung." 

First  performed  at  Cliefden,  August  1,  1740;  at  Dublin,  Theatre  Royal  in  Smock 
Alley,  March  10,  1744;  at  London,  Drury  Lane,  March  20,  1745,  in  an  altered  version 
and  further  altered  at  London,  Drury  Lane,  February  23,  1751.  The  above  version 
was  first  performed,  as  indicated,  October  9,  1773.  Longe  36 

Alfredo  il  grande,  re  degli  Anglo-Sassoni,  ballet  by  Trento.  See 
Bianchi's  Seleuco. 

Alfsol.  Plan  eines  singspieles  von  fiinf  acten,  in  einem  briefe  an 
den  herausgeber. 

7^*=™.     p.  205-229.     {Cramer's  Musik,  Copenhagen,  1789.) 

Signed  by  Sander.  ML  4.M3 

Aline,  dronning  i  Golconda,  en  opera  i  tre  acter.  Oversat  af  det 
franske  til  lir.  capellmester  Schulzes  musik  ved  Thomas  Thaarup  .  .  . 
Andet  oplag. 

Ki0hen7iavn,  Johan  Frederick  Schultz,  1789.    46  p.     16'^"^. 

Prefatory  note  by  the  translator,  "Udtog  af  den  franske  fortaelling,"  and  cast. 
Johann  Abraham  Peter  Schulz'  "Aline,  reine  de  Golconde,"  text  by  Sedaine,  was 
first  performed  before  Prince  Henry  of  Prussia  at  Rheinsberg  in  1787,  and  in  this 
Danish  version  at  the  Royal  Theatre,  Copenhagen,  January  30,  1789.      Schatz  9717 

—  Aline,  koniginn  von  Golconda.     Eine  oper  in  drey  acten. 
W"".     p.  [298]'346.     (Cramer's  Musik,  Copenhagen,  1789.) 

Carl  Friedrich  Cramer's  own  translation,  with  "vorbericht"  of  Sedaine's  text,  as 
composed  by  Schulz.  ML  4.M3 

Aline,  reine  de  Golconde. 

Three  acts,  text  by  Sedaine,  music  by  Monsigny. 
First  performed  at  Paris,  Acad^mie  royale  de  musique,  April  15,  1766. 
Not  in  L.  of  C. 

This  title  appears  on  the  original  score  as  published  by  H^rissant  and  appears  to 
be  the  O.  T.  ol  the  following: 

'—  La  reine  de  Golconde,  opera  en  trois  actes,  repr^sent^,  pour  la 
premiere  fois,  par  TAcad^mie-royale  de  musique,  en  1766.  Et  remis 
au  Theatre  le  mardi  26  mai  1772. 

Paris,  de  Lormel,  1772.     69  p.     25^"". 

Sedaine  is  mentioned  as  author,  but  Monsigny  not  a3  composer.  Argument  and 
cast.  Schatz  6587 


68  LIBRARY   OF   CONGRESS 

Aline,  reine  de  Golconde.  O.  T.  of  Schulz's  Aline,  droiming  i 
Golconda  and  Aline,  koniginn  von  Golconda. 

Alisbelle,  ou  Les  crimes  de  la  f^odalit^,  opera  en  trois  actes,  en  vers, 
par  le  citoyen  Desforges,  musique  du  citoyen  Louis  Jadin. 
Paris,  Prault  I'aine,  ventose  Van  II.  [1794].     48  p.     20^'^'". 

First  performed  at  Paris,  Th^^tre  National,  rue  de  la  Loi,  February  27,  1794. 

ScHATZ  4949 

Le  allegrezze  per  le  vittorie  di  Scipione,  ballet.  See  Galuppi's 
Sofonisba. 

L'allegria  della  campagna.  Commedia  per  musica  da  rappresen- 
tarsi  nel  Teatro  Nuovo  sopra  Toledo  per 'prim'  opera  di  questo 
corrente  anno  1791. 

Napoli,  Vincenzo  Flauto,  n.  d.     4'^  P-     ^^i*^™- 

Two  acts.  Cast  and  name  of  Marcello  di  Capua  as  composer.  Librettist  not 
mentioned,  and  unknown  to  Schatz.  Schatz  839 

Alles  aus  liebe.     Tr.  of  Naumann's  Tutto  per  amore. 

L'alliance  de  Romulus  et  de  Tatius. — Der  fried  zwischen  Romulo 
und  Tatzio,  ballet.     See  Sacchini's  Scipione  in  Cartagena. 

L'allure.  Piece  en  im  acte.  Representee  k  la  Foire  Saint  Laurent. 
1732. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  2,  pi.,  [169]-215  p.    17""^. 
By  Carolet.    The  airs,  probably  selected  or  composed  and  arranged  by  Jean  Claude 
Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed  September  27,  1732.  ML  48.L2 

L'Almadero.     Drama  per  musica,  da  rappresentarsi  nel  Teatro  di 
Castello;  composto  .  .  .  dal  marchese  Armibale  Lanzoni  .  .  . 
Mantova,  gli  Osanna ,  1 667 .     86  p.     lo'"". 

Three  acts.  Author's  dedication,  dated  Mantova,  April  30,  1667,  argument.  The 
composer  is  not  mentioned,  and  is  unknown  to  Schatz.  Schatz  11298 

Almansore  o  sia  II  pregindizio  che  nasce  dal  mancare  di  oarola. 
O.  T.  of  Pollaroli's  Almansore  in  Alimena. 

L' Almansore  in  Alimena.  Drama  per  musica.  Da  recitarsi  nel 
Teatro  di  Sant'  Angelo  I'anno  1703  ... 

Venetia,  Girolamo  Alhrizzi,  n.  d.     60  p.     15'^'^. 

Three  acts.  By  Giov.  Matteo  Giannini,  who  is  not  mentioned.  Impresario's 
dedication,  argument,  scenario,  and  notice  to  the  reader,  with  the  name  of  Carlo 
[Francesco]  Pollaroli  as  the  composer.  If  the  impresario,  Giovanni  Orsato,  says  that 
"questo  drama  .  .  .  nel  Teatro  di  Reggio  di  Modona  h4  saputo  riportame  i  primi 
applausi,"  he  refers  to  the  performances  there  of  the  opera  in  1696,  under  the  title 
of    Almansore  o  sia  II  pregiudizio  che  nasce  dal  mancare  di  parola." 

First  performed  at  Bologna,  Teatro  Pubblico  della  Sala,  carnival,  1690. 

Schatz  8269 

Almena :    an  English  opera.     As  it  is  performed  at  the  Theatre- 
Royal  in  Drury-Lane.     Written  bv  Mr.  Kolt  .  .  .     The  music  com-* 
posed  by  Mr.  Arne  and  Mr.  Battishill. 
London,  T.  BecTcet  and  P.  A.  de  Hondt,  1764.     4  p.  l,  32  p.     19^"^. 

Three  acts.  Cast  and  argument.  The  last  p.  1.  a  publishers'  book-list.  The  Arne 
mentioned  is  Michael,  not  Thomas  Augustine.  Thompson's  vocal  score  mentions 
only  Battishill  as  composer. 

First  performed  November  2,  1764,  as  indicated.  Longe  37 


OPEKA   LIBBETTOS  69 

L'Almeria.     Nuovo    dramma    per    musica    da    rappresentarsi    in 
Livorno  nel  Teatro  da  S.  Sebastiano  la  primavera  deli'  anno  1761. 
Livorno,  Gio.  Paolo  Fantechi,  1761.     port.,  xvi,  88  p.     17^^. 

Three  acts.  By  Marco  Coltellini,  whose  port,  adorns  the  book.  Coltellini's  dedi- 
catory poem  to  Metastasio,  cast,  scenario,  name  of  Giovanni  Francesco  de  Majo  as 
composer,  and  notice  to  the  reader,  containing  argument,  statement  that  certain 
indicated  lines,  for  brevity's  sake,  were  not  composed,  and  this  remark: 

"II  pubblico,  che  e  il  giudice  piii  compet«nte  delle  opere  di  teatro,  quando  mi 
metta  in  conto  anche  le  angiistie,  in  cui  e  ndotta  la  tragedia  dalle  leggi  della  musica, 
non  potra  a  meno  di  accordarmi  un  cortese  compatimento  per  un  primo  parto  ..." 

ML  50.2.A54M3 

^^L'Almerico  in  Cipro.     Drama  per  musica  di  Girolamo  Castelli. 
Da  recitarsi  nel  Teatro  di  S.  Moise  I'anno  1675  .  .  . 
Venetia,  Francesco  Nicolini,  1675.     66,  [1]  p.     14'^"^. 

Three  acts.  Author's  dedication  dated  Venice,  November  30,  1674,  notice  to  the 
reader  with  name  of  Antonio  dal  (del)  Gaudlo  as  the  composer,  argument  and  scenario. 

ScHATZ  3635 

L'Almerinda.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
San  Casciano  I'anno  1691  ... 

Venetia,  Girolamo  Alhrizzi,  1691.     68  p.     13^"^. 

Three  acts.  Impresario's  dedication  dated  Venezia,  January  20,  1690,  author's 
notice,  argument,  scenario,  and  name  of  the  composer,  Giuseppe  Boniventi.  The 
author,  Giulio  Pancieri,  w^ho  is  not  mentioned  by  name,  informs  the  reader  that  this 
is  the  totally  changed  version  of  a  pre\'iou8  libretto  which  he  does  not  mention  by 
title.  ScEiATZ  1187 

L'Almira.     Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Giovanni  e  Paolo  I'anno  1691  .  .  . 
Venetia,  Girolamo  Alhrizzi,  1691.    front.,  68  p.     14*^^. 

Three  acts.  Impresario's  dedication,  dated  Venice,  November  22,  1691,  author's 
notice,  argument,  scenario,  and  name  of  the  composer,  Giuseppe  Boniventi,  but  not 
of  the  librettist,  Giulio  Pancieri.  Schatz  1188 

Almira,  koenigin  in  Castilien.  A.  T.  ol  Reiser's  Der  durch- 
lauchtige  secretarius. 

Almira,  koenigin  von  Castilien.  A.  T.  of  Handel's  Der  in 
krohnen  erlangte  glueckswechsel. 

Alonso  e  Cora.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1786. 

Venezia,  Modesto  Fenzo,  1786.     55  p.     18^^- 

Two  acts.  Notice  tothe  reader,  argument,  cast,  scenario,  and  name  of  composer, 
Francesco  Bianchi,  but  not  of  the  librettist,  Giuseppe  Foppa.  On  p.  [25]-34  argument 
and  full  description  of  "Gli  amori  di  Clodio  e  Pompea,  oallo  eroico  pantomimo,"  in 
five  acts  by  Antonio  Muzarelli,  "esposto  per  la  prima  volta,"  music  ("tutta  nuova") 
by  Vittorio  Trento. 

First  performed  February  7,  1786,  as  indicated.  Schatz  994 

Alonso  e  Cora,  ballet.     See  Bianchi's  Piramo  e  Tisbe. 

Alonzo  e  Cora.     A.  T.  of  the  ballet  La  vergine  del  Sole. 

Alonzo  e  Cora,  ballet.     See  Bianchi's  Aspard. 

Die  als  magd  geworde.ne  frau.  Tr.  of  Pergolesi's  La  serva  pa- 
drona. 


70  LIBRABY  OF  CONGRESS 

Alsinda.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  came  vale  dell  anno  1785  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     16"^. 

Three  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Dedication,  ail- 
ment, cast,  scenario,  and  name  of  Nicola  Antonio  Zingarelli  as  the  composer.  With 
the  op)era  were  performed,  composers  of  the  music  not  mentioned,  Sebastiano  Gallet's 
ballets  "II  signore  benefico,"  '41  maniscalco  francese"  and  "Mascherata."  Descrip- 
tions of  these  are  remarked  to  ha^e  been  published  separately. 

First  performed,  as  indicated,  February  22,  1785.  Schatz  11264 

Der  alte  freyer,  eine  komische  oper  in  einem  aufzuge.  Verfertigt 
iind  in  musik  getzt  von  Johann  Andre. 

Frankfurt  am  Mayn,  Johann  Christian  Gehhard,  1775.     72  y.  15^^. 

Andr6  characterizes  in  a  prefatory  note  as  "dumme  Beschuldigungen  "  the  report: 
"ich  hatte  meine  musick  zum  Topfer  aus  franzoeischen  operetten  genommen." 
J'irst  performed  at  Berlin,  Dobbelinsches  Theater,  October  2,  1775. 

Schatz  178 

Der  alte  ueberall  und  nirgends.  Erster  theil.  Ein  schauspiel 
mit  gesang  in  fiinf  aufziigen,  nach  der  geistergeschichte  des  herrn 
Spiess  bearbeitet  von  Karl  Friedrich  Hensler,  Die  musik  ist  von 
herrn  Wenzel  ^liiller  ... 

Wim,  J  oh.  Bapt.  Wallishausser,  1796.     96  p.     W"^. 

"Aufgefuehrt  zum  erstenmale  auf  der  k.  k.  priv.  Marinellischen  Schaubiihne  in 
Wien,"  Jime  10,  1795.  Schatz  6906 

—  Der  alte  ueberall  und  nirgends.    Zweyter  theil  .  .  . 
Wien,  Joh.  Bapt.  WaUishamer,  1796.     102  p.     W^'K 

"Aufgefuehrt  zum  erstenmale  auf  der  k.  k.  priv.  Marinellischen  schaubuhne  in 
Wien,"  December  16,  1795  (Schatz),  December  10  (Krone).  Schatz  6907 

Arien  und  gesange  aus  der  komischen  oper:  Alter  schiitzt  fur 
thorheit  nicht.     In  einem  aufzuge. 

Hamburg,  J.  M.  Alichaelsen,  1781.     16  p.     17""^. 

By  Friedrich  Ludwig  Wilhelm  Meyer.  Neither  he  nor  the  composer,  Johann 
Andx6,  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  June  14,  1781;  at  Mann- 
heim, Churf.  deutsche  Schaubuhne,  June  20,  1779.       Schatz  179 

L'Alvilda.  Dramma  per  musica.  Da  rappresentarsi  nel  nobilissimo 
Teatro  Grimani  di  S.  Samuele  in  tempo  della  fiera  dell'  Ascensione 
Tanno  1737. 

Venezia,  Marino  Rossetti,  1737.     48  p.     W"". 

Three  acts.  "L'amor  generoso"  by  Apostolo  Zeno,  retouched  by  Dom.  Lalli, 
neither  mentioned.  Lalli's  dedication,  argument,  cast,  and  name  of  Galuppi  as 
composer. 

First  performed,  as  indicated.  May  29,  1737.  Schatz  3480 

L'Alvilda,  regina  de  Goti.  A.  T.  of  Pallavicino's  L'Amazone 
corsara. 

Alzira.     Dranmia  per  musica  da  rappresentarsi  nel  Teatro  da  S. 

Agostino  il  carnovale  dell'  anno  1797  .  .  . 
Genova,  Stamperia  Gesiniana,  n.  d.     55,  [1]  p.     14h'"^- 
Two  acts.    The  author  is  not  mentioned,  and  is  unknown  to  Schatz.    Cast,  scenario, 

and  names  of  Giuseppe  Nicolini  as  composer  of  the  opera  ("affatto  nuova"),  and  of 

Santi  Trento,  of  the  ballet  music.  Schatz  7153 


OPERA   LIBRETTOS  71 

Ama  chi  t'ama.  Dramma  per  musica  fatto  recitare  da'  SS.  Con- 
siglieri  nel  Teatro  di  Siena,  Tanno  1682. 

Siena,  Stamparia  del  puhhlico,  n.  d.     J^5  p.     13^''^. 

Prologue  and  three  acts.  Dedication  of  this  "operetta,"  dated  Siena,  February  6, 
1682.    Unknown  to  Schatz.  ML  50.2.A57 

Ama  piu  chi  men  si  crede.  Melodrama  pastorale  da  rappresen- 
tarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nell' 
autunno  ^IDCCIX  .  .  . 

Venezia,  Marino  Rossetti,  1709.     71,  [1]  p.     l/^Y"^. 

The  add.  p.  contains  a  list  of  "Opere  musicali  sin'  ora  stampate  in  Venezia  da 
Antonio  Bortoli." 

Three  acts.  Dedication  signed  by  the  author,  Francesco  Silvani,  and  dated 
Venice,  November  20,  1709,  argument,  notice  to  the  reader,  cast,  scenario,  and  name 
of  Antonio  Lotti  as  the  composer.  Schatz  5715 

Amadi.  Tragedia  per  musica  di  Filippo  Quinault.  Traduzione 
deir  abate  Gaetano  Sertor. 

Venezia,  Nuova  Stamperiu,  1793.     xi,  72  p.     12^'^. 

Five  acts.  Argument,  "Giudizi  ed  aneddoti  sopra  1' Amadi"  (p.  vii-xi),  without 
even  hinting  at  a  composer.  Schatz  11666 

Amadigi  di  Gaula. 

Three-act  opera  by  Georg  Friedrich  Handel.  Text  supposedly  by  John  James 
Heidegger. 

First  performed  at  London,  Haymarket,  May  25,  1715. 
Not  in  L.  of  C. 

—  Oriana.  [vignette.]  Wurde  in  einem  singe-spiel  auf  dem  Ham- 
burgischen  Scliau-Platz  vorgestellet  im  monath  September  1717. 

Hamburg,  gedruckt  mit  set.  Friedrich  Conrad  Grejlingers  schrifften, 
n.  d.      Unpaged.     18'^'^. 

Three  acts.  German  version  by  Joachim  Beckau  of  Heidegger's  "Amadigi  di 
Gaula."  Neither  they  nor  the  composer,  Georg  Friedrich  Handel,  are  mentioned. 
The  Italian  text  of  the  arias  is  added  to  the  German.  Schatz  4474 

Amadis,  tra^edie  en  musique,  representee  par  I'Academie  royale  de 
miisique.     Suivant  la  copie  imprim^e  a  Pans. 

[Amsterdam,  Antoine  ScheUe],  1687.     60  p.  .{incl.  front.)     14*^. 

Pr6l(^:ue  and  five  acts.    Neither  Quinault  nor  Lully  mentioned. 

ML  50.2.A59L9 

—  Amadis,  tragedie  representee  par  I'Academie  royale  de  musique 
I'an  1684.  Les  paroles  de  M.  Quinault,  e  la  musique  de  M.  de 
Lully.     XVI.  opera. 

n.i.,n.d.  IJf.'^^.  front.,  /fSl-J^l  p.  {Recueil  general  des  opera, 
t.  a,  Paris,  1703.) 

Detached  copy.    Five  acts  and  prol<^;ue. 

First  performed,  as  indicated,  January  18,  1684.  Schatz  5759 

Second  copy.    ML  48. R4 

—  Am.adis,  tragedie  en  musique.  Representee  par  I'Academie 
royale  de  musique,  le  15.  Janvier  1684. 

Philippe  Quinault,  Theatre,  Paris,  1739,  t.  v,  pi,  p.  [249]-311. 
17^^. 

Prolc^ue  and  five  acts.     Lully  is  not  mentioned.  PQ  1881. Al    1739 


72  LIBRABY  OF  CONGRESS 

Amadis  de  Qrece,  tragedie  representee  par  TAcademie  royale  de 
musique. 

Amsterdam,  les  Mritiers  d'Antoine  Schelte,  1699.  60  p.  {incl. 
front.)     15^"^. 

Prologue  and  five  acts,  with  Houdar[!]  De  La  Motte's  dedicatory  poem  tq  the  King. 
Destouches  is  not  mentioned.  ML  50.2.A595D2 

—  Amadis  de  Grece.  Tragedie  representee  par  I'Academie  royale 
de  musique  Fan  1699.  Les  paroles  de  M.  de  la  Mothe,  e  la  musique 
de  M.  Destouches.    XL VII.  opera. 

n.i.,n.d.  front. ,  p.  355 -412.  (Recueil  general des  opera,  t.vi,  Paris, 
1703.)     W"". 

Detached  copy.    Prologue  and  five  acts,  with  laudatory  poem  to  the  King. 
First  performed,  as  indicated,  March  26, 1699.  Schatz  2543 

Second  copy.    ML  48. R4 

—  Amadis  de  Grece.  Tragedie  representee  par  I'Academie  royale 
de  musique  de  Paris,  les  vingt-six  mars  1699,  trois  novembre  1711  & 
deux  mars  1724.  Et  par  L'Academie  royale  de  musique  de  Lyon 
en  1742. 

Lyon,  Aime  Delaroche,  17^2.    60  p.    23^"^, 

Cast,  Schatz  2543A 

—  Amadis  le  cadet.  Parodie  d'Amadis  de  Grece.  Representee 
pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le 
24.  mars  1724. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  id.,  Paris,  1738, 
t.ii,  [279]-328  p.     16^"^. 

One  act.  By  Fuzelier  {see  1. 1).  The  aire  and  vaudeville  used  are  printed  at  the 
end  of  the  volume  in  the  "Table  des  Airs"  (60  p.).  ML  48. PS 

Amage,  regina  de'  Sarm.ati.  Dramma  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  S.  Angelo.  L'anno  1694.  Di  Giulio  Cesare 
Corradi  ... 

Venetia,  Nicolini,  1694.     60  p.     i^^"*. 

Three  acts.  Author's  dedication,  argument,  and  scenario.  The  composer.  Carlo 
Francesco  Pollaxoli,  is  not  mentioned. 

This  libretto  would  seem  to  contradict  Allacci,  Wotquenne,  Schatz,  etc.,  who  give 
the  date  of  first  performance  as  fall  of  1693,  at  the  same  theatre.  Schatz  8270 

Amalasunta.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Angelo  nel  Carnevale  dell'  anno  1719  .  .  . 
Venezia,  Marino  Rossetti,  1719.    60  p.     15""^. 

Three  acts.  By  G[iacomol  G[abrieli].  Author's  dedication  dated  Venice,  Decem- 
ber 24,  1718,  argument,  cast,  scenario,  and  name  of  the  composer,  Fortunato  CheUeri. 

Schatz  1811 

L'am.alato  per  am.ore.     A.  T.  of  Astaritta's  II  medico  parigino. 

Les  am.ans  brouilles,  comedie  en  im  acte,  et  en  vers,  meiee  d'ari- 
ettes.     Par  M.    D.  L.  *  *  *,     Mise  en  musique  par  M.  D.  .  .  . 

Paris,  veuve  Duchesne,  1776.     30,  [i]  p.     19^"^. 

Author,  composer  and  date  of  first  performance  imknown  to  me.    ML  50.2.A62 

Les  amans  inquiets.     Parody  of  Colasse's  Thetis  et  Peiee. 


OPERA   LIBRETTOS  73 

Les  amans  reunis — Die  wieder  vereinigten  freier,  ballet.  See 
Sacchini's  Scipione  in  Cartagena. 

Les  amans  trompes,  piece  en  un  acte  m616e  d'ariettes,  par  Mrs. 
Anseaume  &  de  Marcouville.     Representee  pour  la  premiere  fois  & 
rOpera-comique,  sur  le  Th6^tre  du  Fauxbourg  St.  Laurent  le  lundi 
26.  juillet  1756. 
Paris,  Duchesne,  1766.     86  p.     19^'^'^. 

Cast.  On  p.  64-86  the  same  airs  as  in  next  entry.  The  arranger  and  composer  of 
the  music  is  not  recorded  by  Schatz,  whereas  Towers  attributes  the  music  to  Laruette. 

ML  50.2.A63 

—  Les  amants  trompes,  piece  en  un  acte,  melee  d'ariettes,  repre- 
sentee pour  la  premiere  fois  a  I'Opera-comique,  sur  le  Theatre  du 
Fauxbourg  Saint  Laurent,  le  lundi  26  juillet  1756.  Par  Mr.  An- 
seaume. 

Paris,  veuve  Duchesne,  1756.     84  p-     19*^^. 

On  p.  62-84  the  "Airs  des  Amants  trompes":  "Revenez  cher  amant,"  "Pour 
I'objet  qui  rfe»ne,"  "Lorsque  deux  coeurs,"  "Dans  I'exces  de  sa  tendresse,"  "Quelle 
cruaute!  Si  1 'inconstant,"  "L'amant  d^licat,"  "Ma  vive  tendresse,"  "Vous  ne  devez 
rien  menager,"  "C'est  pour  jamais,"  "Loin  d'imiter  son  inconstance,"  "Ne  me  parle 
plus  d'Emilie,"  "N'est-ii.  n'est-il  done." 

Schatz  11478 

L'am.ant  deguise  ou  I^e  Jardinier  suppose,  com^die  en  un  acte, 
m^l^e  d'ariettes;  representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  samedi  2  septembre  1769.  La  musique 
est  de  M.  Philidor. 

Paris,  la  veuve  Dvxhesne,  1769.  iv,  4^  p.  19*^'^.  (Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  x.) 

Cast.  On  p.  46-47  the  air  of  the  final  vaudeville  "Pour  les  amans  &  les  belles." 
The  authors,  Favart  and  Voisenon,  are  not  mentioned.  Text  preceded  by  this 
Avertissement: 

"Cette  bagatelle  fut  representee  au  Theatre  italien  au  mois  de  Juin  1756,  sous  le 
litre  de  la  Plaisantene  de  campagne:  elle  fut  regue  avec  plaisir;  son  succ^s  fut  inter- 
rompu  par  la  maladie  &  la  mort  de  Mademoiselle  Silvia.  On  a  cru  pouvoir  remettre 
cette  piece  au  theatre,  en  y  ajoiitant  des  ariettes  pour  se  conformer  au  godt  dominant. 
M.  Philidor  a  bien  voulu  se  pr§ter  k  cette  tentative,  &  nous  esperons  que  le  public 
aura  assez  de  bont^  pour  nous  savoir  gr^  des  efforts  que  nous  avous  faits  pour  con- 
tribuer  k  son  amusement."  ML  49.A2F1 

—  L'am.aiit  deguise,  ou  Le  jardinier  suppose,  comedie  en  un  acte, 
m§16e  d'ariettes,  representee  pour  la  premiere  fois  par  les  Com6diens 
italiens  ordinaires  du  roi,  le  2  septembre  1769.  La  musique  est  de 
M.  Philidore.[!] 

Paris,  La  veuve  Duchesne,  1772.     35  p.     18""^. 

By  Charles  Simon  Favart  and  Claude  Henri  Fus^e  de  Voisinon,  who  are  not  men- 
tioned.   Cast  and  air  (on  p.  34-35)  of  the  vaudeville  "Pour  les  amants  &  les  belles." 

Schatz  8005 
Second  copy.    Yudin  PQ 

—  L'am.ant  deguise,  ou  Le  jardinier  suppos6,  comedie  en  un  acte, 
m^lee  d'ariettes.  Representee  pour  la  premiere  fois  par  les  Come- 
diens italiens  ordinaires  du  roi,  le  2  septembre  1769.  La  musique 
est  de  M.  Philidor. 

Paris,  la  veuve  Duchesne,  1785.     36  p.     W^"^. 

Cast.  On  p.  11-14  the  ariette  "Que  la  campagne  est  un  sejour"  and  on  p.  36-37 
the  vaudeville  "Pour  lea  amans  &  les  belles."  The  authors,  Favart  and  Voisenon, 
are  not  mentioned.  Schatz  11735 


74  LIBBABY  OF  CONGBESS 

—  Dei  verkleidete  liebhaber  oder  Der  verstellte  gaertner,  ein  sing- 
spiel  in  einem  aufzuge  aus  dem  franzoesischen  uebersetzt  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1774-  53  p.,  16 p. 
(folded  music)     17*^"*. 

Translated  by  Johann  Heinrich  Faber,  Neither  he  nor  the  composer,  Philidor, 
is  mentioned.  The  music  (voice  and  bass)  consists  of:  "Ein  gartner  ist"  ^I,  2)  ["  Un 
jardinier  est  un grand  homme"],  "Nur  inderstadt"  (I,  3)  ["J'aimela  ville  ],  "Lustig 
eeyn  die  Schwobemaidle "  (I,  5)  ["Toute  fiUe  en  Provence"].  Cast  of  Theob.  Mar- 
chand's  company.  Schatz  8006 

L'amant  jalouz.     A.  T.  Gr4»try's  Les  fausses  apparences. 

L'amant  statue,  com^die  en  un  acte  et  en  prose,  mdl6e  d'ariettes. 
Representee,  pour  la  premiere  fois,  par  les  (Jom^diens  italiens  ordi- 
naires  du  roi,  le  jeudi  4  aodt  1785. 
Paris,  Brunet,  1786.     52  p.     19^""". 

Neither  the  author,  Desfontaines,  nor  the  composer,  Dalayrac,  is  mentioned. 

ML  50.2.A64  D2 

—  De  minnaer  standbeeld :  zangspel.  Gevolgd  naar  het  fransch, 
door  W.  van  Ollefen  [vignette]. 

Amsterdam,  J.  Helders  en  A.  Mars,  1794-     4^  p-     19^'^"', 

Vignettes.    Translator's  "Opdragt  aan  den  heere  B.  Ruloffs,"  dated  Amsterdam, 

March  15,  1794,  and  privilege  notice,  dated  Amsterdam,  March  20,  1794. 

Schatz  2388 

L'amante  cabala.     Intermezzo. 

(Carlo  Goldoni,  Opere  drammatiche  giocose,  t.  iv,    Torino,  1757.) 

{110]-152  p.     16^^^^. 

Three  parts.  Original  composer  unknown  to  Schatz,  who  dates  first  performance 
Venice,  Teatro  di  S.  Samuele,  fall  1736.  ML  49.A2G6 

—  L'amante  cabala.     Intermezzo  di  tre  parti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efgli,  1788-95,  t.  35, 
{9S\-140  p.     18\'^\  PQ 

L'amante  che  spende.  O.  T.  of  Tassi's  libretto  II  cavalier  mag- 
nifico. 

L'amante  che  spende.     Dramma  giocoso  per  musica  da  rappre- 
seutarsi  nel  Teatro  Giustiniani  di  S.  Moise  I'autunno  dell'  anno  1770. 
Venezia,  Antonio  Graziosi,  1770.     54  p-     18^^. 

Three  acts.  Dedication,  cast,  scenario,  and  names  of  Niccol6  Tassi  as  author,  of 
Pietro  GugUelnai  as  composer.  Schatz  4309 

L'amante  combattuto  dalle  donne  di  punto.     Commedia  per 
musica  di  Giuseppe  Palomba  da  rappresentarsi  nel  Nuovo  Teatro  de' 
Fiorentini  per  prima  opera  di  quest'  anno  1781. 
Napoli,  n.  puhl,  1781.     71  p.     W"^. 

Three  acts.     Cast  and  name  of  the  composer,  Domenico  Nicola  Cimarosa. 

Schatz  1994 

L'amante  confuso.  Commedia  per  musica  di  Saverio  Zini.  Da 
rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  autunno  de  corrente 
anno  1772. 

Napoli,  Raffade  Lanciano,  1772.     3  p.  l,  68  p.     15^"^. 

Three  acts.  Argument,  scenario,  cast,  and  name  of  Pasquale  Anfossi  as  com- 
poser. Schatz  258 


OPERA   LIBRETTOS  75 

L'amante  contrastata.     Dramma  giocoso  del  Signor  D.  Giacomo 

Lendenesi  da  rappresentarsi  nel  Teatro  Giustiniani  di  S.  Moise  I'au- 

tunno  deir  anno  1768. 

Venezia,  Modesto  Fenzo,  1768.     60  p.     IS^*^. 

Three  acts.     Cast,  scenario,  and  name  of  the  composer,  Alesaandro  Felici. 

ScHATz  3053 

L'amante  del  cielo.     Dramma  sacro  per  musica  da  rappresentarsi 
nel  Collegio  Nazzareno  per  le  vacanze  dell'  anno  1699  .  .  . 
Roma,  Gioseppe  Vannacci,  1699.     71  p.     13^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  signed 
by  Erasino  de  Silvestris  and  dated  Rome,  February  13,  1699,  ailment,  and  scenario. 
The  composer,  Francesco  lilinissari,  is  not  mentioned. 

On  p.  68-69  '"Drammi  stampati  da  Carlo  Giannini,"  on  p.  70  "Drammi  che  si 
vendono  dall'  istesso,"  and  on  p.  71  "Opere  in  prose,  che  si  vendono  dal  medesimo." 

Schatz  6520 

L'amante  del  studio,  ballet.     See  Bianchi's  L'orfano  cinese. 

L'amante  dem.ocratico.  Dramma  giocoso  da  rappresentarsi  nel 
Teatro  Carignano  nella  prima  vera  dell'  anno  7?  Rep?  [1799]. 

Torino,  Giacomo  Fea,  n.  d.     4  V-  ^-y  ^-4  V-     13^"'^. 

Two  acts.  By  Gian.  Domenico  Boggio.  Cast.  Names  of  the  author  and  the 
composer,  Stefano  Cristiani.  With  the  opera  were  performed  two  ballets,  one  of 
which  was  called  "L'ltalia  rigenerata, "  by  Luigi  Dupen.  The  composer  of  the 
music  is  not  mentioned.  Schatz  2293 

L'am.ante  di  tutte.  Drama  giocoso  per  musica  di  Ageo  Liteo 
Da  rappresentarsi  nel  Teatro  delta  Fama  de'  nobili  Signori  di  Gubbio 
ne'  mesi  di  maggio,  e  giugno  1761  .  .  . 

JJrhino,  NeUa  stamperia  camerale,  1761.     61  p.     15'^. 

Three  acts.  By  Antonio  Galuppr.  Impresario's  dedication,  cast,  and  name  of 
Baldassare  Galuppi  as  composer. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  fall  of  1760.  Schatz  3432 

—  L'amante  di  tutte.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Firenze  nel  Teatro  di  via  del  Cocomero,  nella  primavera 
deir  anno  1764  ..  . 

Firenze,  Anton  Giuseppe  Pagani,  1764-     58  p.     15'^'^. 

Three  acts.  By  Antonio  Galuppi,  who  is  not  mentioned.  Cast  and  name  of  Bal- 
dassare Galuppi  as  composer.  With  the  opera  were  performed  (composers  of  the 
music  not  mentioned)  Vincenzio  Monari's  ballets  "II  giardiniere  convinto  da  Amore" 
Mid  "II  quadro  movibile."  ML  48. A5  v.  20 

—  L'amante  di  tutte.  Dramma  giocoso  per  musica.  Di  Ageo 
Liteo.  Da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  I'anno  1770. 

n.  i.,  n.  d.     139  p.     15^"^. 

Three  acts.  Scenario  and  name  of  the  composer,  Galuppi.  German  title:  "Der 
liebhaber  von  alien,"  and  text  face  Italian.  Schatz  3433 

—  La  m.oglie  bizzarra.  Operetta  comica,  da  rappresentarsi  sul 
Regio  Teatro  Danese,  nell'  autunno  dell'  anno  1763. — Den  flanevume 
kone.  .  .  .     Oversadt  paa  dansk,  af  R,  Soelberg  ...  * 

Ki(j)ben7iavn,  Lars  Nielsen  Svare,  n.  d.     71  p. 

Two  acts.  Cast  and  names  of  Galuppi,  as  composer,  and  of  Pietro  Chiari,  as  author, 
but  comparison  proves  that  this  is  only  a  very  much  altered  version  in  two  acts  of 
"L'amante  di  tutte,"  leaving  most  of  the  arias  intact.  Schatz  3434 


76  LIBRABY   OF  CONGRESS 

L'amante  di  tutte — Continued. 

—  II  vecchio  geloso,  dramma  giocoso  per  musica  da  rappresentarsi 
ne'  Teatri  privilegiati  di  Vienna  I'anno  1767. 

[Vienna],  GTielen,  n.  d.    66  p.     W"^, 

Three  acta.  By  Antonio  Galuppi,  who  is  not  mentioned.  Cast,  scenario  and  name 
of  Oaluppi  as  composer.  Slightly  altered  version  of  his  "L'amante  di  tutte."  For 
instance,  the  latter  does  not  contain  the  aria  (I,  2)  "Quando  vedi  il  Damerino,"  but 
'  *  Qualora  un  galantuomo . ' '  Sch atz  35 10 

—  Der  liebhaber  von  alien,  ein  singspiel  aus  dem  italiaenischen 
welches  an  dem  churpf aelzischen  hof  in  dem  carneval  des  jalires  1770 
aufgefuehret  worden. 

Mannlieim,  AJcademische  buchdmckerei,  n.  d.    58  f,     15^^"^. 
Three  acts.     Scenario  and  cast.    Galuppi  is  not  mentioned.  Schatz  3435 

L'amante  eroe.  Drama  per  musica  di  Domenico  David,  da  rappre- 
sentarsi nel  Teatro  Vendramino  di  San  Salvatore  ranno  1691  .  .  . 

Venetia,  Nicolini,  1691.    front,  71  p.     IJ^Y"^- 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  re'kder, 
with  the  name  of  Marc'  Antonio  Ziani  ("che  nel  giomo  d'oggi  k  la  delizia  dei  teatri 
di  Venezia")  and  remark: 

"II  poco  tempo,  che  nell'  uso  d'oggidi  si  permette  alle  scene  di  Venezia,  ed  il 
soverchio  niimero  delle  canzoni,  desiderate  anche  fuori  dalle  loro  nicchie  non  mi  ha 
lasciato  in  liberta  I'ingegno  di  amplificar  nei  recitativi,  e  di  fedelmente  eseguire  i 
buoni  precetti  della  Poetica." 

First  performed,  as  indicated,  carnival  1691.  Schatz  11198 

L'amante  fortunate  per  forza.     Dramma  per  musica;  da  recitarsi 
nel  Teatro  di  Sant'  Angiolo,  I'anno  MDCLXXXIV  .  .  . 
Venetia,  Francesco  Nicolini,  1684-     60  p.     llf.*^^. 

Three  acts.  By  Pietro  d'Averara,  who  is  not  mentioned.  Dedication  dated 
Venice,  November  30,  1684,  argument,  scenario,  and  notice  to  the  reader: 

"...  per  addattarmi  all'  uso  di  questo  paese  [the  text  was  based  on  'un'  his- 
torietta,  scritta  in  francese  'j,  (nel  quale  li  signori  musici  vogliono  havere  piu  canzoni, 
che  parole,  e  dove  h,  chi  scnve  viene  prescritta,  non  solo  la  quantitil  m^  anco  la  qualit^ 
de'  personaggi),  h5  convenuto  alterare  I'inventione,  I'intreccio,  e  quasi  tutti  gl'  epis- 
vodii;  e  perci6,  se  vi  trovi  qualche  cosa  d'aggradevole,  (che  pur  sar^  puoco)  h  d'afiri: 
tutto  I'imperfetto  h  mio.  E  guesto  basti,  perche  tu  sappia,  ch'io  non  vado  h,  caccia 
di  lode.  Se  per6  sar5  compatito,  I'havrb  k  caro.  Quanto  al  verso  havrei  forse  potuto 
tenerlo  piii  sollevato,  m^  anche  in  questo  mi  son  accommodato  al  genio  universale,  & 
al  Boggetto,  ch'5  piti  tosto  comico.    Vivi  felice. 

"La  musica  q  compositione  del  Signor  Giovanni  Varischini,  le  di  cui  note  ti 
riuscirono  tanto  gradite  nel  famoso  Odoacre."  Schatz  10594 

L'amante  generosa,  ballet.    See  Bertoni's  Telemaco  ed  Eurice. 

L'amante  impazzito.  L.  T.  of  Gasparini,  Polaroli,  and  Ballarotti's 
L'Alciade  overo  La  violenza  d'amore. 

L'amante  imprudente.     A.  T.  of  Caruso's  La  sposa  volubile. 

L'amante  in  cimento,  ballet.  See  Fioravanti's  L'amor  per 
interesse. 

L'amante  in  cimento,  ballet.  See  Portugal's  Non  irritare  le 
donne. 

L'amante  in  statua.     A.  T.  of  La  scuola  olandese,  ballet. 


OPERA   LIBRETTOS  77 

L'amante  per  bisogno.  Dramma  giocoso  per  musica  accomodate 
e  riscritto  da  Egisippo  Argolide  P.  A.  della  Colonia  Arfda  da  rappre- 
sentarsi  nel  nobile  Teatro  di  San  Samiiele  nel  carnovale  delF  anno 
1781.     La  musica  e  d'un  nobile  Accademico  filarmonico  Veronese. 

Venezia,  Modesto  Fenzo,  1781. 

Two  acts.  By  Carlo  Giuseppe  Lanfranchi  Rossi,  music  by  Giuseppe  Gazzanig^a. 
Cast  and  scenario.  Schatz  3689 

L'amante  ridicolo  deluso.     Farsetta  per  musica  a  quattro  voci  dell' 
abate  Alessandro  Pioli  da  rappresentarsi  nella  real   villa  di  Queluz 
del  serenissimo  Signore  infante  Don  Pietro.     L'anno  MDCCLXIII. 
Lishona,  Stamperia  Ameniana,  n.  d.     2  p.  I.,  Jf.2  p.     17'^'^. 

Two  acts.    Niccolo  Picciimi  is  mentioned  as  the  composer. 

First  performed  at  Rome,  Capranica,  January,  1762,  according  to  Schatz;  at 
Naples,  1757,  under  the  title  of  "L'amante  ridicolo"  according  to  Cametti,  who  refers 
to  Florimo  II,  260,  but  Florimo  enters  this  there  on  mere  second-hand  information  and 
has  no  such  entry  in  his  fourth  volume.  Schatz  8063 

L'amante  servitore.  Commedia  per  musica  del  Signor  S-^grafi, 
poeta  del  nobilissimo  Teatro  La  Fenice  e  del  Teatro  Comico  Sant' 
Angelo.  Composta  per  il  nobilissimo  Teatro  Giustiniani  in  San  Moise 
il  carnovale  dell'  anno  1797. 

Venezia,  Modesto  Fenzo,  1796.     6^  p.     18^"^. 

Two  acts.  Argument,  cast,  scenario,  and  name  of  Ferdinando  Per  (Ferdinando 
Francesco  Paer)  as  the  composer. 

First  performed  December  26,  1796,  as  indicated.  Schatz  7478 

L'amante  statua.  Farsa  da  rappresentarsi  nel  nobile  Teatro  Vero- 
nese in  San  Cassano  il  carnovale  deU'  anno  1794.  Poesia  del  tenente 
Antonio  Valli,  posto  in  musica  dal.  celebre  Signor  maestro  Luigi 
Piccini. 

Venezia,  Casali,  1794.    ^8  p.     18^"^. 

One  act.  With  the  opera  were  performed  the  ballets  "I  Veneziani  a  Costantino- 
poli"  and  "II  Chinese."  Schatz  8062 

L'amante  travestita,  ballet.    See  G.  M.  Rutini's  Sicotencal. 

Gli  amanti  alia  prova.     O.  T.  of  Caruso's  Gli  amanti  dispettosi. 

Gli  amanti  alia  prova.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  1784,  n.  puhl.     103  p.     15^"^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Francesco  Piticchio  is 
mentioned  as  the  composer.  German  title  "Die  liebhaber  auf  der  probe"  and  text 
face  Italian. 

First  performed  January  4,  1785,  as  indicated.  Schatz  8201 

Gli  amanti  canuti.  Dramma  giocoso  per  musica  del  nobile  Signore 
Carlo  Lanfranchi  Rossi  gentiluomo  toscano  fra  ^li  Arcadi  Egisippo 
Argolide.  Da  rappresentarsi  nel  nobile  Teatro  di  San  Samuele  1  au- 
tunno  deir  anno  1781. 

Venezia,  Modesto  Fenzo,  1781.     68  p.     17""'. 

Two  acts.  Cast,  scenario,  and  name  of  Pasquale  Anfossi  as  composer.  After  the 
first  act,  on  p.  38-43,  ai^omento,  cast,  and  description  of  Onorato  Viganb's  new  "Ni- 
nias  tranno  di  Babilonia  punito  da  Zoroastro  o  sia  Piramo  e  Tisbe.  Ballo  eroico 
traeico  pantomimo."  The  composer  of  this  is  not  mentioned,  but  of  the  "secondo 
ballo  Li  sposi  ridicoli  burlati "  it  was  Luigi  Marescalchi.  Schatz  223 


78  LIBRARY  OF  CONGRESS 

Gli  amanti  canuti — Continued. 

—  Gli  amanti  canuti.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Piccolo  Teatro  Elettorale. 

Dresda,  n.  publ.  1783.     131  p.     16'"*. 

Two  acts.  Anfossi  is  mentioned  as  composer.  German  title-page  "  Die  liebenden 
greise"  and  text  face  Italian.  The  text  diners  only  slightly  from  that  of  the  original 
libretto.  For  instance,  I,  9  has  now  the  aria  "Dice  benissimo  "  instead  of  "State 
zitte,  non  parlate." 

The  second  act  appears  also  in  the  libretto  of  Anfossi's  "II  disprezzo." 

SCHATZ  224 

Li  amanti  comici  o  sia  La  famiglia  in  sconipiglio.  Dramma  giocoso 
per  musica  da  rappresentarsi  nei  Teatro  di  S.  A.  S.  il  Signor  principe 
di  Carignano  nella  primavera  dell'  anno  1797. 

Torino,  Onorato  Derossi,  n.  d.     59  p.     14^*^™' 

Two  acts.  By  Giuseppe  Petrosellini  (not  mentioned),  with  cast,  scenario,  and 
name  of  the  composer,  Domenico  Nicola  Cimarosa.  On  p.  57-69  frecte  59]  sub- 
stitute scene  with  aria  "No,  figlia,  con  piii  forza  cio  va  detto — Orso,  bifolco,  ingrato" 
for  II,  5.  The  ballets  were  entitled  "II  marito  umiliato  ossia  La  moglie  di  spirito" 
and  "Carlo  e  Carolina."  They  were  by  Urbano  Garzia.  The  composer  of  the  music 
is  not  mentioned. 

First  performed  at  Naples,  Teatro  de'  Fiorentini,  1778.  Schatz  2003 

Gli  amanti  comici  o  sia  D.  Anchise  Campanone.  Commedia  per 
musica  di  G.  B.  L.  P.  A.  Da  rappresentarsi  nel  Teatro  Nuovo  sopra 
Toledo  per  quarta  commedia  del  corrente  anno  1794. 

Napoli,  n.  publ.,  1794.     60  p.     lo'="K 

Three  acts  in  Napolitan  dialect.  By  Giambattista  Lorenzi,  whose  title  originally 
was  "Fra  i  due  litiganti  il  terzo  gode.".  Cast  and  name  of  Giovanni  Paisiello  as  the 
composer. 

First  performed  at  Naples,  Teatro  Nuovo,  fall  of  1772.  Schatz  7588 

—  Don  Anchise  Campanone.     Dramma  giocoso  per  musica  da 

rappresentarsi  ne'  Teatri  privilegiati  di  Vienna  nelP  anno  1775. 
[  KieTiTMz],  Giuseppe  Kurzhock,  n.  d.     89,  [1]  p.     16^'^"K 

Three  acts.    Name  of  Giovanni  Paisiello  as  the  composer. 

The  text  is  in  Italian,  but  so  little  of  it  can  be  traced  in  the  text  by  Lorenzi  that 
we  have  practically  two  operas,  so  far  as  the  text  is  concerned,  and  it  stands  to  reason 
that  the  music  can  not  have  been  the  same. 

First  performed  at  Vienna,  December  12,  1775,  as  indicated,  and  with  the  same 
title  at  Venice,  Teatro  di  S,  Samuele,  fall  1774.  Schatz  7589 

Gli  'amanti  della  dote:  See  Bernardini's  L'ultima  che  si  i)erde  e 
la  speranza. 

Gli  amanti  della  dote:  Farsa  seconda  per  musica  da  rappresentarsi 
nel  Reggio  Teatro  di  S.  Carlo  della  Prmcipessa  nel  carnovale  dell' 
anno  1794  .  .  . 

Lishona,  Simone  Taddeo  Ferreira,  1794-     87  p.     14\'^'^. 

One  act.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedica- 
tion, cast,  and  name  of  Pietro  Guglleliui  as  the  composer.  Portuguese  text  faces 
Italian.  With  the  opera  were  performed,  composers  of  the  music  not  mentioned, 
Pietro  Angiolini's  ballets  "Ciro  in  Timbraja  "  and  "Gli  finti  filosofi."  The  orisrinal 
title  of  Zini's  text  was  "L'ultima  che  si  perde  e  la  .speranza."  Schatz  4293 


OPERA   LIBRETTOS  79 

Gli  amanti  della  dote.  Dramma  giocoso  per  miisica  da  rappre- 
sentarsi  per  la  second'  opera  in  Cremona  nel  Teatro  della  Nob.  Asso- 
ciazione  il  carnovale  delr  anno  1794. 

Cremona,  Giuseppe  Feraboli,  n.  d.     4^  p.     lo^'^"^. 

Two  acts.  By  Saverio  Zini,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  scenario,  and  name  of  Silvestro  di  Falma  as  the  composer.  ("La  musica  6  tutta 
nuova.")  With  the  opera  was  performed  Antonio  Maraffi's  ballet,  "II  principe  di 
Lago  Nero  ossia  La  contadina  in  corte."    The  composer  of  the  music  is  not  mentioned. 

First  performed  at  Florence,  Teatro  dei  Risoluti,  summer,  1791.        Schatz  7747 

GFaiuanti  delusi,  ballet.     See  Sarti's  Cleomene. 

Gli  amanti  dispettosi.  Commedia  per  musica  da  rappresentarsi 
nel  Real  Teatro  del  Fondo  di  Separazione  per  terz'  opera  di  quest' 
anno  1787  .  .  . 

Napoli,  n.  puhl,  1787.     52  p.     HY"^. 

Two  acts.  By  Bertati,  who  is  not  mentioned.  Impresario's  dedication,  cast,  and 
name  of  the  composer,  Luigi  Caxuso.  The  two  ballets  by  Giambattista  Giannini, 
"Le  reclute  villane"  and  "II  quacquero  burlato,"  were  performed  with  the  opera. 
The  composer  of  the  ballet  music  is  not  mentioned. 

First  performed  as  "Gli  amanti  alia  prova"  at  Venice,  S.  Moisfe,  December  26, 
1783.  Schatz  1653 

Gli  amanti  folletti.  Dramma  giocoso  per  musica,  da  rappresen- 
tarsi nel  Teatro  Elettorale. 

Dresda,  n.  publ,  1794.     H8  p.     15^"^. 

Two  acts.  German  title  page,  "Die  verliebten  poltergeister,"  and  text  face 
Italian.  Mozart  is  mentioned  as  the  composer,  but  it  is  not  mentioned  who  selected 
the  music  from  his  operas,  "II  dissoluto  punito,"  "Le  nozze  di  Figaro,"  and  "La 
clemenza  di  Tito,"  nor  who  wrote  the  libretto. 

The  pasticcio  was  first  performed,  as  indicated,  1794.  Schatz  6748 

Gli  amanti  generosi.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  I'anno  1703  ..  . 

Venetia,  Marino  Rossetti,  n.  d.     69  p.     14Y^- 

Three  acts.  Scenario,  argument,  dedication  by  the  author,  Giovanni  Pietro  Caudi, 
and  his  notice  to  the  reader,  in  which  he  says: 

"Comparisce  novello  quest'  anno  il  mio  nome  sii  i  Veneti  teatri,  Queeto  drama,  gi^ 
diversi  anno,  a  solo  motivo  di  divertimento  da  me  composto,  e  etato  lavorato  sul  serio, 
&  sopra  il  gusto  della  tragedia.  Ora  non  s6  come  habbia  havuto  la  sorte  di  doversi 
esser  rappresentato  in  questo  teatro;  nel  quale  non  ricercandosi  tanta  gravity,  e 
richiedendo  piii  tosto  lusinga  d'orecchio  col  gaio  di  qualche  scena  comica,  &  col  brio 
delle  ariete,  che  solletico  al  cuore  con  la  mozione  degli  affetti ;  sono  stato  costretto  ad 
accomodarmi  k  questa  necessity,  &  k  togliergli  molto  di  quel  grave,  e  patetico,  che  il 
tragico  accompagna,  levando,  aggiungendo  molte  cose,  &  situando  delle  ariete  in  loco 
non  totalmente  proprio,  &  fuori  del  loro  nicchio  .  .  .  Restano  pure  levate  molte 
apparenze  all  quali  non  pu<!)  accomodarsi  la  ristrezza  della  scena  .  .  .  Rimane  solo, 
che  la  tua  bell' anima  .  .  .  toiler!  con  generositaanco  le  mie  imperfezioni;  1' avvan- 
taggio  delle  quali  sarS.  il  non  comparire  cosi  difformi,  perche  mascherate,  &  ^bellite 
dalle  virtuose,  e  spiritose  note  del  Sig.  maestro  il  Sig.  cavalier  Vinacese,  come  pure 
dalla  singolare  ability  de  virtuosi  soggeti,  che  lo  rappresantano. 

"Protestando  il  sig.  maestro  medesimo  haver  mtrapresa  la  composizione  musicale 
di  questo  drama  k  solo  mottivo  d'obbedire  ad'  un  commando  de  cavalieri  k  quali  non 
ha  potuto  negarlo,  mentre  era  fuori  d'ogni  sua  intenzione  il  far  piu  musiche  per 
drami;  esprimendosi  in  oltre  d'  aver  in  molte  arie  secondato  piii  il  gusto  commune, 
che  il  proprio  genio."  Schatz  10739 


80  LIBRARY  OF   CONGRESS 

Gli  amanti  in  puntiglio.  Commedia  per  musica  di  G.  M.  D.  da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terza  commedia 
del  corrente  aiino  1794. 

Napoli,  n.  publ,  1794.     40  p.     15^"^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Cast  and  name  of  Giacomo  Tritto  as  the 
composer.  Schatz  10465 

Gli  amanti  in  Tempe.  Azione  pastorale  con  cori  e  balli  analoghi 
da  rappresentarsi  in  Firenze  nel  Kegio  Teatro  degli  Intrepid!  detto 
della  ralla  a  Corda  .  .  . 

Firenze,  Ant  Gius.  Pagani  e  comp.,  1792.     23  p.     17^"". 

Two  acts.  By  Giovanni  de  Gamerra.  Cast  and  names  of  composer,  Gaetano 
Andreozzi,  and  librettist. 

First  performed  at  Florence,  as  indicated,  summer,  1792.  Schatz  216 

Gli  amanti  protetti  da  Amore,  ballet.  See  Traetta's  Cavaliere 
errante. 

Gli  amanti  protetti  dall'  Amore,  ballet.    See  Borghi's  Siroe. 

Gli  amanti  ridicoli.     Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  per  terz'  opera  del  corrente  anno  1797. 
Napoli,  n.  publ.,  1797.     67  p.     75<^"». 

Two  acts.  By  Giambattista  Lorenzi,  who  is  not  mentioned.  Cast  and  name  of 
Silvestro  di  Palma  as  the  composer.  Schatz  7746 

Gli  amanti  ridicoli  ossia-  La  capricciosa  umiliata,  ballet.  See 
Tritto 's  Le  av venture  galanti. 

Gli  amanti  riuniti.     A.  T.  of  Tritto's  La  donna  sensibile. 

L'amanti  schiavi,  ballet.     See  Piccinni's  Ercole  al  Termedonte. 

Les  amants  inquiets.     Parody  of  Colasse's  Thetis  et  Pelee. 

Les  amants  trompes.     See  Les  amans  tromp6s. 

Amar  per  vendetta.     L.  T.  of  Ruggeri's  La  Clotilde. 

V  L'amar  per  virtu.     Drama  per  musica  da  rappresentarsi,  nel  Teatro 
Vendramino  di  S.  Salvatore.     L'  autunno  dell'  anno  MDCIC  .  .  . 
Venezia,  Nicolini,  1699.    jront,  60  p.     l^Y"^. 

Three  acts.  By  Donato  Cupeda,  but  retouched.  Neither  he  nor  Antonio  Draghi, 
the  principal  composer  of  this  pasticcio,  is  mentioned.  Dedication,  argument,  notice 
to  the  "Saggio  lettore,"  cast  and  scenario. 

First  performed,  in  its  original  form,  Vienna,  June  9,  1697.  Schatz  2806 

L'amar  per  virtu.     A.  T.  of  Graupner's  Berenice  e  Lucilla. 

Amarillis.     See  Campra's  ballet  Les  Muses. 

L'amateur  de  musique,  comedie  en  prose  et  en  un  acte,  mS16e 
d'ariettes.     Paroles  &  musique  de  M.  B.  L.  Raymond.     Representee 
pour  la  premiere  fois  sur  le  Theatre  des  Petits  Comediens  de  Monseig- 
neur  le  comte  de  Beaujolois,  au  Palais-Royal,  le  3  juillet  1785. 
Paris,  Cailleau,  1785.     Ifi  p.     19"'^. 

Dedicator^'  poem,  cast  and  long  preface  (p.  3-7)  which  begins: 
"Cette  petite  piece  fut  primitivement  faite  pour  ^tre  louee  par  les  Bamhoches. 
Le  caract^re  de  Monsieur  Piano  etait  beaucoup  plus  d^velopp^.     Certaines  scenes 


OPEEA  UBKETTOS  81 

L'amateur  de  musique — Continued. 

Fdus  fil^es.  J'y  avals  place  des  vaudevilles,  on  plutot  dee  Pont-  Neufs,  comme  je 
'avaia  vu  pratiquer  par  les  autres  auteiirs.  MM.  les  entrepreneurs  de  ce  spectacle, 
ayant  substitue  des  petits  enfans  plein  d'intelligence  h.  des  figures  de  bois  inanim^es, 
i'^laguai  le  dialogue  autant  qu'il  me  fut  possible,  parce  qu'en  prose  surtout,  il  est 
trds  difficile  k  rendre  par  le  pantomime.  J'6tai  tous  mes  vaude\'illes,  k  I'exception 
d'un  eeul,  qui  finit  en  trio,  &  qui  a  produit  de  I'effet.  Je  regrette  de  ce  que  j'ai 
coup4,  les  phrases  qui  caracterisaient  mes  premiers  personnages,  &  motivaient  leur 
conduite." 

He  then,  with  quotations  from  the  original  version,  defends  himself  against  criti- 
cism leveled  at  his  character  of  Monsieur  Piano  and  makes  this  confession: 

"C'est  moi  qui  me  suis  peint  dans  Monsieur  Piano  &  Monsieur  Crescendo.  C'eet 
moi  qui  brulais  du  desir  de  me  produire  au  grand  jour  dans  la  Capitale." 

SCHATZ  8617 

Amazili  e  Telesco.     A.  T.  of  the  ballet  La  conquista  del  Peril. 

^  L'Amazone  corsara,  overo  L'Alvilda  regina  de  Goti,  drama  da  rap- 
presentarsi  in  musica  nel  famoso  Teatro  Grimano  di  SS.  Gio.  e  Paolo, 
Tanno  1686.     Di  Giulio  Cesare  Corradi  .  .  . 

Venetia,  Francesco  Nicolini,  1686.     72  p.     14*^^. 

Three  acts.  Author's  dedication,  notice  to  the  reader  with  Carlo  Pallavicmi's 
name  as  the  composer,  argument  and  scenario. 

The  imprimatur  is  dated  February  1,  1686.  Schatz  7716 

Le  Amazoni  nell'  Isole  Fortunate.     Drama  per  musica  del  dottor 
Piccioli  da  rappresentarsi  in  Piazzola,  nel  nobilissimo  Teatro  delF  ill. 
et  eccell.  Sig.  Marco  Contarini  .  .  .  I'anno  AIDCLXXIX. 
Padova,  Pietro  Mar.  Frambotto,  n.  d.     14*^. 

Incomp^lete,  ending  with  p.  48.  Prologue  and  three  acts.  Dedication  by  Fran- 
cesco Maria  Picciolij  dated  Piazzola,  November  11,  1679,  ai^ument,  notice  to  the 
reader  and  scenario.     The  composer.  Carlo  Pallavicino,  is  not  mentioned. 

SchXtz  7717 

Le  Amazzoni,  ballet.     See  Zingarelli's  II  conte  di  Saldagna. 

L'ambigu  de  la  folie  ou  Le  ballet  des  dindons.  O.  T.  of  Favart's 
Les  Indes  dansantes. 

L'ambizione  castigata.     Comi-drama  da  rappresentarsi  in  musica 
nel  Teatro  di  San  Fantino.     II  carnovale  1717. 
Venezia,  Ant(mio  Bortoli,  1717.     43  p.     14^f™. 

Pages  3-6  wanting,  containing  presumably  argument,  cast,  and  perhaps  name  of  the 
composer,  though  he  is  unknown  to  Wiel.  Schatz  considers  this  a  pasticcio  which 
was  known  also  as  "Umor  di  principessa,  o  sia  L'ambizione  castigata,"  text  by  Fran- 
cesco Mazzari.  Schatz  11299 

L'anibi2ri.one  delusa.     See  La  commedia  in  commedia. 

L'ambizione  delusa.  O.  T.  of  Barlocci's  text  II  vecchio  amante, 
not  to  be  confused  with  the  L.  T.  of  his  Madama  Ciana. 

L'ambizione  delusa.     L.  T.  of  Latilla's  Madama  Ciana. 

L'ambizione  delusa.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  A.  Serenissima  il  Signor  principe  di  Carignano 
nella  primavera  dell'  anno  1780. 

Torino,  Onorato  Derossi,  n.  d.     4^  p.     16'^. 

Two  acts.  Author  unknown  to  Schatz.  Cast,  scenario,  and  name  of  Giuseppe 
Sarti  as  the  composer. 

First  performed  at  Rome,  Teatro  Capranica,  February,  1779.  Schatz  9471 

72251°— VOL  1—14 6 


82  LIBRARY   OF   CONGRESS 

L'ambizione   depressa.     Dramma  per   musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  nella  fiera  dell'  Ascensione  1'  anno  1733  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     60  p.     15'^. 

Three  acta.  Dedication,  signed  by  Giuseppe  Grandini,  probably  as  impresario, 
argument,  scenario,  cast,  and  name  of  Baldassare  Galuppi  as  comjxwer.  The  text  ia 
attributed  by  Schatz  and  others  to  Grandini,  but  according  to  Piovano  it  is  by  Giuseppe 
Papis,  and  was  originally  composed  by  A.  Scarlatti  for  Naples,  1714,  under  the  title 
of  "L'amor  generoso."  For  the  Venice  version  the  cnaracter  of  Despinn  waa 
suppressed.  Schatz  3477 

Amble  to. 

Apostolo  Zeno,  Poesie  drammatiche,   Venezia,  1744)  ^-  'i^>  P-  100. 

Three  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are 
given  as  Venezia,  1706.  ML  49.A2Z3 

—  Ambleto.     Pubblicato  per  la  prima  volta  in  Venezia  1706. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ix,  p.  185- 
278.    21^"^. 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Ambleto.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  il  carnovale  dell'  anno  MDCCXLII  .  .  . 

Venezia,  Gasparo  Girardi,  1742.     55  p.     15^^. 

Three  acts.  By  Zeno  and  Pariati  (not  mentioned),  with  alterations.  Impresario's 
dedication,  argument,  scenario,  cast,  and  name  of  the  composer,  Giuseppe  Ca.rcano. 

Schatz  1620 

Ambleto.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
S.  Cassano  il  carnovale  dell'  anno  MDCCV  .  .  . 

Veneda,  Marino  Rossetti,  1705.     72  p.     i^i'^'"- 

Three  acts.  By  Apostolo  Zeno  and  Pariati.  Neither  they  nor  Carlo  Francesco 
Gaspaiini,  the  composer,  are  mentioned.  Impresario's  dedication,  argument,  cast, 
and  scenario.  Schatz  3556 

Ambroise,  ou  Voila  ma  journee,  comedie  en  un  acte  et  en  prose, 
m^lee  d'ariettes.     Par  le  citoyen  Monvel, 

Paris,  Barha,  An  septieme  [1798-99].     36  p.     W"^. 

Cast.     The  composer,  Nicolas  Dalayrac,  is  not  mentioned. 

First  performed  at  Paris,  Op^ra-comique,  January  12,  1793.  Schatz  2328 

Amelia.     A  musical  entertainment  of  two  acts  .  .  . 
London,  T.  Beclcet,  1771.     2  p.  l,  32  p.     20^^. 

Cast  and  note  that  "the  songs  composed  by  Mr.  [Charles]  Dibdin,  are  new."  The 
other  composers  figuring  in  the  headings  of  the  songs  of  this  pasticcio  are  Piccinni, 
Potenza,  Cocchi,  [Jon.  Chr.]  Bach,  Stanley,  Arnold,  Richter.  Comparison 
proved  clearly  that  "Amelia'^  is  taken  from  Richard  Cumberland's  three-act  "The 
summer's  tale,"  some  scenes  having  been  lifted  verbatim  (dialogue  and  songs)  into 
"Amelia,"  which  waa  first  performecT  under  this  title  at  London,  Drury  Lane,  Decem- 
ber 14,  1771.  Not  to  be  confused,  it  appears,  with  another  alteration  called  Amelia 
and  first  performed  at  Covent  Garden  April  12,  1768.  Lonqe  105 


OPERA   LIBRETTOS  83 

Amelia.  A  new  English  opera,  as  it  is  perform'd  at  the  New  Theatre 
in  the  Hay-Market,  after  the  Itahan  manner.  Set  to  musick  by  Mr. 
John  Frederick  Lampe. 

London,  J.  Watts,  1732.     4  p.  l,  29,  [S]  p.     ISY"^- 

The  [3]  p.  contain  a  book-list  by  the  publisher. 

Three  acts.     Cast  and  argument.     By  Henry  Carey,  who  is  not  mentioned. 

First  performed  March  13,  1732,  as  indicated.  Longe  105 

—  Amelia :  an  opera.  Set  to  musick  by  Mr.  John  Frederick  Lampe. 
2  p.  I.,  Jf.6  p.  22*^^.  (Henry  Carey,  Bramatick  worls,  London,  1743. 
Three  acts.     Argument.  ML  49.A2C2 

Amelia  ed  Ottiero.  Dramma  per  musica  da  rappresentarsi  nel 
Ces.  Reg.  Teatro  di  Trieste  nell'  autimno  1797. 

[Trieste],  Cesarea  regia  privilegiata  stamperia  govemale  n.  d.     40  P' 

Two  acts  by  Carlo  Semicola,  who  is  not  mentioned.  Impresario's  dedication  dated 
Trieste,  November  7,  1797,  argument,  scenario,  cast,  and  name  of  Gaetano  Andreozzi 
as  composer.  With  the  opera  was  performed  (composer  of  the  music  not  mentioned) 
Nccol6  Ferlotti's  ballet  "Nina  pazza  per  amore."  ScHi\.Tz  201 

The  Am.erican  adventurers.     A.  T.  of  The  coup  de  main. 

The  Am.erican  Indian;  or,  Virtues  of  nature.  A  play.  In  three 
acts.    With  notes.    Founded  on  an  Indian  tale.    By  James  Bacon  .  .  . 

London,  Printed  for  the  author,  1795.     xvi,  [8],  44  P-     21 Y™^. 

List  of  subscribers,  dedication,  dated  Lincoln's  Inn,  October  12,  1795,  preface 
stating  that  this  play  (which  was  rejected  by  Drury-Lane)  is  based  on  Mrs.  Morton's 
"Ouabi,  or,  the  virtues  of  nature,"  and  note  that  "The  Death  Song"  ("Rear'd  midst 
the  war-empurpled  plain  ")  was  literally  copied  from  her  poem.  Longe  270 

L' Americana  in  Europa,  ballet.  See  Gazzaniga's  La  disfatta 
de'  Mori. 

L' Americana  in  Olanda.  Dramma  giocoso  per  musica  in  due  atti 
di  Nunzio  Porta  da  rappresentarsi  nel  nobil  Teatro  di  San  Samuele 
I'autunno  deU'  anno  1778. 

Venezia,  Modesto  Fenzo,  1778.     17'^'". 

Caat  and  name  of  Pasquale  Anfossi  as  composer.  Schatz  264 

L' Americana  in  Scozia,  ballet.     See  Nasolini's  Eugenia. 

L'  Americano.  Intermezzo  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Gio.  Grisostomo  dell'  eccellentissima  casa  Grimani  1'  autunno 
deir  anno  1779. 

Venezia,  Pietro  Sola,  1779.     48  p.     17 Y"". 

Two  acts.  The  author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario, 
and  name  of  Niccolo  Piccinxii  as  the  composer. 

First  performed  at  Rome,  Teatro  Capranica,  February  22,  1772.         Schatz  8064 

—  Der  Amerikaner,  ein  vierstimmiges  singspiel.  In  musik  gesetzt 
von  herrn  Nikolaus  Piccini  ... 

Bamberg,  n.  puhl.,  1791.     80  p.     15'='^. 

Two  acts.    The  translator  is  not  mentioned  and  is  unknown  to  Schatz. 

Schatz  8065 


84  LIBRARY   OF   CONGRESS 

L'axni  de  la  xnaison,  comedie  en  trois  actes  et  en  vers,  meles  d'ari- 
ettes;  representee  devant  Sa  Majesty  a  Fontainebleau  le  26  octobre 
1771,  &  sur  le  Theatre  de  la  Comedie  italienne,  le  2  decembre  suivant. 
Par  Mr.  Marmontel  ...  La  musique  de  M.  Gretry. 

Paris,  Vente,  1772.     52  p.     18^'"*- 

Cast.  On  p.  46-52  the  music  of  the  "Airs"  "Je  suis  de  vous  tree  mdcontente" 
and  "Ah!  dans  ces  fetes."  The  full  score  "rives  the  tirst  Parisian  performance  cor- 
rectly as  on  May  14,  1772.  So  does  evidently  a  libretto  printed  by  V'ente,  1772,  as 
reprinted  by  Wotquenne  in  Gr^try's  Oeu\Tes.  The  odd  feature  is  that  our  libretto, 
too,  was  printed  by  Vente  in  1772.  Schatz  4132 

Second  copy.     Yudin  PQ. 

—  L'ami  de  la  maison,  comedie  en  trois  actes  et  en  vers,  m616e 
d'ariettes;  representee  devant  Sa  Majesty,  a  Fontainebleau,  le  26 
Octobre  1771.  Les  oaroles  sont  de  M.  Marmontel  .  ...  &  la  musique 
est  de  M.  Gr6try. 

Paris,  Rumdt,  1776.     36  p.     19^""".  ML48M2M 

—  Der  hausfreund,  ein  singspiel  in  dre}'  aufzuegen  aus  dem  fran- 
zoesischen  uebersetzt,  mit  musiK. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1774-  ^^  P-t  ^i 
p.  {folded  music,  dated  1775).     15^'^"'. 

Translation  by  Johann  Heinrich  Faber,  who  is  not  mentioned.  The  music  (voice 
and  bass)  consists  of  "Mit  Ihnen  bin  ich  unzufrieden"  ("Je  suis  de  vous  tres  m^con- 
tente"  and  "Neigt  sich  ein  hitziger  Tag"  ("Dans  la  brdlante  saison"). 

Schatz  4133 

Gli  amici.  Pastorale  per  musica  nel  Teatro  Malvezzi  Testate  dell' 
anno  MDCIC. 

(At  end)  Bologna,  per  Verede  del  Benacci,  n.  d.  front.,  70,  [1]  p. 
12^'='^. 

Three  acts.  By  Pietro  Jacopo  Martelli,  who  is  not  mentioned.  Cast,  argument, 
and  name  of  conte  Pirro  Albergati  as  composer. 

First  performed,  as  indicated,  August  16,  1699.  Schatz  77 

Gl'  amici  rivali.     L,  T.  of  C.  F.  Pollaroli's  L'  enigma  disciolto. 

Aminta. 

Apostoh  Zeno,  Poesie  drammatiche,  Venezia,  1744>  i-  '^'^f  P-  [357]-44'^ 
p.     19^"^. 

Three  acts.  Argument.  No  composer  is  mentioned.  First  composed  by  Tommaso 
Albinoni,  according  to  Schatz.  In  the  "Catalogo"  at  end  of  t.  x,  date  and  place 
of  first  ed.  are  given  as  Florence,  1703.  ML  49.A2Z3 

—  Aminta.     Pubblicato  per  la  prima  volta  in  Firenze  1703. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ii,  p.  305- 
384.     21'^'^. 

Three  acts.     Argument.     No  composer  is  mentioned.  ML  49.A2Z4 

Amintas.     L.  T.  of  Rush's  The  royal  shepherd. 


OPERA   LIBRETTOS  85 

L'amitie  a  I'epreuve,  comedie  en  deux  actes  et  en  vers,  meslee 
d'ariettes;  representee,  devant  Sa  Majeste,  a  Fontainebleau,  le  13 
novembre  1770.  Les  paroles  sort  de  JiiM.  ***,  &  Favart  ...  La 
musique  est  de  M.  Gretry. 

Paris,  la  veuve  Simon  &  fils,  1771.     46,  [1]  p.     i<§<^™. 

Cast.  Favart's  collaborator  is  not  known.  The  additional  page  contains  a  descrip- 
tion of  the  "Divertissement"  and  p.  45-46  the  air  of  the  "Romance,  A  quels  maux 
11  me  livre." 

First  performed  at  Paris,  Comedie  italienne,  January  24,  1771  (Schatz);  January 
17,  1771  (Wotquenne,  also  the  date  given  in  the  score). 

In  1786  revised,  with  an  additional  third  act.  Schatz  4134 

—  L'amitie  a  I'epreuve,  comedie  en  un  acte  et  en  vers,  m^lie 
d'ariettes;  tiree  des  Contes  moraux  de  M.  de  Marmontel  .  .  .  Les 
paroles  sout  de  MM  *  *  *,  &  Favart.  La  musique  est  de  M. 
Gretry. 

Paris,  la  veuve  Duchesne,  1776.  2  p.  I.,  I^o  p.  15""*.  {Theatre 
de  M.  Favart,  Paris,  Duchesne,  1763-77,  t.  x.) 

Font  claims  that  this  one-act  reduction  was  by  "Favart  Beul,"  i.  e.,  did  not  contain 
matter  by  Voisenon.  It  should  be  noted  that  a  three-act  version  "par  Favart  seul" 
was  printed  in  1786. 

Cast.  No  music  printed  in  the  text.  Dedication  to  "Madame  la  Dauphine,"  and 
the  prefatory  note : 

"Cette  pifece  fut  representee  en  deux  actes  [by  Voisenon  and  Favart]  sur  le  TheS,tre 
de  la  cour  ^  Fontainebleau,  le  13  novembre  1770,  &  a  Paris,  le  24  Janvier  1771. 

"M.  Favart  I'ayant  reduite  en  un  acte,  elle  fut  jouee  devant  Leurs  Majest^s,  ^ 
Versailles,  le  29  d^cembre  1775  ;  &  a  Paris,  le  premier  Janvier  1776." 

ML  49.A2F1 

—  L'amitie  a  I'epreuve,  comedie  en  deux  actes  et  en  vers.  Melee 
d'ariettes.  Representee,  devant  Sa  Majeste,  a  Fontainebleau  le  13 
Novembre  1770.  Les  paroles  sont  de  ^IM.  ***  &  Favart  ...  La 
musique  est  de  ^L  Gretry. 

Paris,  Didot,  1777.     35  p.     IBY""'.  ML48M2M 

—  Die  freundschaft  auf  der  probe,  ein  singspiel  in  zween  aufzuegen 
aus  dem  franzoesischen  ueb'ersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1772.  84  p.,  8  p. 
{folded  music.)     16^"^. 

Translation  by  Joh.  Heiiir.  Faber,  who  is  not  mentioned.  Cast.  The  music 
(voice  and  bass)  consists  of  "Denken  hast  Du  mich  gelehret"  (I,  4,  "Si  je  pense, 
c'est  votre  ouvrage"),  "Nelson  fiieht,  mich  zu  verlaesen"  ("Nelson  part.  Nelson  me 
laisse,"  II,  1),  and  "Siehst  Du,  wie  ich  mich  quale"  (II,  3,  "A  quels  maux  il  me 
livre").  Schatz  4135 

—  Die  freundschaft  auf  der  probe.  Eine  operette  in  zween  auf- 
zuegen.    Aufgefuehrt  in  k.  k.  Nationaltheater. 

Wien,  zufinden  beym  Logenmeister,  1780.     64  p.     16Y^- 

The  translator  is  not  mentioned  and  unknown  to  Schatz. 

First  performed,  as  indicated,  January  22,  1781.  Schatz  4136 

Amieto.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Nuovo  Teatro  di  Padova  nella  fiera  del  Santo  I'anno  1792  .  .  . 

Padova,  Conzatti  A.  S.  Lorenzo  n.  d.    61  p.     17 Y"^. 

Two  acts.  By  Giuseppe  Foppa.  Dedication,  prefatory  note,  cast,  scenario,  and 
name  of  Gaetano  Andreozzi  as  composer  but  not  of  librettist.  The  libretto  was 
based  on  the  tragedy  Amieto  by  Ducis.    With  the  opera  these  ballets  were  per- 


86  LIBRABY   OF  CONGRESS 

Amleto — Continued . 

formed:  "La  distruzione  di  Cartagine,  ballo  eroico-tragico-pantomimo "  by  Domenico 
Ballou,  music  compoaed  for  the  occasion  by  Vittorio  Trento  and  II  eonambolo. 
Argomento,  cast,  and  detailed  description  of  the  former  on  p.  26-36.       Schatz  212 

Amleto,  ballet.     See  Tarchi's  Alessandro  nell'  Indie. 

Amleto,  ballet.     See  Zingarelli's  Apelle  e  Campaspe.  . 

L'am.m.alato  imm.agiiiario.  Intermezzi  musicali  da  rappresen- 
tarsi  in  Perugia  nel  Teatro  de'  Nobili  nel  camevale  dell'  anno  1727. 

Perugia,  Costantini,  n.  d.     16  p.     l^Y^- 

Three  intermezzi.  The  composer,  Francesco  Bartolomeo  Conti,  is  not  mentioned. 
The  author  is  unknown  to  Schatz. 

First  performed  at  Vienna,  Teatro  di  Corte,  February,  1713.  Schatz  2204 

L'amor  artigiano.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  San  Mois6  1'  autunno  dell'  anno  1776. 
n.  i.,  n.  d.     68,  xiv  p.     18'^^. 

Three  acti.  By  Carlo  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  Joseph  Schuster  as  the  composer.  ("La  musica  e  nuovamente  composta.")  The 
xiv  p.  (after  p.  32)  contain  prefatory  note,  argument,  cast,  and  description,  but  not 
name  of  the  composer  of  the  music  of  Antonio  Terrades'  "Apelle  e  Campaspe,  ballo 
eroico-pantomimo."  Schatz  9759 

L'am.or  bizzaro  o  sia  La  gelosa  di  se  stessa.     Dramma  giocoso  per 
musica   di   Giovanni   Bertati  *  da   rappresentarsi   nel   Teatro   Gius- 
tiniani di  San  Mois6  nel  carnovale  dell  anno  1775. 
Venezia,  Antonio  Graziosi,  1775.     5J^  p.     17*^^. 

Three  acts.  Cast,  scenario,  and  name  of  Giacomo  Bust  as  the  composer.  ("La 
musica  sar^.")  Schatz  9167 

O  am.or  conjugal.     Dramma  para  ser  representado  no  Theatro  do 
Salitre,  no  felicissimo  dia  no  nascimento  da  Senhora  D.  Maria  Fran- 
cisca  Benedicta  .  .  . 
Lishoa,  Jose  de  Aquino  Bulhoens,  1789.    27  p.     15^^. 

Oast  and  names  of  Jose  Procopio  Monteiro  as  author,  of  Marcos  Portugal  as 
composer. 

First  performed  July  25,  1789,  as  indicated  (Schatz),  Julv  27,  1784  (Carvalhaes). 

Schatz  8434 

Amor  contadino.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo  P.  A.  Da  rappresentarsi  nel  Teatro  di  Sant'  Angelo  1'  autunno 
delT  anno  1760. 

Venezia,  Modesto  Fenzo,  1760.    69  p.     IS*^. 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Giovanni  Battista  Lam- 
pugnam  as  the  composer. 

First  performed,  as  indicated,  November  12,  1760.  Sghatz  5386 

—  L'amor  contadino.  Operetta  comica,  da  rappresentarsi  sul 
Teatro  Reale  danese,  nell'  autunno  dell'  anno  1763. — ^B^nderfolks 
elskov  .  .  .     Oversadt  paa  dansk,  af  R.  Soelberg. 

Ki(f)benhavn,  Lars  Nielsen  Svare,  n.  d.     71  p.     ISh^"^. 

Three  acta.    Cast  and  names  of  Goldoni  as  author,  of  Lampugnani  as  composer. 

Schatz  5387 


OPERA   LIBRETTOS  87 

L'amor  contrastato.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  nobile  Teatro  Giustiniani  in  San  Moise  il  car- 
novale  dell'  anno  1789. 

Venecia,  Modesto  Fenzo,  1788.     72  p.     17^"^. 

Three  acts.  Cast,  scenario,  and  name  of  Giovanni  Paisiello  as  the  composer.  The 
third  act  of  this  version  consists  of  three  scenes  not  to  be  found  in  our  other  librettos. 

First  performed  at  Naples,  Teatro  dei  Fiorentini,  summer,  1788.       Schatz  7590a 

—  L'amor  contrastato.  Dramma  giocoso  per  musica,  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Bresda,  n.  puhl,  1790.     143  p.     15^"^. 

Two  acts.  Paisiello  is  mentioned  as  the  composer.  German  title  page  "  Die 
etreitig  gemachte  liebschaft "  and  text  face  Italian.  Schatz  7591 

—  La  molinara  o  sia  L'amor  contrastato.     Drama  giocoso  .  .  . 
Berlino,  Haude  e  Spener,  n.  d.     125  p.     15^^. 

Two  acts.  Paisiello  is  mentioned  as  the  composer.  German  title  page  "  Die 
mullerin  oder  Die  streitig  gemachte  liebe''  and  text  face  Italian.  Schatz  7593 

—  Arien  und  gesaenge  aus  dem  komischen  singspiel :  Die  schoene 
muellerim.     In  zwey  aufzuegen.     Mit  musik  von  Paesiello. 

Berlin,  n.  puhl.,  n.  d.     Jfi  p.     16^^. 

Cast.     Published  before  1800?    German  version  by  Christoph  Friedrich  Bretzner. 
First  performed  at  Berlin,  Kgl.  Nationaltheater,  Oct.  16,  1793.  Schatz  7594 

—  Gesaenge  aus  dem  singspiele :  Die  muellerin,  nach  dem  italie- 
nischen,  in  zwey  akten.     Die  musik  ist  von  Paisiello. 

Hamburg,  Friedrich  Hermann  Nestler,  n.  d.     39  p.     15^'^. 

Two  acts.     Published  before  1800? 

First  performed  at  Hambiu^,  Theater  C.  Gansemarkt,  April  26,  1793. 

Schatz  7595 
Amor  corsaro,  ballet.     See  Monza's  Oreste. 

L'amor  costante.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1785. 
[Lishoa]  Stamperia  reale,  n.  d.    67  p.     lo*^^. 

Two  acts.  Scenario,  cast,  and  name  of  composer,  Domenico  Nicola  Cimarosa. 
Author  unknown  to  Schatz. 

First  performed  at  Rome,  Teatro  Valle,  carnival,  1782.,  Schatz  1927 

—  Giulietta  ed  Armidoro.  Dramma  giocoso  in  due  atti  da  rap- 
presentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Bresda,  n.  puhl.,  1790.     99  p.     15^'^. 

Two  acts,  with  name  of  the  composer,  Cimarosa.  German  title,  "Julie  und 
Armidor,"  and  text  face  Italian.  The  same  as  '"L'amor  costante,"  but  with  modifi- 
cations, for  instance,  "Laura"  has  become  "Giulia,"  and  the  second  act  begins  with 
what  was  the  second  scene,  "Si,  Giulia  sar^  mia." 

First  performed  at  Dresden  March  13,  1790.  Schatz  1928 

Amor  d'un  ombra,  e  gelosia  d'un  aura.  Dramma  per  musica 
da  rappresentarsi  nel  nuovo  teatro  eretto  di  sotto  Monte  Calvario,  in 
questa  primavera  del  corrente  anno  1725  .  .  . 

Napoli,  Angela  Vocola,  1725.     56  p.     HY"". 

Three  acts  by  Carlo  Sigismondo  Capeci,  with  alterations  by  Carlo  de  Palma. 

Dedicatory  preface  by  the  impresario  Angelo  Carasale,  notice  to  the  reader,  namea 
of  the  autliora  and  the  composer,  Giuseppe  Sellitti,  argument,  cast,  scenario.  The 
new  arias  are  marked  by  an  asterisk,  for  instance:  "Ne  bell'  occhi  le  Grazie  ed 
Amore"  (I,  14).    From  the  dedication  it  appears  that  the  libretto  was  originally 

?'ven  at  Rome  "nel  Teatro  domestico  della  Maest^  di  Maria  Casimira,  regina  di 
olonia,"  but  it  is  not  stated  with  whose  music.  Schatz  9829 


88  UBBABY  OF  CONGRESS 

Pequeno  dramma  intitulado  o  Amor  da  patria,  para  se  representar 
no  Theatro  do  Salitre,  em  aplauso  das  felicissimas  melnorias  do 
serenissimo  Senhor  D.  Joa6  princepe  do  Brazil. 

Lishoa,  Jose  de  Aquino  Bidhoens,  1 789.     16  p.     16}^"^. 

One  prose  scene  with  two  choruses,  an  aria  and  a  duet.  Neither  author  nor  com- 
poser mentioned.     Not  recorded  by  Schatz.  ML  50.2.A65 

/  L'anior  della  patria,  superiore  ad  ogn'altro.     Dramma  musicale 
del  Signor  Francesco  Sbarra. 

Venetia,  Nicolb  Pezzana,  1668.     IO4  p.     14'^'^. 

Three  acts.  Printer's  dedication,  argument,  and  scenario.  Composer  not  men- 
tioned and  unknown  to  Schatz. 

First  performed,  according  to  Schatz,  at  Munich,  Hoftheater,  April,  1665. 

Schatz  11301 

L'amor  di  Curzio  per  la  patria.  Drama  da  rappresentarsi  in 
musica  nel  famosissimo  Teatro  Grimano  di  SS.  Gio.  e  raolo  1'  anno 
1690  di  Giulio  Cesare  Corradi  ... 

Venetia,  Nicolini,  1690.     68  p.     iJi"". 

Three  acta.  Ai^omento,  author's  dedication,  scenario,  and  notice  to  the  reader 
with  name  of  [Francesco]  Paris  Algisi  as  composer.  Schatz  160 

L'amor  di  figlia.  Drama  per  musica  da  recitarsi  nel  Teatro  di  S. 
Angelo  neir  autimno  dell'  anno  1718  ... 

Venezia,  Marino  Rossetti,  1718.     60  p.     16^"^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Giovanni  Pprta  as  the  composer, 
dedication  signed  by  Domenico  Lalli,  who  says  in  a  prefatory  notice  to  the  reader: 

"Questo  presente  drama  fu  composto  dal  Signor  Gio.  Andrea  Moniglia  .  .  .  (come 
appare  in  stampa,  nelle  sue  dramatiche  poesie  Parte  seconda)  con  il  titolo  della  Pieti 
di  Sabina.  To  1  ho  ridotto  nella  miglior  forma  che  h6  potuto  all'  uso  odiemo  de  Teatri 
Dramatic!,  avendovi  lasciato  buona  parte  de'  versi  dell'  autore,  a'  quali  h6  procurato 
di  far  consimili  i  miei,  per  quanto  mi  e  stato  possibile."  Schatz  8395 

L'amor  di  figlio  non  conosciuto.  Dramma  per  musica  da  rap- 
presentarsi nel  Teatro  di  Sant'  Angelo  nel  carnovale  dell'  anno  1715. 
Di  Domenico  Lalli  .  .  . 

Venezia,  Carlo  Buonarigo,  1715.     6  p.  I.,  [13]-70  p.     IS^. 

The  supplementary  leaf  contains  the  aria  "Dirai  per  me"  in  full  with  four  stanzas, 
instead  01  only  two  stanzas  as  on  p.  38.  Two  of  the  unnumbered  pages  preceding 
p.  13  lacking.  They  contained  probably  cast,  scenario,  and  name  of  Tommaso 
Albinoni  as  composer.    Three  acts.     Argument  and  dedication.  Schatz  102 

JAjhoTj  e  dover.     Drama  per  musica  di  Domenico  David.     Da  reci- 
tarsi nel  Teatro  Grimani  di  S.  Gio.  Grisostomo  ... 
Venezia,  Nicolini,  1697.     72  p.     II^Y'^. 

Three  acts.  Author's  dedication,  argument,  notice  to  the  reader,  and  scenario. 
Carlo  Francesco  Pollaroli,  the  composer,  is  not  mentioned. 

First  performed  carnival  1697,  as  indicated.  Schatz  8271 

Am.or  fa  ruomo   cieco.     Intermezzo   di   due   parti   per   musica. 
Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  jlgli,  1788-95,  v.  35, 
[141]-157  p.     18i<=^.  PQ 

In  his  "Verzeichnis"  Wotquenne  dates  this  1731,  As  a  matter  of  fact,  intermezzi 
of  this  title  were  performed  at  Naples,  Teatro  di  S.  Bartolomeo,  winter  1731  with 
Pergolesi's  '|La  Salustia."  According  to  Radiciotti  there  is  in  the  libretto  at  end 
of  the  first  intermezzo  the  remark  "Tutto  il  recitative  di  quest'  intermezzo  6  di 
Domenico  Carcajus."  Goldoni  does  not  seem  to  be  mentioned;  at  least  Radiciotti 
is  silent  on  his  authorship.    The  music  is  attributed  by  him  and  Schatz  to  Per- 


OPERA   LIBBETTOS  89 

Amor  fa  ruomo  cieco — Continued. 

golesi,  whose  score  has  not  been  located,  Radiciotti  gives  in  the  second  part  of  hie 
book  an  outline  of  the  plot  mentioning  as  characters  Nerina  and  Nibbio.  Neither 
plot  nor  characters  are  those  of  the  intermezzi  in  Goldoni's  Opere  teatrali,  which  fact 
complicates  matters!  Goldoni's  characters  are  "Livietta,"  "Cardone  suo  amante" 
and  "Mingone  servo  che  non  parla."  One  is  instantly  reminded,  upon  reading  the 
text,  of  Mariani's  "Li\-ietta  e  Tracollo,"  composed  by  Pergolesi  and  first  performed 
at  the  same  theatre  on  October  25,  1734.  Indeed, 'both  ubrettos  contain  the  arias 
"Vi  sto  ben?  Vi  comparisco"  and  "Non  si  move,  non  rifiata."  Here,  then,  is  a 
puzzle,  which  does  not  as  yet  seem  to  have  aroused  the  attention  of  biographers  and 
opera-historians.  If  the  text  published  in  Goldoni's  works  really  dates  from  1731, 
the  natural  explanation  would  be  that  Mariani  in  1734  incorporated  Pergolesi's  two 
arias  of  1731  in  "Livietta  e  Tracollo."  And  yet  how  is  it  possible  that  Pergolesi 
composed  in  1731  this  "Amor  fa  I'uomo  cieco"  text,  if  it  does  not  agree  with  the 
text  which,  according  to  Radiciotri,  is  that  of  the  libretto  printed  in  1731?  Yet 
these  two  texts  appear  to  have  at  least  one  aria  in  common:  "La  carozza  ci  sar^," 
and  this  aria  was  listed  in  Breitkopf's  catalogue  of  1770.  : 

It  will  simplify  further  research,  if  the  anas  in  Goldoni's  text  follow  here: 

(Int.  I)- 

Vi  std  benf     Vi  comparisco* 

Per  pieta,  chi  mai  nCinsegna. 

La  carozza  ci  sarh. 

Gioja  mia,  devo  partire. 

Parto  dunque,  o  mia  diletta  (duet). 

(Int.  II)— 

Quanta  mi  vien  da  ridere. 

Non  si  move,  non  rifiata. 

Oh  come  sei  hello. 

Oh  che  sorte,  oh  che  piacere  (duet). 

L'amor  fra  gl'  impossibili.     Dramma  per  musica  da  recitarsi  nel 
Teatro  della  Fenice  d'Ancona  nelF  anno  1727. 
Ancona,  Belelli,  1727.     62  p.     14'"". 

Three  acta.  Girolamo  Gigli  is  mentioned  as  author,  Giovanni  Battista  Mastini 
as  the  composer.    Argument  and  scenario.  Schatz  6095 

L'amor  geloso.  Azione  teatrale  comica  per  musica  da  rappresen- 
tarsi  nel  Ileal  Teatro  del  Fondo  di  Separazione  per  seconda  opera  di 
questo  corrente  anno  1782. 

Napoli,  n.  publ,  1782.     J^S  p.     loY"^. 

Two  acta.  The  author  is  not  mentioned  and  is  imknown  to  Schatz.  Cast  and  name 
of  "  Vincentio  Martinez  "  (Martin  y  Soler)  as  the  composer.  Schatz  6026 

L'amor  geloso.     Azione  teatrale  comica  per  musica  in  due  parti. 
Vienna,  di  Ghelen,  1770.      Unpaged.     W"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Giuseppe  Scarlatti 
is  mentioned  as  the  composer. 

First  performed  at  Vienna,  Burgtheater,  1770.  Schatz  9560 

L'amor  generoso. 
Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744)  i-  '^>  V-  [i05]-182. 

Three  acts.  Argument.  No  composer  is  mentioned.  In  the  "Catalogo"  at  end  of 
t.  X,  date  and  place  of  first  ed.  are  given  as  Venice,  1707.   {See  below).   ML  49.A2Z3 

—  L'amor  generoso.  Pubblicato  per  la  prima  volta  in  Venezia 
1707. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  Hi]  p.  277- 
348.     21"». 

Three  acts.    Ai^ument.     No  composer  is  mentioned.  ML  49.A2Z4 


90  LIBRARY   OF   CONGRESS 

L'amor  generoso.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
degl'  illustrissimi  signori  Capranica  Tanno  1727  .  .  . 
Roma,  Rossi,  n.  d.     62  p.     15'^'^. 

Three  acts.  By  Apoetolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  the  composer,  Giovanni  Costanzi.  Schatz  2276 

L'amor  generoso.     Drama  da  rappresentarsi  per  musica  nel  Teatro 
Tron  di  S.  Cassano,  rautunno  dell  anno  MDCCVII  .  .  . 
Venezia,'  Marino  Rossetti,  n.  d.     59,  [1]  p.     15'^'^. 

Three  acts.  By  Apostolo  Zeno,  who  signs  the  dedication  with  his  initials.  Argu- 
ment, cast,  scenario,  and  name  of  (Carlo)  Francesco  #^asparmi  as  the  composer.  On 
the  additional  page  a  list  of  Antonio  Bortoli's  musical  piiblications.       Schatz  3557 

—  La  fede  in  eimento.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassiano.     II  carnovale  dell'  anno  1730  .  .  . 

Venezia,  Carlo  Buonarrigo,  1730.     48  p.     15'''^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario.  The  composers  Carlo  Francesco  Ga«parini  and  Santo 
Lapis  are  not  mentioned.  In  reality  this  is  a  later  version  of  Gasparini's  "L'amor 
generoso,"  Venice,  1707.  The  dialogue  follows  fairly  closely  that  of  the  original, 
but  many  arias  are  different,  and  it  was  for  these  that  Lapis  wrote  the  music.  For 
instance,  "Anche  da  te  lontano"  (I,  2)  has  supplanted  "II  mio  cor  non  ei  spaventa," 
"Son  amante,  e  non  son  figlia"  (I,  3)  the  aria    Sparger  non  vo  piii  lagrime,    etc.  etc. 

Schatz  3596 

L'amor  guerriero.  Drama  per  musica,  rappresentato  nel  famosis- 
simo  Teatro  Grimano.     L'anno  1663  .  .  . 

Venetia,  Francesco  Nicolini,  1663.     92  p.  (incl.  front.)     15"^. 

Pages  1-24,  73-92  not  numbered. 

Prologue  and  three  acts.  Argument,  scenario,  dedication  by  the  author,  Cristoforo 
Ivanovich,  and  his  notice  to  the  reader,  in  which  he  says: 

"Ecco  il  mio  primo  drama  .  .  .  Troverai  in.serita  qualche  machina,  non  attaccata 
dal  capriccio,  ma  introdotta  dall'  arte.  Queste  sono  le  primitie  del  mio  ingegno,  che 
nato  di  diverso  linguawgio,  k  pena  si  6  innestato  k  piii  bassi  rami  della  Tosana  Facondia 
...  La  musica  h  del  Signor  Don  Pietro  Ziaxii  ...  Le  voci  saranno  de  i  cigni  piii 
famose,  che  volano  per  1'  italico  cielo  ..." 

First  performed,  as  indicated,  carnival,  1663.  Schatz  11220 

Amor  indovino,  favola  pastorale  in  musica  da  rappresentarsi  nel 
Teatro  Giustinian  a  S.  Moise.     Nel  mese  di  ottobre,  1'  anno  1726  .  .  . 

Venezia,  Marin  Rossetti,  1726.     36  p.     l^Y"^- 

Three  acta.  By  Giov.  Battista  Neri.  Impresario's  dedication  dated  October  26, 
1726,  ai^iment,  and  cast.  Neither  the  composer,  Antonio  Cortona,  is  mentioned, 
nor  the  author.  Schatz  2263 

Amor  Tastuzia  insegna.  Dramma  giocoso  per  musica  di  Gio- 
vanni Bertati,  poeta  al  servizio  di  S.  M.  I.  R.  A.  etc.,  da  rappre- 
sentarsi nel  nobilissimo  Teatro  Giustiniani  in  San  Mois^  il  carnovale 
deir  anno  1797. 

Venezia,  Modesto  Fenzo,  1797.     ^8  p.     17*^^. 

Two  acts.     Cast,  scenario,  and  name  of  Francesco  Gardi  as  composer. 

First  performed,  as  indicated,  February  18,  1797.  Schatz  3536 

Amor  lunatico.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniani  di  San  Moise  il  carnovale  dell'  anno  1770.  Dell' 
abbate  Pietro  Chiari  .  .  . 

Venezia,  Modesto  Fenzo,  1770.     5 4  p.     16^"^. 

Three  acts.  Dedicatory  poem  by  the  impresario,  cast,  scenario,  and  name  of  Bal- 
dassare  Galuppi  as  the  composer.  Schatz  3436 


•OPERA   LIBRETTOS  91 

L'amor  xnarinaro.     Dramma  giocoso  per   musica  in  due  atti  da 
rappresentarsi  nel  Teatro  elettorale  di^Sassonia. 
Dresda,  n.  puhl,  1798.     183  p.     15^"^. 

Three  acts.  By  Giovanni  di  Gamerra,  who  is  "not  mentioned.  German  title-page 
"Die  liebe  im  matrosenkleide,"  and  text  face  Italian.  Joseph  Weigl  is  mentioned 
as  the  composer.  • 

First  performed  at  Vienna,  Hof theater,  October  15,  1797;  at  Dresden,  July  18, 
1798,  as  indicated.  Schatz  10926 

L'amor  nell'  inganno.  Intermezzi  per  musica  tra  Merlina  e  Fal- 
chetto.  Da  rappresentarsi  per  la  prima  volta  nel  Teatro  de'  Con- 
vittori  del  Seminario  di  Mantova  nel  camovale  delF  anno  1745. 

n.  i.,  n.  d.     22  p.     15^'^'^. 

Four  intermezzi.     Both  author  and  composer  unknown  to  Schatz.     Schatz  11300 

Amor  non  ha  riguardi  e  Le  convulsioni.     Farse  in  musica  di 
Giuseppe  Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  per 
quart  opera  dell'  anno  1787. 
Napoli,  n.  puhl.,  1787.     48  p. 

One  act.  (The  second  farce,  music  by  Gius.  Curcio,  on  p.  26-48.)  Cast  and  name 
of  Luigi  Platone  as  the  composer.  Schatz  8218 

L'amor  per  interesse.     Commedia  per  musica  di  Gaetano  Gas- 
barri,  P.  A.  da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separa- 
zione  per  second'  opera  del  corrente  anno  1797  .  .  . 
Napoli,  n.  puhl,  1797.     52  p.     15^"^. 

Two  acts.  Impresario's  dedication  dated  Nov.  15,  1797,  cast,  and  name  of  Valen- 
tino Fioravanti  as  comp>08er.  On  p.  [46]-52  cast,  argument,  and  description  of 
"Berilowitz  in  Tartaria,  ballo  eroico  pantomimo,  diviso  in  cinque  atti  d'invenzione, 
ed  esecuzione  di  Giuseppe  Cajani,"  who  also  is  mentioned  as  the  composer  of  the 
music.  The  second  ballet,  also  by  Cajani,  was  called  "L'amante  in  cimento."  The 
composer  of  the  music  is  not  mentioned.  Schatz  3112 

Amor  per  ore.  Dramma  giocoso  per  musica  di  Cerilo  Orcomeno 
P.  A.  da  rappresentarsi  nel  nobile  Teatro  in  San  Samuele  I'autunno 
deir  anno  1782  ..  . 

Venezia,  Modesto  Fenzo,  1782.     72  p.     17'''^. 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Giuseppe  Gaz- 
zaniga  as  the  composer.  With  the  opera  were  performed  Onorato  Viganb  a  ballets, 
"Diana  al  bagno"  and  "La  capanna  incantata."  The  comp>o8er3  of  the  music  are 
not  mentioned.  Schatz  3690 

Am.or  per  ore.  Dramma  giocoso,  da  rappresentarsi  nel  Teatro  di 
S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl.,  1790.     I4S  p.     15""^. 

Two  acts.  By  Cerilo  Orcomeno,  P.  A.,  who  is  not  mentioned.  Franz  Seydel- 
mann  is  mentioned  as  the  composer.  German  title-page  "Liebe  aus  haabeucht," 
and  text  face  Italian. 

First  performed  April  7,  1790,  as  indicated.  Schatz  9840 

L'am.or  per  rig^o.  Intermezzo  in  musica  a  cinque  voci  da  rap- 
presentarsi nel  nobil  Teatro  Tron  di  San  Cassiano  nel  camevale  dell' 
anno  IiIDCCLXXXI. 

Venezia,  Pietro  Sola,  n.  d.     44  P-     17\'^. 

Two  acts.  Nicol6  Tassi  is  mentioned  as  author,  Angiolo  Gagni  as  the  composer. 
Cast,  scenario,  and  titles  of  Alberto  Cavos's  ballets,  "II  matrimonio  per  gratituaine," 
and  "II  sargente  burlato. ' '    The  composers  of  the  music  are  not  mentioned . 

Schatz  3411 


92  LIBRARY   OF   CONGRESS 

L'amor  perfetto.     A.  T.  of  Piccinni's  II  servo  padrone. 

L'amor  perfetto.     A.  T.  of  Schuster's  II  servo  padrone. 

Amor  piaga  ogni  core.  Comedia  per  jnusica  d'Agostino  Donati  da 
rappresentarsi  nella  Sala  dell'  illustrissimo,  &  eccellentissimo  Sig. 
marchese  Bentivoglio*. 

Ferrara,  Bernardino  PomateUi,  1691.     6^  p.     15\^. 

Three  acta.  Argument  and  notice  to  the  reader  with  name  of  "  Sabastiano  Chierici, 
Maetro  di  cappella  dell'  illustriss.  Accademia  dello  Spirito  Santo  "  as  composer.  Not 
recorded  by  Allacci  or  Schatz.  ML  50.2.A66C3 

L'Amor  prigioniero. 

Metastasio,  Poesie,  Perigi,  vedova  QuiUau,  1765,  t.  vii,  [S77]-S89  p. 
16^"^. 

One  act.  ML  49.A2M42 

—  L'amor  prigioniero.  Questo  componimento  drammatico  fu  scritto 
d'ordine  sovrano  dall'  aiitore  in  Vienna,  e  cantato  con  musica  del 
Reiitter  in  corte  privatamente  I'anno  1741.  • 

[417]-4^8  p.  £6'^'^.  (Pietro  Metastasio,  Opere,  t.  ii,  Parigi,  vedova 
Herissant,  1780.) 

One  act.  ML  49.A2M44 

L'amor  puo  tutto.  Da  cantarsi  nel  Teatro  privilpgiato  da  S.  M.  C. 
e  Cat.  in  Vienna.  Nell'  anno  MDCCXXXVI.  nel  mese  di  febbraio. — 
Die  lieb  kan  alles  ... 

Wien,  Joliann  Peter  v.  Ghelen,  n.  d.     64  p-     16"^. 

Three  acts.  Argument.  Author  and  composer  not  mentioned  and  unknown  to 
Schatz.    Not  recorded  by  von  Weilen.  Schatz  11302 

Amor  puo  tutto,  ossia  II  trionfo  del  valore,  ballet.  See  P.  Gugli- 
elmi's  Ademira. 

L'amor  sincero.    A.  T.  of  Alcesti. 

L'amor  tirannico.  Drama  per  musica  di  Domenico  Lalli  da  rap- 
presentarsi nel  Teatro  Grimani  di  S.  Samuele  nel  maggio  dell'  amio 
1722.  E  per  la  prima  volta  rappresentato  nel  Teatro  Tron  di  S. 
Cassano  I'autunno  dell'  anno  1710  .  .  . 

Venezia,  Marino  Rossetti,  1722.    48  p.     16'='^. 

Three  acts.  Author's  dedication,  argument,  cast,  scenario,  and  names  of  the 
composers,  Fortunato  Chelleri  and  Giovanni  Porta  (for  the  third  act). 

Schatz  1819 

L'am.or  tirannico.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassano  I'autunno  dell'  anno  1710.     Di  Domenico  Lalli  .  .  . 

Venezia,  Marino  Rossetti,  1710.     71  p.     14^"^. 

Five  acts.  Author's  dedication,  argument,  and  scenario.  Carlo  Francesco  Gas- 
parini,  the  composer,  is  not  mentioned.  Schatz  3558 

Amor  tiranno.  Accademia  fatta  in  casa  dell'  illustrissimo  Sig. 
Senator  Fantuzzi.  Composta  in  musica  da  Domenico  Pellegrini 
Accad.  Filomuso  all'  illustrissima  Signora  Sulpizia  Orsi  Grimaldi. 

Bologna,  Per  gli  Eh.  del  Dozza,  1649.     36  p.     19'"". 

By  Domenico  Gisberti,  who  is  not  mentioned.  Dedication  signed  by  the  com- 
poser and  dated  "Bologna  li  6.  febraro  1649."     On  p.  25-33: 

"II  Sig.  Pietro  Mengoli  col  eeguente  discorso  provo,  che  I'armonia  della  musica,  non 
b  dissimile  dell'  armonia  che  unite  formano  le  parfi,  che  constituiscono  un  bel  eem- 
biante."  Schatz  7859 


OPERA   LIBRETTOS  93 

Amor  tra  le  vendemmie.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terz' 
opera  di  questo  corrente  anno  1792. 

Napoli,  Vincenzo  Flauto,  1792.     52  y.     IS""^. 

Two  acts.    Cast  and  name  of  Pietro  Guglielmi  as  the  composer.       Schatz  4287 

Amor  und  Psyche.     Tr.  of  the  ballet  Amore  e  Psi6he. 

L'amor  vendicativo.  Intermezzo  per  musica  a  quattro  voci  da 
rappresentarsi  nel  Teatro  Nuovo  nel  carnevale  del  corrente  anno 
1783  ... 

Napoli,  n.  puhl.,  n.  d.     32  p. 

Two  acts.  Dedication  by  "La  Comica  Society  napolitana,"  dated  February  14, 
1783,  cast,  and  name  of  the  composer,  Giuseppe  Coppola.  The  author  is  unknown 
to  Schatz. 

First  performed  at  Rome,  Teatro  di  Tor  di  Nona,  carnival,  1780.        Schatz  2212 

L'Amior  vince  Fortuna.  Dramma  per  musica  dedicato  all'  Altezza 
Serenissima  Elettorale  Massimiliano  Emanuele  duca  di  Baviera,  etc. 
...  in  occasione  deUe  di  lui  augustissime  nozze  con  la  Serenissima 
Maria  Antonia  arciduchessa  d'Austria.  Composto  da  Carlo  Sigis- 
mondo  Capece,  e  rappresentato  in  casa  del  medesimo. 
Roma,  Gio.  Battista  Bussotti,  1686.     62  p.     W"^. 

Prologue  and  three  acts.  Dedication  by  the  author,  name  spelled  Capeci.  The 
composer  is  not  mentioned  and  is  unknown  to  Schatz.  ML  50.2.  A67 

Am.or  vince  tutto,  ballet.    See  P.  Gughelmi's  La  Morte  di  Cleopatra. 

L'amor  vincitor  ossia  Dianna  ed  Endimione,  ballet.  See  P.  Gug- 
lielmi's  L'impostore  punito. 

L'amor  vincitore  ossia  Diana  ed  Endimione,  ballet.  Se^  Blanch i's 
La  villa  nella  rapita. 

L'am.or  vincitore,  ballet.     See  Salieri  and  Rust's  II  talismano. 

L'amor  volubile  e  tiranno.     A.  T.  of  A.  Scarlatti's  La  Dorisbe. 

Amor  vuol  sofferenza.  O.  T.  Federico's  libretto  Li  matti  per 
amore. 

Amore  aguzza  I'ingegno.  Commedia  per  musica  da  rappresen- 
tarsi nel  Ileal  Teatro  del  Fondo  di  Separazione  nel  carnevale  di 
questo  corrente  anno  1792. 

Napoli,  n.  puhl.,  1792.     48  p.     15^"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Gaetano  Marinelli  as  the  composer.  With  the  opera  were  performed  Giov.  Battista 
Giannini's  ballet  "II  moro  di  corpo  bianco  o  sia  Lo  schiavo  del  proprio  onore."  The 
composer  of  the  music  is  not  mentioned.  Schatz  5958 

L'amore  ammalato.  Die  kranckende  liebe.  Oder:  Antiochus  und 
Stratonica.  Musicalisches  schau-spiel,  auf  dem  grossen  Hamburgi- 
schen  theatro  vorgestellet.     Im  janr  1708. 

n.  %.,  n.  d.     Unpaged.     18^'^. 

Three-acts.  Neither  the  author,  Barthold  Feind,  nor  the  composer,  Christoph 
Graupner,  is  mentioned  in  the  '*  Vorbericht."  Some  arias  have  Italian  text  in  addi- 
tion to  the  German.  Schatz  4120 


94  LIBRARY   OF  CONGRESS 

L'ajnore  ammalato — Continued. 

—  L'amore  ammalato.  Die  kranekende  Hebe.  Oder:  Antiochus 
iind  Stratonica.     Musicalisches  schau-spiel. 

BaHh.  Feind's  Deutsche  gedichte,  Stade,  1 708,  p.  [393]-454.    1 Z*"". 

Three  acts,  with  "Vorbericht."  The  composer,  Chrietoph  Graupner,  is  not 
mentioned.  ML49.A2F2 

Amore  artigiano.  Dramma  di  tre  atti  per  musica.  Rappresen- 
tato  per  la  prima  volta  in  Venezia  il  carnovale  dell'  anno  MDCCLXI 
con  musica  del  Lattilo  [!]. 

Carlo  GoUoni,  Opere  teatrali,  Zatta  e  jigli,  1788-95,  v.  37,  [137]- 
204  p.     18^"^-  PQ 

L'aEnore  artigiano.     Intermezzo  per  musica  a  quattro  voci  da  rap- 
presentarsi  nel  Teatro  di  Tordinona  nel  carnevale  dell'  anno  1778. 
Roma,  Ottavio  Pucdnelli,  1788.    28  p.     15^"^. 

Two  acts.  By  Goldom,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Agoetino  Accorimbom  as  composer.  Schatz  16 

L'amore  artigiano.     Dramma  giocoso  per  musica  da  rappresentarsi 
in  Firenze  nel  Teatro  di  via  del  Coromero,  nelF  autunno  dell  anno 
1770  .  .  . 
[Firenze],  Si  vende  da  Ant.  Giuseppe  Pagani,  n.  d.     80  p. 

By  Goldoni,  who  is  not  mentioned.  Scenario  and  name  of  Florian  Leopold  Gass- 
mann  aa  the  composer. 

First  performed  at  Vienna,  Burgtheater,  April  26,  1767.  Schatz  3608* 

—  L'amore  artigiano.  Dranmia  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  grande  alia  Scala  di  Milano,  la  primavera  dell'  anno 
1782  ... 

Milano,  Gio.  Batista  Bianchi,  n.  d.     82  p.     W^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Dedication  and  name  of  the 
composer,  Florian  Leopold  Gassmann.  With  the  opera  were  performed  Gaspero 
Angiolini's  (also  the  music  by  him)  ballets,  "I  geni  riuniti,"  **I1  Solimano  secondo," 
"II  diavolo  a  quattro,  ossia  La  doppia  metamorfosi,"  and  "La  Lauretta." 

Schatz  3608 

—  L'amore  artigiano.  Drama  giocoso  da  rappresentarsi  nel  Teatro 
di  Ratisbona  .  .  .     Die  liebe  bey  den  handwerkem  .  .  . 

Regenshurg,  gedruckt  mit  Zunkelischen  schuften,  n.  d.    199  p.    15^'^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Florian  Leopold  Gassmann  as  the  composer. 

Date  of  performance  unknown  to  Schatz.  Schatz  3610 

—  Die  liebe  unter  den  handwerksleiiten.  Ein  lustiges  singe- 
spiel,  von  dem  herrn  advocat,  Carl  Goldoni,  aufgefuehret,  auf  dem 
kleinen  Churfl.  Saechs.  Schauplatze,  Dresden,  im  jahre  1770. 

n.  i.,  n.  d.     182  p.     W"^. 

Three  acts.  Slightly  altered  German  version,  with  Italian  text  facing  the  German, 
of  "L'amore  artigiano,"  by  Gassmann,  whose  name  as  composer  is  given. 

Schatz  3609 

—  Die  liebe  unter  den  handwerksleuten.  Ein  singspiel,  aus 
dem  italienischen  des  hrn.  Goldoni,  in  drey  aufzuegen.  Aurgefuehrt 
auf  dem  K.  K.  Nationaltheater. 

Wien,  heym  Logenmeister,  1779.     116  p.     16^^^^. 

Three  acts.  German  translation  totally  different  from  the  above.  Gassmann  is 
mentioned  as  the  compaser. 

First  performed  as  indicated,  September  29,  1779.  Schatz  3611 


OPERA   LIBRETTOS  95 

L'amore  artigiano — Continued. 

—  Arien  und  gesaen^e  aus  der  oper:  Die  liebe  unter  den  hand- 
werksleuten.  In  drey  aufzuegen.  Die  musik  ist  von  Florian 
Gassmann. 

Hamburg,  J.  M.  Michaelsen,  1782.     36  p.     17'^'^. 

Three  acts.  German  version  by  Christian  Gottlob  Neefe,  and  totally  different 
from  the  other  translations. 

First  performed  at  Hambui^,  Theater  C.  Gansemarkt,  August  28,  1782. 

SCHATZ  3612 

—  Die  liebe  unter  den  handwerksleuten,  eine  operette,  aus  dem 
italiaenischen  des  herrn  Goldoni,  aufgefuehret  am  Churpfaelzischen 
hof  in  jahr  1772. 

Mannheim,  Hof-  und  Akademie-Buchdruckerei,  n.  d.     96  p.     15^'^. 

Three  acts.  This  German  version  again  different  from  the  others.  Cast  and  name 
of  Gassmann  as  the  composer. 

First  performed,  as  indicated,  at  Schwetzingen,  August,  1772.  Schatz  3620 

L'amore  artigiano.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo  Pastor  Arcade,  da  rappresentarsi  nel  Teatro  di  S.  Angelo  il 
carnevale  dell'  anno  1761. 

Verieda,  Modesto  Fenzo,  1761.     70  p.     15'='^. 

Three  acts.    By  Goldoni .     Cast,  scenario,  and  name  of  Gaetano  Latilla  as  composer. 

Schatz  5442 

—  L'amore  artigiano.  Operetta  comica,  da  rappresentarsi  sul 
Regio  Teatro  Danese,  il  carnovale  dell'  anno  1762. — De  forelskte 
haandverksfolk  .  .  . 

Ki^henhavn,  Lars  Nielsen  Svare,  n.  d.     US  p.     l^Y'^- 
Three  acts.     Cast  and  names  of  Goldoni  and  Latilla.     Danish  text  faces  Italian. 

Schatz  5443 

Amore  contadino.  Dramma  di  tre  atti  per  musica.  Rappresen- 
tato  per  la  prima  volta  in  Venezia  I'autunno  dell'  anno  MDCCLX  con 
musica  del  Lampugnani. 

Carlo  Goldoni,  Opere  teatrali.  Venezia,  Zatta  efigli,  1788-96,  v.  37, 
{205]-267  p.     18^"^.  PQ 

L'amore  costante.     Commedia  per  musica  in  quattro  atti  di  Gio- 
vanni Bertati  da  rappresentarsi  nel  nobilissimo  Teatro  Giustiniani  di 
San  Moise  per  la  prima  opera  il  carnovale  dell'  anno  1787. 
Venezia,  Antonio  Casali,  n.  d.     6If.  p.     18^'^. 

Four  acta.     Cast  and  name  of  Giuseppe  Gazzaniga  as  the  composer. 

First  performed  as  indicated,  December  26,  1786.  Schatz  3683 

—  La  costanza  in  amor,  rende  felice.  Commedia  per  musica  in 
quattro  atti  da  rappresentarsi  nel  Ces.  Reg.  Teatro  della  cittk  e 
porto-franco  di  Trieste  il  carnovale  1787. 

'  Trieste,  Stamperia  delV  eccelso  govemo,  n.  d.     56  p.     17\'^'^. 

Four  acts.  Cast  and  name  of  Giuseppe  Gazzaniga  as  the  composer.  Slightly  dif- 
ferent text  from  the  original  of  Bertati,  who  is  not  mentioned.  For  instancej  I,  5  now 
begins  "Pandolfino  mio  ben!"  with  the  aria  "La  donna  che  6  amante,"  mstead  of 
"Con  questo  maledetto  can  da  guardia,"  with  the  aria  "Oh  quanto  h  mai  felice." 

Schatz  3686 

Amore  custode  del  giardino  di  Armida,  ballet.  See  Anfossi's 
Armida. 


96  LIBRARY   OF   CONGRESS 

L'amore  della  patria.     See  M.  Curzio. 

Amore  di  sangue.     L.  T.  of  Porta's  Amore  e  fortuna. 

Amore  dottorato,  con  le  Conclusioni  difese  da  lui  nel  Tempio  della 
Virtd  .  .  .     Invenzione  drammatica  intrecciata  alia  commedia  dell' 
Amor  virtuoso  nel  nobil  coUegio  Toloinei  per  il  came  vale  di  quest' 
anno  1691. 
Siena,  Stamperia  del  Puhhlico,  n.  d.     3  p.  I.,  22  p.     ISY"^. 

Prologue  and  two  intermezzi.  Dedication  signed  by  "L'  Economico  Intronato," 
Arcadian  name  of  Girolamo  Gigli,  as  author.     Argument  and  note: 

"Cos^,  non  per  aggiungnere  omamento  all'  opera,  che  n'  h.k  eortito  a  bastanza  dalla 
penna  ingegnosa  dell'  autore,  ma  per  empire  tutto  quel  tempo,  che  6  destinato  al 
trattenimeto  dell'  otio  d'una  sera  virtuosa,  si  sono  fraposte  quest'  invgzioni  musicali; 
dove  per  alludere  all'  Amor  virtuoso  dell'  azione,  si  mostra  I'Amore  in  cattedra,  che 
difende  i  suoi  principij.  Le  Conclusioni  sono  de'  piii  accreditati  autori  inpoesia 
italiana  e  premettgdosene  una  avati  ciascheduno  atto  della  commedia,  si  mostrano 
nelle  difese  di  quelle  I'azioni  virtuose  de  i  primi  persona^  dell'  opera." 

Not  listed  by  Schatz.    Composer  unknown  to  me.  ML  48. A5    v.  46 

Amore  e  fortuna.     Drama  da  rappresentarsi  in  musica  nel  Teatro 
Giustinian  di  San  Moise  il  camovale  dell'  anno  1727. 
Venezia,  Steffano  Valvasense,  1727.     J^5  p.     16'^'^. 

Three  acts.  By  Francesco  Passarini,  who  is  not  mentioned.  Argument,  scenario, 
and  reader's  notice  with  name  of  Giovanni  Porta  as  the  composer  and  the  remark 
that  this  is  a  replica. 

First  performed  at  Rovigo,  Teatro  Campagnella,  fall  of  1712.  Schatz  8385 

—  Amore  di  sangue.     Drama  per  musica  da  rappresentarsi  in 
Bergamo  il  carnevale  dell'  anno  1729  .  .  . 
Venezia,  Andrea  Pippari,  n.  d.     4^  p.     15'^^. 

Three  acts.  Dedication,  notice  to  the  reader  with  Giovanni  Porta's  name  as  the 
composer,  argument,  cast,  and  scenario.  This  is  Francesco  Passarini's  "Amore  e 
fortuna  "  text  with  the  customary  modifications.  Schatz  8386 

L'  amore  e  1'  azzardo,  ballet.     See  Rust's  Gli  antiquari  in  Palmira. 

Amore  e  maesta  o  sia  L'Arsace.     O.  T.  of  Salvi's  Arsace. 

Amore  e  maesta.     Drama  per  musica  da  rappresentarsi  in  Bologna 
nel  Teatro  Marsiglj  Rossi  il  camovale  dell'  anno  MDCCXXII, 
Bologna,  CostantinoPisarri,  1721.     59  p.     12°. 

Three  acts.  By  Antonio  Salvi.  Notice  to  the  reader,  scenario,  and  cast,  but 
without  the  names  of  the  librettist  and  the  composer. 

First  performed,  as  indicated,  December  26,  1721.  Schatz  3384 

Amore  e  magia,  ballet.     See  Portugal's  Fernando  nel  Messico. 

Amore  e  musica.     Intermezzi  da  rappresentarsi  nel  Teatro  alia 
Valle  degl'  illustrissimi  Sig.  Capranica  nel  carnevale  dell'  anno  1773. 

Roma,  Lorenzo  Corradi,  n.  d.     60  p.     16'^^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  by  Ang. 
Lungi,  cast  and  name  of  Marcello  di  Capua  (Bemardini)  as  composer. 

ML  50.2.A68B3 

Amore  e  Psiche,  ballet  by  Le  Messier.     See  Bertoni's  Tancredi. 

Amore  e  Psiche,  ballet.     See  Bianchi's  Nitteti. 


OPERA  LIBRETTOS  97 

Amore  e  Psiche,  ballo  eroico.     See  Fischietti's  La  molinara. 

Amore  e  Psiche.     Opera  rappresentata  nell'  Imperial  Re^io  Teatro 
festeggiandosi  i  felicissimi  sponsali  di  Ferdinanao  IIII  di  Borbone 
.  .  .  e  di  Maria  Giuseppa  d'Austria  1'  anno  MDCCLXVII. 
Vienna,  Ghelen,  1767.     Unpaged.     23^"^. 

Three  acts.  Argument,  cast,  and  name  of  Marco  Coltellini  as  author,  of  Florian 
Leopold  Gassraann  aa  the  composer. 

Fitst  performed,  as  indicated,  October  5,  1767.  Schatz  3626 

Amore  e  Psiche — Amor  und  Psyche,  ballet.  See  JommeUi's  Semi- 
ramide. 

Amore  e  Psiche,  ballet.     See  Robuschi's  Briseide. 

Amore  e  sdegno.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassano  nel  camevale  delF  anno  MDCCXXVI  .  .  . 
Venezia,  Marino  Bossetti,  1726.     ^8  y.     14^"^. 

Three  acts.  Ar^ment,  cast,  notice  to  the  reader,  and  dedication  signed  by  cav, 
Michiel  Angelo  Boccardi  di  Mazzera,  who  altered  Francesco  Silvani's  (not  men- 
tioned) "La  moglie  nemica"  under  the  above  title.  The  composer,  Luigi  Tavelli, 
is  not  mentioned.  Schatz  10253 

Amore  ed  innocenza.     A.  T.  of  the  ballet  La  fata  Alcione. 

L'  am.ore  eroico.     Drama  per  musica  da  rappresentarsi  nel  Teatro* 
Grimani  di  S.  Samuele  per  la  fiera  dell'  Ascensione  1'  anno  1725  .  .  . 
Venezia,  Marino  Rossetti,  1725.     47  p.     ^4'=™. 

Three  acts.  According  to  Schatz  a  later  version  of  "Zenobia  in  Palmira"  by 
Apostolo  Zeno  and  Pietro  Pariati,  but  I  find  no  such  text  in  their  works.  Publish- 
er s  dedication,  who  speaks  repeatedly  of  "il  mio  drama,"  ai^ument,  scenario,  cast, 
and  name  of  Giovanni  F^ncesco  Brusa  as  composer.  Schatz  1373 

L'amore    figlio   del  merito.     Drama  per  musica  da  recitarsi  nel 
Teatro  di  Sant'  Angelo  I'anno  1694.     Di  Matteo  Noris  .  .  . 
Venetia,  Nicolini,  1694.     69  p.     14<^'^. 

Three  acts.  Publishers  dedication,  argument,  scenario.  Marc'  Antonio  Ziani, 
the  composer,  is  not  mentioned. 

First  performed,  as  indicated,  carnival  1694.  Schatz  11179 

Am.ore  figlio  della  gratitudine.     A.  T.  of  Badia's  La  Rosaura. 

L'am.ore  fortunato  ne'  suoi  disprezzi.  A.  T.  of  Galuppi's 
Alcimena  principessa  dell'  Isole  Fortunate. 

Am.ore  fra  gl'  Impossibili.  Dramma  per  musica,  di  Amaranto 
Sciaditico,  pastore  Arcade. 

Roma  cfc  Siena,  Bonetti,  1693.     82  p.     13^'^. 

Three  acts.  By  Girolamo  Gigli.  Argument  and  scenario.  The  composer.  Carlo 
Campelli,  is  not  mentioned. 

This  ed.  differs  distinctly  from  the  one  at  the  Brussels  Conservatoire,  which  haa  on 
the  t.-p.  "dedicato  all'  illustriss.  Signora  duchessa  di  Zagarolo  e  da  lei  fatto  rappre- 
eentare  nel  euo  teatro,"  haa  4  p.  1.,  with  a  dedication  dated  Rome,  January  2,  1693, 
and  signed  by  the  poet  Girolamo  Gigli,  and  the  text  on  only  76  p.  Schatz  1532 

Amore  gastigato.     Dramma  musicale. 

Girolamo  Bartolommei  Smeducci,  Drammi  mtbsicali  morali,  Firenze, 
1656,  V.  I,  p.  [183]-231.    23'"^. 

Prologue  and  three  acts.  Argument  and  allegoria.  No  composer  recorded  by 
Schatz.  ML  49.A2B3 

72251°— VOL  1—14 7 


98  LIBBABY  OP  CONGBESS 

Amore  giustificato.     Festa  teatrale  in  occasione  delle  felicissime 
nozze  di  S.  A*  S.  il  principe  Massimiliano,  duca  di  Sassonia  etc.  e  di 
S.  A.  R.  La  principessa  Carolina  di  Parma  etc. 
Dresda,  Stamperia  elettorale,  1792.     53  p.     21*^^. 

One  act.  Caterino  Mazzol^  is  mentioned  as  the  author,  Johann  Gottlieb  Naumaiui 
as  the  compoper.  German  title  page,  ''Die  gerechtfertigte  liebe,"  and  text  face 
Italian. 

First  performed,  as  indicated,  May  12,  1792.  Schatz  7037 

Amore  guerriero  per  la  Rocca  incantata.  See  Trattenimento 
musicale  d'Apollo  con  il  Reno. 

L'amore  immaginario.  Commedia  per  musica  da  rappresen- 
tarsi  nel  Teatro  Nuovo  sopra  Toledo  per  seconda  commedia  del 
corrente  anno  1794. 

Napoli,  n.  publ,  1794.     48  p.     15^"^. 

Two  arts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  and  name  of  the 
composer,  Valentino  Fioravanti.  Schatz  3114 

L'amore  in  ballo.     Dramma  giocoso   per    musica  da    rappresen- 
tarsi  nel  Teatro  Giustiniani  di  San  Mois^  il  camovale  dell'  anno  1765. 
Venezia,  Modesto  Fenzo,  1765.     60,  [1]  p. 

The  additional  p.  contains  the  substitute  aria  I,  10,  "InfeUce  meschinella." 
Three  acts.    Antonio  Bianchi,  the  author,  is  not  mentioned.     Cast,  scenario,  and 
name  of  Giovanni  Paisiello  as  the  composer.  Schatz  7587 

L'amore  in  campagne.     O.  T.  of  Borghi's  Le  villanelle  innamorate. 

Amore  in  caricatura.  Dramma  di  tie  atti  per  musica.  Rappre- 
sentato  per  la  prima  volta  in  Venezia  il  camovale  dell'  anno  MDCCLXI 
con  musica  del  Ciampi. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejlgli,  1788-95,  v.  37, 
[2681-313  p.     ISY"^-  PQ 

Amore  in  caricatura.  Dramma  per  musica  di  Polisseno  Fegejo 
Pastor  Arcade,  da  rappresentarsi  nel  Teatro  di  S.  Angelo  il  camovale 
dell'  anno  1761  .  .  . 

Venezia,  Modesto  Fenzo,  1761.     48  p.     14^"^. 

Three  acts.  By  Goldoni.  Impresario's  dedication,  cast,  scenario,  and  name  of 
the  composer,  Vincenzo  Legrenzio  Ciampi.  Schatz  1888 

L'amore  in  contrasto,  ballet.    See  Anfossi's  Zemira. 

L'amore  in  maschera.     Commedia  per  musica  di  Antonio  Palomba 

da  rappresentarsi  nel  Teatro  de'  Fiorentini  nel  carnevale  di  quest' 

anno  1748  ... 

Napoli,  Domenico  Langiano,  1748.     4  P-  ^-j  ^^  P-     14¥™' 

Three  acts.     Impresario's  dedication,  cast,  and  name  of  Niccol5  JomineUi  as 

composer.  Schatz  4875 

L'amore    in    musica.     Dramma    giocoso   da    rappresentarsi   nel 
Teatro  Giustiniani  di  S.  Moisd  il  presente  autunno  MDCCLXIII. 
Veneziaj  Francesco  Valvasense,  n.  d.     71  p.     15*^^. 

Three  acts.  By  Carlo  Goldoni,  according  to  Schatz,  but  not  to  be  found  in  his 
works.    Cast,  scenario,  and  name  of  composer,  Antonio  Boroni.  Schatz  1244 


OPERA   LIBRETTOS  99 

L'amore  in  musica — Continued. 

—  L'  ainore  in  musica,  opera  comiea  da  rappresentarsi  nel  Teatro 
della  Solitudine  per  ordine  di  Sua  Altezza  Serenissima  il  regnante 
duca  di  Wirtemberg  et  Teck  etc.  La  musica  ^  del  Signor  Antonio 
Boroni  .  .  . 

[Stuttgart],  Nella  stamperia  di  Cotta,  1770,    207  p.     16^"^. 

Cast.    French  title,  "L'amour  en  musique,"  and  text  face  Italian. 

First  performed,  as  indicated,  at  Ludwigsbui^  in  1770.  Schatz  1245 

—  L'amore  in  musica. 

89  p.     15'='^. 

Title  page  wanting;  has  half-title  only.  Three  acts.  Cast,  scenario,  and  name  of 
Antonio  Boroni  as  composer.    Goldoni  is  not  mentioned.  ML  50.2.A69B6 

Amore  in  puntiglio.  Farsa  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Cassiano  I'anno  1773. 

Venezia,  n.  puhl,  1773.     52  p.     15^"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Michiel  Pfeiffer 
di  Franconia  (Jean  Michel  Pfeiffer)  is  mentioned  as  the  composer.       Schatz  8001 

Amore  in  tarantola.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  di  S.  Moise  nell'  autunno  dell'  anno 
3^ID(X!L. 

Venezia,  Modesto  Fenzo,  1750.     60  p.     14^^™.  ' 

Three  acts.  By  Vaccina  who  is  not  mentioned.  Argument,  cast,  scenario,  ar.d 
name  of  Gaetano  Latilla  as  composer.  Schatz  5444 

Amore  in  trappola.  Dramma  giocoso  per  musica  del  Sig.  ab. 
Pietro  Chiari  da  rappresentarsi  nel  Teatro  Giustiniani  di  S.  Moisd 
il  carnovale  dell'  anno  1768. 

Venezia,  Modesto  Fenzo,  1768.     72  p.     15^'^. 

Three  acts.     Cast,  scenario,  and  name  of  composer,  Tommaso  Traetta. 

Schatz  10405 

L'amore  in  villa.     Componimento  per  musica  a  cinque  voci  da 
rappresentarsi  nel  Teatro  domestico  del  cittadino  Sforza  Cesarini 
dagli  Accademici  Intrepidi. 
Roma,  Salomoni,  anno   VI.  deW  era  repuhhXicana,  {1797\.     ^7  p. 

Two  acts.  Cast  and  names  of  Giuseppe  Petrosellini  as  author,  and  of  Pietro  Gug- 
lielmi  as  composer.  Schatz  4308 

^  Amore  inamorato.     Drama  per  musica  nel  famoso  Teatro  Grimani 
di  S.  Gio.  Grisostomo.    L'annoMDCLXXXVI.    Di  MatteoNoris  .  .  . 
Venetia,  Francesco  Nicolini,  1686.     70,  [1]  p. 

Three  acts.  Publisher's  dedication,  argument,  scenario,  and  list  of  machines. 
The  composer,  Carlo  PaUavicino,  is  not  mentioned.  The  imprimatur  is  dated 
January  10,  1686.  Schatz  7718 

L'amore  industrioso.  Dramma  giocoso  per  musica  del  celebre 
Signore  Casori.  Da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di 
Sassonia. 

Dresda,  n.  puhl,  1769.     151  p.     15^"^. 

Three  acts.  Bernardino  (Bernardo)  Ottani  is  mentioned  as  the  composer.  Ger- 
man title  p^e  "Die  scharfsinnige  liebe"  and  text  face  Italian. 

First  performed  Nov.  21,  1769,  as  indicated.  Schatz  7357 


100  LIBRAE Y  OF   CONGBESS 

L'amore  industrioso.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  Tron  di  S.  Cassano  nell'  autimno  dell'  anno  1765. 
Del  Signor  abbate  Casori. 

Venezia,  Modesto  Fmzo,  1765.     62  p.     17 i^"^. 

Three  acts.    Cast,  scenario,  and  name  of  Gio.  Marco  Rutini  as  the  composer. 

SCHATZ  9186 

Amore  ingegnoso,  o  sia  La  giovane  scaltra.    Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  Obbizzi  il  camovale  dell'  anno 
1775  .  .  . 
Padova,  Stamperia  Penada  n.  d..    32  p.     W^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Music  by  Paisiello, 
who  is  not  mentioned.  Impresario's  dedication  and  cast.  Originally  known  as  "La 
cantata  e  disfida  di  Don  TrastuUo  "  and  as  such  composed  by  Jommelli  for  Rome,  1746. 

Schatz  7694  * 

—  li'amore  ingegnoso.  Intermezzo  in  musica  a  cinque  voci  da 
rappresentarsi  nel  Teatro  Valle  degl'  illustriss.  Sigg.  Capranica  nel 
carnevale  dell'  anno  1785  ... 

Roma,  Agostino  PalomMni,  n.  d.     50  p.     15*^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Paisiello  as  composer.  ML  50.2.A693P2 

—  L'amore  ingegnoso.  Dramma  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  Salvaterra  nel  camovale  dell'  anno  1790. 

[Lisbona],  Stamperia  reale,  n.  d.     74  P-     15^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Giovanni  Paisiello  as  the  composer.  Schatz  7596 

—  L'amore  ingegnoso.  Intermezzo  in  musica  da  rappresentarsi 
nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  publ,  1786.     I4I  p.     15^'^"'. 

Two  acts.  Paisiello  is  mentioned  as  the  composer.  German  title  page  "Die 
erfinderische  liebe"  and  text  face  Italian. 

First  performed,  as  indicated,  November  18,  1786.  Schatz  7597 

Amore  innamorato.  Favola  da  rappresentarsi  in  musica  nel  Teatro 
di  S.  Moisd  I'anno  1642  ..  . 

Venetia,  Battista  Surian,  16^2.     SI  p.     13^"^. 

Five  acts  with  prol(^ue.  Dedication  signed  by  the  author  Giovanni  Battista 
Fusconi  and  dated  January  1,  1642*  argument,  scenario,  and  name  of  "Francesco 
CavaUi  .  .  .  creduto  I'Anfione  de'  nostri  giorni "  as  composer  in  the  notice  to  the 
reader.  Schatz  1734 

Amore  innamorato.     A.  T.  of  Scarlatti's  La  Psiche. 

L'amore  maestro  di  scuola,  ballet.     See  Rispoli's  Ipermestra. 

Amore  per  amore.     L.  T.  of  M.  A.  Bononcini's  II  trionfo  di  Camilla. 

L'amore  per  forza.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniano  di  S.  Moise  I'autunno  dell'  anno  1721. 

Venezia,  Marino  Possetti,  1721.     45  p.     14^"^- 

Three  acts.  By  Bartolomeo  Pavieri,  who  is  not  mentioned.  Notice  to  the  reader 
with  argument,  cast,  scenario,  and  names  of  Girolamo  Bassani  as  composer  of  the 
firat  act,  of  Matteo  Lucchini  of  second  and  third.  Schatz  636 


OPEPA  LIBRETTOS  101 

Amore  per  incanto.  Commedia  per  musica  da  rappresentarsi  nel 
Real  Teatro  del  Fondo  di  Separazione  per  quart'  opera  di  questo 
corrente  anno  1791. 

Napoli,  Vincenzo  Flauto,  n.  d.    52  p.     ^5^*^"*. 

Two  acts.  Cast  and  name  of  Maxcello  di  Capua  as  composer.  Librettist  not 
mentioned  and  unknown  to  Schatz.  On  p.  5-9  cast  and  description  of  "II  trionfo 
de'  Spagnoli,  o  sia  La  disfatta  de'  Marrocchini.  Ballo  composto,  e  diretto  dal  Sig. 
Gio.  Battista  Giannini."    Pietro  Dutilieu  is  mentioned  as  composer  of  the  music. 

Schatz  838 

L'amore  per  interesse.  Drama  giocoso  per  musica  da  rappre- 
sentarsi in  Parma  nel  R.  D.  Teatro  di  corte  il  carnevale  dell'  anno 
MDCCLXXXVIII  .  .  . 

Parma,  Carmignani,  n.  d.     viii,  63,  [1]  p.     17*^^. 

Two  acta.    A  later  version  of  "  Mirandolina  "  by  Bertati,  who  is  not  mentioned. 

Imprimatur  dated  Dec.  19,  1786.  Dedication  by  the  impresario,  Angelo  Ben- 
tivc^ho,  cast,  scenario,  and  name  of  the  composer,  Vincenzo  Fabrizj.  ("La  musica  d 
tutta  nuova  espressamente  composta.")    In  two  acts  by  Giovanni  Bertati. 

On  p.  51-63  pref.,  cast,  and  description  of  the  five-act  "Adelaide  di  Ghesclino. 
Ballo  eroico,  composto  e  diretto  dal  Signor  Giuseppe  Banti  .  .  .  La  musica  .  .  .  edel 
SignorDomenico  Rava,  Napoletano."    The  second  balletwas  called  "La  Ghinghetta." 

First  performed  December  26,  1786,  as  indicated. 

Schatz  2971 

L'amore  politico.     A.  T.  of  the  ballet  La  donna  bizzarra. 

Amore  premiato,  ballet.     See  Paisiello's  II  tamburo  notturno. 

L'amore  rammingo.  Dramma  giocoso  per  musica  in  due  atti 
d 'Antonio  Piazza  Veneziano  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Samuele  nel  carnovale  dell'  anno  1777. 

Vmezia,  Gio.  Battista  Casali,  1777.     78  p.     17<^. 

Two  acts.  Cast,  scenario,  and  name  of  Francesco  Salari  as  the  coroposer.  On  p. 
[33]-44  dedication,  scenario,  cast,  description,  and  name  of  Baldassare  Filippo  Mattei 
as  the  composer  of  the  music  of  Innocenzo  Gambuzzi's  "Medonte,  ballo  eroico;"  on 
p.  [691-78  the  same  without  name  of  the  composer  of  his  ballet,  "II  seguito  tra  I'armi 
o  sia  La  donna  militare."  Schatz  9266 

L'amore  secreto.     A.  T.  of  Spontini's  Adelina  Senese. 

L'am.ore  senza  malizia.  Dramma  giocoso  per  musica  del  Sig.  ab. 
Pietro  Chiari  da  rappresentarsi  nel  Teatr^o  Giustiniani  di  S.  Moise  il 
carnovale  dell'  anno  1768. 

Venezia,  Modesto  Fenzo,  1768.     72  p.     16'"". 

Three  acts.    Cast,  scenario,  and  name  of  Bernardo  Ottani  as  the  composer. 

Schatz  7358 

—  L'amore  senza  malizia.  Dramma  giocoso  per  musica  del 
Signore  abb.  Pietro  Chiari  da  rappresentarsi  nel  Piccolo  Teatro  di 
S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1768.     167  p.     15^"^. 

Three  acts.  Cast,  scenario,  and  name  of  Bemard(in)o  Ottam  as  the  composer. 
German  title  page,  "Die  liebe  ohne  boesheit,"  and  text  face  Italian,  which  seems  to 
follow  the  original  closely. 

Schatz  7359 


102  LIBRABY  OF  CONGRESS 

L'amore  senza  malizia — Continued. 

—  L'amore  senza  malizia.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  in  Lisbona  nel  Teatro  della  Rua  dos  Condes  nell'  estate 
deir  anno  1774. 

[Lisbona],  Stamperia  reale,  n.  d.     87  p.     15*^^. 

Three  acts.  Cast,  scenario,  and  name  of  Bernardino  Ottani  as  composer.  Chiari 
is  not  mentioned.  ML  48.C6I 

L'Am.ore  soldato.     Dramma  giocoso  per  musica  da  rappresentarsi 
nei  Teatro  Giustiniani  di  S.  Moise  I'autunno  dell'  anno  1769. 
Venezia,  Modesto  Fenzo,  1769.     48  p.     17'^'^. 

Three  acta.  Cast,  scenario,  names  of  the  author,  Niccol6  Tassi,  and  of  the  composer, 
Alessandro  Felici.  Schatz  3054 

L'am.ore  soldato  ou  L'amour  soldat.     Opera-comique  italien.     En 
trois  actes;  musique,  del  Signer  Sacchini.     Repr^sent6  par  I'Aca- 
d^mie-royale  de  musique,  le  jeudi  8  juillet  1779. 
Paris,  P.  de  Lormel,  1779.     85  p.     21'^'^. 

Cast.  Italian  text  (by  Nicola  Tassi,  not  mentioned)  and  French  text  on  opposite 
paces. 

First  performed  at  London,  Haymarket,  1777.  ML  50.2.A697S2 

Amore  spesso  inganna.  A.  T.  of  Sartorio's  (?)  Orfeo  a  torto 
geloso. 

Amore  trionfator  della  magia,  ballet.  See  Marescalchi's  II  tutore 
ingannato. 

L'amore  trionfante  della  vendetta.  A.  T.  of  Francesco  Rossi's 
La  Corilda. 

Amore  vendicato,  ballet.     See  Caruso's  Antigono. 

L'amore  verso  la  patria.     Die  liebe  gegen  das  vaterland  oder  Der 
sterbende    Cato.     [vignette.]     Musicaliscnes    schau-spiel,    auf    dem 
grossen  Hamburgischen  Schau-platz  aufgefuehret  im  jahr  1715. 
Hamburg,  Friedrich  Conrad  Greflinger,  n.  d.      Unpaged.     19^^. 

Three  acts.  In  the  "  Vor-bericht"  with  argument  it  is  stated  that  this  is  a  transla- 
tion from  Matteo  Noris  [hia  "Catone  Uticense"].  Neither  Barthold  Feind,  the  trans- 
lator, nor  Reinhard  Keiser,  the  composer,  is  mentioned.  Some  arias  have  the 
Italian  text  added  to  the  German.  Schatz  5075 

L'am.ore  vince  I'inganno,  drama  pastorale  d'ordine  di  sua  Altezza 
Ser*^  il  Sigfduca  regnante  di  Sassonia-Gotha  ed  Altenburgo,  etc., 
rappresentato  nel  Theatre  di  Friedenstein.     Ai  [blanlc]  d'Aprile  1736. 
n.  i.,  n.  d.     34  p.     18'^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Gottfried  Heinrich 
Stoelzel  is  mentioned  as  the  composer.  Schatz  10076 

Amore  vincitore  dell'  indifferenza,  ballet.  See  Jommelli's  L'isola 
disabitata. 

L'amore  vinto  dall'  amicizia,  ballet.  See  G.  F.  de  Majo's  Catone 
in  Utica. 


OPERA  LIBRETTOS  103 

L'amore  volubile.     Drainma   giocoso    per  musica.     Opera  nuova 
del  Signer  abbate  Serafino  Bellini,  poeta  romano  da  rappresentarsi 
nel  Teatro  Zagnoni  11  came  vale  dell'  anno  1779  .  .  . 
Bologna,  Sassi,  n.  d.     70,  [1]  p.     15^'^. 

Two  acts.  Imprimatur  dated  December  22,  1778.  On  p.  70  a  list  of  errata,  on  the 
additional  page  a  substitute  aria  for  act  II,  sc.  10.  With  impresario's  dedication, 
cast,  scenario,  and  name  of  the  composer,  Luigi  Caruso  ("musica  tutta  nuova"). 

SCHATZ  1666 

Os  amores  de  Sisbe  e  Selene.     A.  T.  of  Calimedonte,  rei  do  Epiro. 

Gli  amori  d'Apollo  e  di  Dafne  di  Gio.  Francesco  Busenello.  Rap- 
presentati  in  musica  nel  Teatro  di  S.  Casciano,  in  Venetia  nell'  anno 
1640. 

Venetia,  Andrea  Giuliani,  MDCLVI  [\].  4  P-  ^-  (inch  front.),  64  p. 
Igcm^  ("PeZZe  Jiore  ociose  di  Gio.  Francesco  Busenello.  Parte  prima,''* 
Venetia,  Andrea  Giuliani,  1656.) 

Three  acts  with  prologue.  Author's  dedication  dated  Venice,  September  10, 1656, 
argument.     The  composer,  Francesco  Cavalli,  is  not  mentioned.  Schatz  1716 

OF  amori  d'Apollo  e  di  Leucotoe.  Drama  per  musica  di  Aurelio 
Aureli,  favola  undecima.  Rappresentato  in  Venetia  nel  famoso 
Teatro  Grimano  I'anno  1663  .  .  . 

Venetia,  Francesco  Nicolini,  1663.     6  p.  I.  (incl.  front.),  57  p.    IS^'^"*. 

Three  acts.  Author's  dedication  dated  Venice,  January  8,  1663,  argument  and 
notice  to  the  reader  with  the  name  of  Rovettino  as  composer.  Schatz  9107 

Gli  amori  d'Igor  primo  Czar  di  Moscovia,  ballet;    See  Cimarosa's 

L'impresario  in  angustie,  (Milano,  1789). 

Gli  amori  d'Igor,  primio  Zar  di  Moscovia,  ballet.  See  Tarchi's 
Ifigenia  in  Tauride. 

Gr  amori  di  Alessandro  Magno  e  di  Rossane.  Dramma  musi- 
cale  posthumo  del  dottor  Hiacint'  Andrea  Cicognini  Academico 
Instancabile  ... 

Venetia,  Gio.  Pietro  PineUi,  1651.     108  p.     131i<^. 

Three  acts  and  prologue.  Dedication  by  Giovanni  Burnacini,  dated  Venice, 
January  24,  1651,  and  notice  to  the  reader  stating:  "La  famosa  penna  del  dottor 
Hiacint'  Andrea  Cicognini,  ordi  quasi  come  qu\  vedi  I'argomento,  e  tessutone  il 
prolo^o;  il  primo  atto,  &  due  scene  del  secondo,  cedfe  alia  vita,  &  alia  opera"  and 
that  the  work  was  finished  by  an  author  who  forbade  to  mention  his  name.  JBumacini 
continues  by  saying  that  to  him  "che  per  i  diletti  dell'  architettura,  e  di  macchine 
poeso  con  verity  dirmi  il  primo,  quanto  al  tempo,  c'habbia  ornate  scene  6  fatte  mac- 
chine  in  questa  citt^  ...  6  toccato  di  porre  sul  mio,  benche  picciolo  theatre,  un 
Alessandro  grande;  sproportione  la  conosco;  e  per  il  sito,  e  per  I'opera,  e  per  le  mie 
forze  ..." 

Composed  by  Francesco  Luccio  according  to  Schatz.  It  should  be  noted  that 
(comp.  Wotquenne  Catalogue)  the  same  text  m  the  Bolc^na  1656  ed.  mentions  Bene- 
detto Ferrari  as  composer.  Schatz  5745 

Gli  amori  di  Alessandro  e  di  Rossane.  O.  T.  of  Cicognini 's  text 
L' Alessandro  amante. 

Gli.am.ori  di  Angelica  e  Medoro,  ballet.    See  Paer's  La  Rossana. 


104  LIBRARY   OF  CONGRESS 

Gli  amori  di  Circe  con  Ullsse.  Opera  italiana  rappresentata  sopra 
il  Teatro  di  Dresda  .  .  .  composta  m  Italiano  per  il  Sig.  Gio.  Batta. 
Ancioni  &  tradotta  in  francese  .  .  .  per  il  Sig.  Angelo  de  Constantini 
Veron  .  .  .     Dresda  gli  22  maggio  1709. 

[Dresden],  Stampata  per  Giacomo  Harpeter,  n.  d.     6  p.  I.,  87,  [1]  p. 

In  twenty-two  scenes.  Cast,  translator's  dedication,  and  name  of  Carlo  Agostino 
Badla  as  composer.  Entirely  different  from  "La  costanza  d'Ulisse,"  attributed  by 
Schatz  to  Ancioni  (1700).  The  French  title  "Les  amours  d'Ulisse  &  de  Circe"  and 
text  face  Italian.     The  argument  at  the  end  of  the  libretto.  Schatz  543 

Gli  axuori  di  Clodio  e  Pompea,  ballet.  See  Bianchi's  Alonso  e 
Cora. 

Gli  amori  di  Clodio  e  Pompea.     A.  T.  of  Draghi's  Chi  piti  sk  manco. 

Gli  amori  di  Giasone,  e  d'  Isifile.     Festa  teatrale  di  Oratio  Per- 
siani  posta  in  musica  dal  Sign.     Marco  Marazzoli  .  .  . 
Venetia,  Antonio  Bariletti,  1642.     80  p.     13^"^. 

Three  acts  and  prologue.  Author's  dedication  dated  Venice,  February  22,  1642, 
and  argument. 

First  performed  at  Venice,  Teatro  Grimani  a  S.  S.  Gio.  e  Paolo,  February  22, 1642. 

Schatz  5923 

Gli  amori  di  Mirtillo  con  Silvanzia,  ballet.  See  Antonelli's  Catone 
in  Utica. 

Gli  amori  di  Mirtillo  e  con  Silvanzia,  ballet.  See  Giordani's 
Osmane. 

Gli  amori  di  Rinaldo  con  Armida. 

Three  acts.    Text  by  Girolamo  Colatelli,  music  by  Teofilo  Orgiani. 
First  performed  at  Brescia,  Teatro  dell'  Accademia  degl'  Erranti,  1697. 
Not  in  L.  of  C. 

—  L'honor  al  cimento.  Opera  musicale.  Da  rappresentarsi  nel 
Teatro  di  S.  Faniino  Fanno  1703  ..  . 

Venezia,  Gio.  Francesco  Valvasense,  1703.     4^  p.     14¥^' 

Three  acts.  Dedication  signed  by  the  author  Girolamo  Colatelli,  scenario,  and 
notice  to  the  reader  with  Teofilo  Organi's  (Orgiani)  name  as  the  composer,  and 
remark: 

"Si  avvertisce,  che  si  sono  accorciate  alcune  scene,  &  aggionti  alcuni  versi,  onde 
non  h  il  drama  in  quel  primo  essere,  in  cui  fd  posto  dall'  autore." 

In  fact,  it  was  a  retouched  version  of  "Gli  amori  di  Rinaldo  con  Armida"  as  was 
also:  Schatz  7295 

—  Armida  regina  di  Damasco.  Drama  per  musica  da  rappre- 
sentarsi nel  Teatro  di  Verona  in  qiiesto  aiitimnale  1711  .  .  . 

Verona,  n.  publ.,  1711.     4-5  p.     14''"^. 

Three  acts.  Impresario's  dedication,  practically  the  same  notice  to  the  reader  as 
in  Schatz  7295,  but  referring  to  Orgiani  as  "maestro  della  catedrale  di  Udine"  and 
alluding  to  the  addition  of  some  verses  "a  causa  della  etaggione  autunale." 

Schatz  7296 

Li  amori  di  Tirsi  ed  Eurilla  interrotti  dalla  maga  Falsirena, 

ballet.     See  Galuppi's  Cajo  Mario. 


OPERA   LIBRETTOS  195 

Gl'  amori  fatali.  •  L.  T.  of  Pistocchi's  II  Leandro. 

or  amori  infruttosi  di  Pirro.  Drama  per  musica  di  Aurelio 
Aureli,  favola  ottava.  Nel  Teatro  Ass.  Gio.  e  Paulo.  Per  Fanno 
1661  .  .  . 

Venetia,  Francesco  Nicolini,  1661.     72  p.     i^^"'. 

Three  acts.  Ajithor'a  dedication  dated  Venice,  January  4,  1661,  argument,  and 
notice  to  the  reader: 

"Averti,  che  la  ecena  nona  \k  doppo  la  scena  quinta  nel  terzo  atto  .  .  .  Sappi 
di  pill,  che  peressere  il  Signer  Clemente  arrivato  in  tempo,  ch'eranogi^  dispensate  le 
parti  del  drama,  m'  e  convenuto  inserirlo  nell'  uno,  e  nell'  altro  al  meglio,  che  ha 
potuto  permettere  la  brevita  del  tempo;  havendo  havuto  un  solo  riguardo,  di  non 
privarti  del  godimento  della  voce  di  un  virtuoso  si  ineigne  nel  rimanente  compatisci, 
e  Btll  sano." 

Antonio  Saxtorio,  the  composer,  is  not  mentioned.  Schatz  9480 

Gl'  amori  ministri  delLa  fortuna.  Drama  per  musica  da  rappre- 
sentarsi  nel  Regie  Teatro  di  Milano  1'  amio  MDLXCIV.  Del  Signor 
abbate  Francesco  Silvani  .  .  . 

Milano,  Marc'  Antonio  Pandolfo  Malatesta,  n.  d.  6  p.  I.,  88  p. 
IW"". 

Three  acts.  Impresario's  dedication  dated  Milan,  January  9,  1694,  argument,  cast, 
scenario,  and  notice  to  the  reader  with  name  of  Marc'  Antonio  Ziaxii  as  composer.  A 
contemporary  ms.  note  on  2d  p.  1.  says:  "Mai  fatta  a  Venezia  sotto  alcun  altro 
titolo."  Schatz  11208 

Gramori  politic!  della  liberta  raminga.     See  ^^  Curzio. 

Gl'  am.ori  tra'  gl'  odii,  o  sia  II  Ramiro  in  Norvegia.  Drama  per 
musica  da  rappresentarsi  nel  Teatro  Tron  di  S.  Cassiano  I'anno  1699. 

Venetia,  Nicolini,  1699.     68  p.     15""^. 

Three  acts.  Argument,  "supposti,"  scenario,  and  notice  to  the  reader  with  the 
name  of  Marc'  Antonio  Remena  as  author,  and  of  Marc'  Antonio  Ziani  as  the  com- 
poser. 

First  performed,  aa  indicated,  carnival  1699.  Schatz  11199 

L'am^orosa  liberta.  Dramma  musicale  del  Signor  Carlo  Barbetta 
.  .  .  e  recitata  nella  citt&,  di  Senegaglia  1'  anno  1647. 

Macerata,  Filippo  Carnacd,  1647.     12  p.  I.,  137  p.     13'"". 

Five  acts  with  prologue.  Author's  dedication  dated  "Senegaglia,  10.  Febraro 
1647,"  notice  to  the  reader.  Imprimatur,  poem,  sonett  by  "L'autore  dell'  opera  al 
Signor  Francesco  Ferrari,  maestro  di  cappella,  &  musico  di  camera  dell'  eminentis- 
simo  Fachinetti.  Per  la  compositione  musicale  dell'  Amorosa  liberta,"  argument, 
and  characters  without  cast.  Schatz  3076 

Amors  gukkasten.  Eine  operette  in  einem  aufzuge,  von  J.  B. 
Michaelis. 

Leipzig,  Dyckische  huchhandlung ,  1772.     5 4  p.     17*^^. 

Christian  Gottlob  Neefe,  the  composer,  is  not  mentioned. 

First  performed  at  Konigsberg,  Ackermann'sches  Schauspielhaus,  August  1772. 

Schatz  7069 

L'amour  au  village,  opera-comique  en  un  acte,  et  en  vaudevilles, 
repr6sent6  pour  la  premiere  fois  sur  le  Th6&tre  du  Fauxbourg  S. 
Germain,  le  3  f^vrier  1745.     Nouvelle  edition. 

Paris,  Duchesne,  1762.  48  p.  19'"^.  (Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  vii.) 

Many  of  the  airs  printed  in  the  text.  Favart's  musical  collaborator  not  mentioned 
by  Font.  ML  49.A2F1 


106  ■  LIBRARY   OF   CONGRESS 

L'amour  clairvoyant — Der  sehende  Cupido,  ballet.  See  Bernas- 
coni's  La  Clemenza  di  Tito. 

L'amour  conjugal.     A.  T.  of  Gaveaux's  L^onore. 

L'amour  conjugal.     A.  T.  of  Gr^try's  C^phale  et  Procris. 

L'amour  coquet.     A.  T.  of  Campra's  L'^ge  viril.        • 

L'amour  desoeuvre,  on  Jjes  vacances  de  Cythdre.  Pi^e  en  un  acte. 
Compos6e  pour  §tre  repr^sent^  h,  la  Foire  S.  Laurent  1734  sur  le 
Theatre  de  I'Op^ra  comique. 

Le  TTiedtre  de  la  foire,  Paris,  1737,  t.  ix,  2,  US9]-534  p.     H""^. 

By  Carolet.  Lai^ely  en  Vaudevilles.  The  airs  are  printed  at  the  end  of  the  vol- 
ume in  the  "Table  dea  airs."  A  prefatory  note  on  p.  [90]  informs  the  reader  that 
this  piece  which  was  commenced  in  August,  1734,  and  was  scheduled  for  performance 
in  the  same  month,  was  not  performed  at  the  Op^ra-comique.  ML  48L2X 

L'amour  en  musique.     Tr.  of  Boroni's  L'amore  in  musica. 

L'amour  enjoue.     A.  T.  of  Campra's  La  vieillesse. 

L'amour  enjoue.     -See  Fragments,  composes  .  .  .  de  Facte  de  .  .  . 

L' Amour  et  Psyche.     See  Mondonville's  Les  festes  de  Paphps. 

L'amour  filial,  o^era  en  un  acte.     Par  C.  A.  Demoustier. 

Paris,  Huet  [etc.],  L'an  second  [1793-94].     port.,  48  p.     20^-^. 

The  colored  port,  is  that  of  Juliet  who  played  Germon  in  the  opera,  according  to 
the  cast.  The  composer,  Pierre  Gaveaux,  is  not  mentioned.  An  Avertissement 
with  compliments  to  the  actors  reads  in  part: 

"Au  moment  oil  Ton  imprime  cet  ouvrage,  il  est  ^  sa  cent-quatri^me  representa- 
tion ..." 

The  title  had  been  originally  "Les  deux  Suisses,"  but  the  political  events  neces- 
sitated a  change. 

First  performed  at  Paris,  Theatre  Feydeau,  March  7,  1792.  ML  50.2.A7G2 

—  Arien  imd  gesaenge  aus  dem  singspiel:  Kindliche  liebe,  in  einem 
akt,  aus  dem  franzoesischen.     Die  musick  ist  von  Gavaux. 

Frankfurt  am  Main,  n.  publ.,  1798.     19  p.     16'^'^. 

German  version  by  Carl  Alexander  Herklots. 

First  performed  at  Frankfurt  a.  M.,  Nationaltheater,  1798;  at  Berlin,  Kgl.  National- 
theater,  October  16,  1796.  Schatz  3637 

L'amour  impromptu.  Parody  of  an  entree  in  Rameau's  Les  ffites 
d'Heb6. 

L'amour  ingenu.     A.  T.  of  Campra's  La  jeunesse. 

OL' Amour  malade].     Vers  du  Ballet  du  roy. 
n.i.,n.d.     15  p.     21^'^'^. 

Half  title,  title  page  evidently  wanting.  Ten  entries,  with  names  of  the  dancers. 
This  is  clearly  the  same  as  the  entry  by  De  La  Valli^re:  "Amour  malade,  ballet  du 
loi  k  dix  entries,  dans6  par  Sa  Majesty  le  17  ianvier  1675  [!  instead  of  1657].  Lea 
paroles  sont  de  Benserade.     Paris,  Robert  Ballard,  1657." 

From  the  words  in  the  fifth  entr^,  "Baptiste,  compositeur  de  la  musique  du 
ballet,  repr^sentant  Scaramouche,"  it  follows  that  the  music  was  composed  by  Jean 
Baptiste  de  liUUy.  ML  52.2.B15 


OPERA   LIBRETTOS  107 

L'amour  marin.     See  L'indifference. 

L'amour  maternel.     A.  T.  of  Gr^try's  Elisca. 

L'amour  peintre,  ou  Le  jaloux  dup6.  Op6ra  comique  en  deux 
actes,  tire  de  Moli^re. 

Cassel,GrieshacTi,  1794.     32  p.     20'='^. 

Two  acta.  Text  and  music  by  David  Philipp  von  Apell,  according  to  Schatz, 
who  does  not  record  a  performance.  Schatz  292 

Intermedes  d'Amour  pour  amour,  comedie  en  trois  actes  et  en 
vers,  representee  devant  Leurs  Majestes  a  Versailles  le  23  Janvier 
1765. 

[Paris],  ChristopTie  Ballard,  1765.  15  p.  20^^-  {Journal  des 
spectades,  t.  i,  1766.) 

Three  intermedes.  Cast  and  name  of  Francois  Rebel  aa  responsible  for  "I'arrange- 
ment  de  la  musique,"  but  on  p.  7  of  the  Journal  he  is  also  said  to  have  selected  the 
words.  ML  48    J7 

L'am.our  queteur,  comedie  en  deux  actes  et  en  vers,  m61ee  d'ariettes 
et  de  vaudevilles.  Par  Mr.  Maille  de  Merencour.  Repr6sent6  pour 
la  premiere  fois  par  la  troupe  des  Petits  comMiens  de  Sa  Majeste,  le 
14  octobre  1777.     Nouvelle  edition. 

Paris,  Delalain,  1782.     32  p.     20¥'^. 

Cast.    Arranger  of  the  music  not  mentioned.     Not  recorded  by  Schatz. 

ML  50.2.A702 

L'amour  saltinbanque.  Entree  in  Campra's  Les  festes  v6m- 
tiennes. 

L'amour  soldat.     Tr.  of  Sacchini's  L'amore  soldatp. 

L'am.oureux  de  quinze  ans,  ou  La  double  f^te,  comedie  en  trois 
actes  et  en  prose,  melee  d'ariettes.     Les  paroles  sont  de  M.  Laujon; 
la  musique  de  M.  Martiny.     Representee  pour  la  premiere  fois  par 
les  Comediens  italiens  ordinaires  du  roi,  le  18  avril  1771. 
Paris,  la  veuve  Duchesne,  1771.     68  p.     21 '^^. 

Cast.  On  p.  65-68  the  "Ariettes"  "Que  j'avions  d'impatience"  (II,  7),  "Ah!  Ah! 
Ah!  v'la  tons  nos  bouquets"  (II,  8),  and  the  "Vaudeville.  Note  d'moiselle  a  dit. 
(DivertissemenJ;.) "  Schatz  6034 

—  L'amoureux  de  quinze  aus,  ou  La  double  f§te,  comedie  en  trois 
actes  et  en.  prose,  mesl^e  d'ariettes  .  .  .  Representee  pour  la 
premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  jeudi 
18  avril  1771.  Les  paroles  sont  de  M.  Laujon.  La  musique  de 
M.  Martiny. 

Paris,  ta  veuve  Duchesne,  1771.     64  p.     17 Y^. 

Cast.     On  p.  6.3-64  the  aira  of  "Que  j'aviona  d'impatience"  and  "Ahl  ah!  v'l^ 
0U8  nos  bouquets."  Yudin  PQ 

—  Der  liebhaber  von  funfzehn  jahren,  ein  singspiel  in  drey  auf- 
zuegen  nach  dem  franzoesischen.  Die  musik  ist  vom  herrn  Martiny. 
Au%efuehrt  auf  dem  k.  k.  Nationaltheater. 

Wien,  heymlogenmeister,1778.     77  p.     17'^^. 

By  Gottlieb  Stephanie  d.  jun^ 

First  performed,  as  indicated,  December  29,  1778.  Schatz  6035 


108  LIBRARY   OF  CONGRESS 

Les  amours  champetres,  pastorale,  par  Monsieur  F  .  .  .  Repre- 
sentee pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du 
roi,  le  jeudi  2  septembre  1751.     Troisi^me  edition. 

Paris,  N.  B.  Duchesne,  1759.  47  [1]  p.  19'='".  (Theatre  de 
Favart,  Paris,  Duchesne,  1763-77,  t.  i.) 

One  act.  Cast.  Several  airs  are  printed  in  the  text.  The  arranger  of  the  music 
is  not  mentioned.  The  unnumb.  p.  contains  a  "Catalogue  de  parodies  &  opera 
comiques."  ML  49.A2F1 

Les  amours  d'Arion  &  de  Leucosie — Die  lieb  des  Arion  gegen  die 
Leucosie,  ballet.     See  Bernasconi's  Demofoonte. 

Les  am.ours  d*et6,  divertissement  en  un  acte  &  en  vaudevilles,  par 
MM.  de  Piis  &  Barre;  represents  pour  la  premilsre  fois,  h,  la  Muette, 
devant  Leurs  Majestes,  le  jeudi  20  septembre  1781;  &  k  Paiis,  le 
mardi  25  du  m^me  mois,  par  les  Comediens  italiens  ordinaires  du 
roi. 
Paris,  Vente,  1784.     32  p.     19'='". 

Printed  in  the  text  is  the  air  "Avec  les  yeux,  dans  le  village,"  scene  1.  The 
arranger  of  the  vaudevilles  not  recorded  by  Schatz.  Schatz  11480 

Les  amours  d'Ulisse  &  de  Circe.  Tr.  of  Badia's  Gli  amori  di 
Circe  con  Ulisse. 

Les  amours  de  Bastien  et  Bastienne.  Parody  of  Rousseau's  Le 
devin  du  village. 

Les  am.ours  de  Gonesse.  A.  T.  of  de  La  Borde's  Le  Mitron  et  la 
Mitronne. 

Les  amours  de  Mars  et  de  Venus,  ballet  represente  par  TAcademie 
royale  de  musique  I'an  1712.  Les  paroles  de  M.  Danchet  &  La 
musique  de  M.  Campra.     LXXIX.  opera. 

n.  i.,  n.  d.  pi.,  44^-4^0  p.  14^^-  (Recueil  general  des  opera,  Paris, 
1714,t.x,7.) 

Detached  copy.    Three  entrees  with  prologue. 

First  performed,  as  indicated,  Sept.  6,  1712.  Schatz  1543 

Second  copy.    ML  48. R4 

—  Les  amours  de  Venus,  ballet. 

[183]-216  p.     17^"^.     (Antoine  Danchet,  Theatre,  Paris,  1751,  t.  Hi.) 
Prologue  and  three  entrees.     Campra,  the  composer,  is  not  mentioned. 

PQ  1972.D2 

Ballet  des  Amours  de  Momus,  en  musique,  danse  par  I'Academie 
royale  de  musique.     Suivant  la  copie  Imprimee  h  Pans. 

Amsterdam,  Antoine  Schelte,  1696.     .^5 />.  (incZ./ro/i^.)     14'^"^- 

Prologue  and  three  acts.  Neither  the  author,  Joseph  Francois  Duchd,  nor  Henri 
Desmarets  is  mentioned. 

First  performed,  as  indicated.  May  25,  1695.  ML  52.2.A4D2 

—  Les  amours  de  Momus,  ballet  represente  par  I'Academie  royale 
de  musique  I'an  1695.  Les  paroles  sont  de  M.  Duche,  &  la  musique 
de  M.  Desmarets.     XXXV.  opera. 

n.  i.,  n.  d.    front.,  p.  135-184.    {Recueil  general  des  opera,  t.  v,  Paris, 

1703.     14"". 

Detached  copy.    Prologue  and  three  acts. 

First  performed,  as  indicated,  May  25,  1695.  *  Schatz  2529 

Second  copy.    ML  48. R4 


OPERA   LIBRETTOS  109 

Les  amours  de  Nanterre.     Piece  d'lin  acte.    Par  Mrs.  le  S**.  & 
D'Or**.     Represent e  a  la  Foire  de  Saint  Laurent  1718.     Et  pendant 
le  cours  de  la  m^me  foire,  sur  le  Th64tre  de  I'Opera,  par  ordre  de 
S.  A.  Royale  Ma'dame. 
Le  Theatre  de  la  foire,  Paris,  1737,  t  Hi,  pi,  [269]-329  p.     17'^'^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  theatre,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs."  Parfaict's  Dictionnaire 
gives  as  authors  "Autreau  en  soci^te  avec  messieurs  Le  Sage  &  d'Omeval." 

ML48.L2    III 

Les  amours  de  Pro  tee,  ballet,  represent  e  par  I'Academie  royale  de 
miisique,  Fan  1720.  Paroles  de  M.  Lafonds.  Musique  de  M.  Ger- 
vais.     XCIX.  opera. 

n.  %.,  n.  d.  pi.,  p.  65-116.  (Recueil  general  des  opera,  t.  xiii,  Paris, 
1784.)     W'^. 

Detached  copy.    Three  acta  and  prologue.    Avertisaement. 
First  performed,  as  indicated,  May  16,  1720.  Schatz  3790a 

Second  copy.    ML  48. R4 

—  Les  amours  de  Protee,  ballet.  En  trois  actes.  Represente  par 
I'Academie  royale  de  musique,  de  Lyon.     En  Tannic  1742. 

Lyon,  Aime  Delaroche,  17^2.     68  p.     23^"^. 

Three  acts  and  prologue.  By  Joseph  de  Lafont,  who  ia  not  mentioned.  Aver- 
tiesement  and  cast.    Composed  by  Charles  Hubert  Gervais,  who  is  not  mentioned. 

Schatz  3790b 

—  Les  amours  de  Protee.  Parodie  de  I'opera.  Par  M**-  le  S** 
&  d'Or**     Representee  h,  la  Foire  Saint  Laurent  1728. 

Le  Thedtre  de  la  foire,  Paris,  1731,  t.  vii,  pi,  [85]-120  p.     17^"^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  company,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed,  as  indicated,  September  24,  1728.  ML  48. L2    v.  11 

Les  amours  de  Ragonde,  com6die  en  musique,  en  trois  actes. 

n.  i.,  n.  d.     1  p.  I,  30  p.     23'="'. 

Neither  the  author,  Philippe  N^ricault  Destouches,  nor  the  composer,  Jean  Joseph 
Mouret,  is  mentioned.  Cast  and  at  end  the  "Permission,"  dated  Lyon,  March  15, 
1739,  as  given  to  the  Acad^mie  Royale  de  musique  de  Lyon. 

First  performed  there  1742;  previously  at  Sceaux,  at  the  palace  of  the  duke  du 
Maine  under  the  title  "Le  manage  de  Ragonde"  as  also  at  Paris,  Acad^mie  royale 
de  musique,  January  30,  1742.  The  score  was  published  as  "Ragonde  ou  La  soir^ 
de  village. ' '  Schatz  6738 

Les  amours  de  Venus.  L.  T.  of  Campra's  Les  amours  .de  Mars  et 
Venus. 

Les  amours  deguisez.     See  Les  comediens  corsaires. 

Les  amours  deguisez,  ballet  represents  par  I'Academie  royale  de 
musique  I'an  1713.  Les  paroles  de  M.  Fuselier  et  la  musique  de  M. 
Bourgeois.     LXXXII.  opera. 

n.  i.,  n.  d.     48  p.,  pi     {Recueil  general  des  opera,  Paris,  1720,  t.  xi) 

Detached  copy.    Three  acta  with  prologue.    Avertisaement. 
First  performed,  as  indicated,  August  22,  1713.  Schatz  1272 

Second  copy.    ML  48.R4 


110  LIBRABY   OF  CONGBESS 

Les  amours  des  deesses,  ballet  heroique,  represents  par  I'Acade- 
mie  royale  de  musique,  I'an  1729.  Paroles  de  M.  Fuselier.  Musique 
de  M.  Quinault.     CaII.  opera. 

n.  i.,  n.  d.  pi.,  p.  [345]-396.  14''^.  (Recueil  general  des  opera, 
Paris,  1734,  t  XIV.) 

Detached  copy.  Prologue  and  three  acts,  to  which  was  added  as  quatriime  entree, 
text  also  by  Louis  Fuzelier  (p.  387-396),  "L'Aurore  et  C^phale,"  on  August  25,  1729. 
TTie  other  entr^s  have  titles  "Venus  et  Adonis,"  "Diane  et  Endimion"  and  "Mel- 
pomene et  Linus."  The  introduction  of  the  latter  subject  the  author  defends  in 
the  avertissement  (p.  347-348). 

First  performed,  as  indicated,  August  9, 1729.  Schatz  8530 

Second  copy.    ML  48. R4 

Les  amours  des  dieux,  ballet  heroique,  represents  par  I'Academie 
royale  de  musique,  Fan  1727.  Paroles  de  M.  Fuselier.  Musique  de 
M.  Mouret.     C  VIII.  opera. 

n.  i.,  n.  d.  p.  123-188,  pi.  {Recueil  general  des  opera,  t.  xiv,  Paris, 
1734.)    14'"^. 

Detached  copy.  Prologue  and  four  entr^s,  called  "Neptune  et  Amymone," 
"Jupiter et Niobe,"  "Apollon et  Coronis,"  and  "Bacchus et  Ariane."    Schatz 6739 

Second  copy.    ML  48. R4 

—  Les  amours  des  dieux,  ballet-heroique,  represents  par  TAcade- 
mie-royale  de  musique,  pour  la  premiere  fois,  le  dimanche  quatorze 
septembre  1727.  Remis  au  Theatre  le  mardi  18  juin  1737,  le  jeudi 
12  may  1746,  et  le  mardi  16  aoM  1757. 

Paris,  Aux  depens  de  VAcademie,  chez  la  v.  Delormel  &  jils,  1757. 
51  p.     22^"^. 

Prologue  and  three  entries,  with  titles  "Neptune  et  Amymone,"  "Apollon  et 
Coronis,  "Ariane  et  Bacchus."  Casts,  avertissement  and  names  of  Fuzelier  as 
author  and  of  Mouret  as  composer.  ML  52.2.A5 

Amours  des  dieux.  See  also  Fragments,  composes  du  prologue 
des  .  .  . 

Les  amours  grivois,  opera  comique-ballet.  Divertissement  flamand, 
en  un  acte.  Par  M.  Favart.  Demiere  edition,  augmentee  des 
couplets  nouveaux. 

n.i.,1751.  56  p.  19"^.  (Theatre  de  M.  Favart,  Paris,  Duchesne, 
1763-77,  t.  vii.) 

En  vav/kvilles.  On  p.  41-56  seventeen  airs  headed  "L'ecole  des  amours  grivois," 
which  title  appears  to  have  been  the  original  title.  Font  mentions  Lagarde  and 
Lesueur  as  Favart's  collaborators,  and  says  that  he  composed  one  of  the  airs.  He  does 
not  mention  Favart's  musical  collaborator. 

First  performed  at  Paris,  Foire  St.  Laurent,  July  16,  1744.  ML  9.A2F1 

The  amours  of  the  great.     A.  T.  of  Vanelia. 

The  amours  of  Venus ;  or  Vulcan's  revenge.     An  episodical  ballet. 

Noverre,  Jean  George,  Worlcs.  Tr.  from  the  French,  London,  1783, 
V.  3,  p.  [285]-299.     21  i""^. 

Argument  and  detailed  description  of  the  four  scenes.  GV  787. N8 

Am.phioii.     Entree  in  Grenet's  Le  triomphe  de  I'harmonie. 


OPERA   LIBRETTOS  ^  111 

Amphion.  Eine  oper,  in  musik  gesetzt  vom  herrn  oberkapellmeister 
ij^aumann. 

Leipzig,  Breilcopf,  n.  d.     24  p.     18'^™. 

Three  acts.  The  author,  Johann  Leopold  Neumann,  is  not  mentioned.  Not  the 
original  German  edition  as  used  for  the  first  performance  at  Schwedt  (Brunswick) 
Hoftheater,  1788.  Previously  performed  with  Swedish  text  in  one  act  by  Gudmund 
Goran  Adlerbeth  at  Stockholm,  January  26, 1778  (Schatz),  January  1, 1778  (Norlind). 

ScHATZ  7038 

Amphitryon:  or,  the  two  Sosia's.     A  comedy.     As  it  is  acted  at  the 
Theatre  Royal.     Written  by  Mr.  Dry  den.     To  which  is  added,  the 
musick  of  the  songs.     Compos'd  by  Mr.  Henry  Purcell. 
Londm,  J.  Tonson  and  M.  Tonson,  1691.     4  p.  I.,  57,  [S]  p.    21^"^. 

The  songs  in  Amphitryon.     The  musick.     Composed  by  Mr. 

Henry  Purcell. 

London,  Jacob  Tonson,  1690.     1  p.  I.,  13  p.     21  i'^"'. 

The  comedy  was  advertised  early  in  November  1690  as  published.  The  first 
edition  had  in  the  title  the  misprint  "Socia's"  instead  of  "Sosia's."  Our  copy  of 
the  text  belongs  to  the  corrected,  second  edition,  in  which  the  misprint  has  disap- 
peared from  the  title  page,  but  was  retained  in  the  caption  title  on  p.  1.  This  second 
edition,  as  follows  from  Dryden's  "epistle  dedicatory"  to  Sir  William  Levison  Gower, 
Bar,  of  date  October  24,  1690,  must  have  been  printed  after  the  "third  day,"  which 
fixes  the  date  of  performance  approximately. 

First  edition  of  the  music  (voice  and  partly  figured  bass)  including  "Celia,  that 
I  once  was  blest,"  "For  Iris  I  sigh,"  "Fair  Iris  and  her  swain"  (dialogue)  and  choriis 
"Thus  at  the  height  we  love." 

Five  acts,  prologue  and  epilogue,  followed  by  a  catalogue  of  John  Dryden's  works. 
Cast  and  Dryden's  dedication  dated  October  24,  1690,  in  which  he  acknowledgea 
his  indebtedness  to  Plautus  and  Moliere  and  says: 

"But  what  has  been  wanting  on  my  part,  has  been  abundantly  supplyed  by  the 
excellent  composition  of  Mr.  Purcell,  in  whose  person  we  have  at  length  found  an 
English-man,  equal  with  the  best  abroad.  At  least  my  opinion  of  him  has  been 
such,  since  his  happy  and  judicious  performances  in  the  late  opera;  and  the  experi- 
ence I  have  had  of  him,  in  the  setting  my  three  songs  for  this  Amphitryon:  To  all 
which,  and  particularly  to  the  composition  of  the  Pastoral  dialogue,  the  numerous 
quire  of  fair  ladies  gave  so  just  an  applause  on  the  third  day  ..." 

ML  50.2.A705P9 

—  Amphitryon :  or,  The  two  Sosias.  A  comedy,  alter'd  from 
Dryden.  As  it  is  perform'd  at  the  Theatre-Royal  in  Drury-Lane. 
With  a  new  interlude  of  music,  an  occasional  prologue,  and  some 
account  of  the  alterations. 

London,  Printed  and  sold  by  J.  Payne,  1756.     4  P-  ^-j  ^^  P-     29^^. 

Five  acts.  Cast.  In  his  preface,  John  Hawkesworth  (not  mentioned)  gives  as 
his  main  reason  for  the  alterations  "the  profaneness  and  immodesty"  of  the  original 
which  would  have  made  its  revival  impossible.  He  has  dropped  all  the  songa  wnich 
gave  Purcell  his  inning.  Consequently  Purcell's  music  can  not  have  been  used  in 
this  revival.  All  the  music  has  been  relegated  to  the  end  of  the  fourth  act  and  con- 
sists of  Mercury's  song  "Away  with  the  fables  philosophers  hold,"  a  song  by  a  nymph 
"in  the  character  of  wit"  and  a  duet  by  the  two.  The  composer  of  this  is  not  men- 
tioned. PR  3415.A5     1756 

Amphitryon,  ballet  h^roi-comique,  en  trois  actes. 

Venard  de  La  Jonchere,  Theatre  lyrique,  Paris,  Barbou,  1772,  t.  I, 
p.  [179]-228  p.     18^'='^. 

In  the  interesting  "Avant-propos"  (p.  181-190)  the  author  calls  this  his  "coup 
d'essai."    No  composer  mentionea  and  none  recoraed  by  CI.  &  L.        ML  49.A2L2 

Amphytrion.     Tr.  with  additions  of  Gasparini's  Anfitrione. 


112  .  LIBRARY   OF   CONGRESS 

0 

>  Amulio  e  Numitore.     Drama  per  musica  da  recitarsi  nel  famoso 
Teatro  Grimano  di  S.  Gio.  Grisostomo  I'anno  1689  .  .  . 
Venetia,  Nicolini,  1689.    front.,  72  p.     15"^. 

Three  acts.  Dedication  signed  with  the  initials  of  the  author  Adriano  Morselli, 
brief  notice  to  the  reader  with  name  of  [Giuseppe  Felice]  Tosi  as  the  composer, 
argument  and  scenario.  Schatz  10375 

Anacreon.     Entree  in  Les  f^tes  liriques. 

Anacreon  chez  Polycrate,  opera  en  trois  actes,  repr6sent6  pour  la 
premiere  fois,  ^  Paris,  sur  le  Theatre  des  arts,  le  28  nivose,  an  cinqui- 
eme.     Seconde  edition.     Paroles  de  J.  H.  Guy.     Musique  de  Gr^try. 

Paris,  Tiger,  an  vii  de  la  Repuhlique  [1798-99]  7^,  [1]  j>.     19^"^. 
Cast.    First  performed,  as  indicated,  January  17,  1797.  Schatz  4137 

^Anacreonte  tiranno.  Drama  per  musica  nel  famoso  Teatro  Ven- 
dramino  di  San  Salvatore.  L'anno  MDCLXXVIII.  Del  Bus- 
sani  .  .  . 

Venetia,  Francesco  Nicolini,  1678.     72  y.     Uf-Y'^. 
Three  acts.    Author's  dedication,  argument,  scenario  and  notice  to  the  reader: 
"Eccoti  TAnacreonte.     In  questo  drama  tu  godrai  il  diletto  de  recitanti  animato 
daUa  musica  sempre  piu  maravigliosa  e  singolare  del  Signor  Antonio  Saxtorio  .  .  . 

Schatz  9490 

Ana^da.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniiin  di  S.  Mois^.     Nel  carnovale  dell'  anno  1749. 

Yenezia,  Modesto  Fenzo,  1749.     W'^.     36'='^. 

Three  acts.  Argument,  cast,  scenario.  Author  (Girolamo  Gigli)  and  composer 
not  mentioned,  and  the  latter  unknown  to  Schatz.  Schatz  11302 

L'Anagilda.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
domestico  dell'  illustrissimo  ed  eccellentissimo  Signor  principe  di 
Cerveteri  pel  carnovale  del  1711. 

Roma,  Antonio  cZe'  Rossi,  n.  d.     86  p.     15'^'^. 

Three  acts.  By  Girolamo  Gigli,  who  is  not  mentioned.  Cast,  scenario,  name  of 
Antonio  Caldara  as  composer,  and  argument,  which  reads,  in  part: 

"Quest'  opera,  che  tante  volte  6  comparsa  in  diversi  teatn  d'ltalia,  si  fa  vedere 
adesso  in  Roma  con  qualche  piccola  mutazione,  e  giunta  di  ariette  colle  quali  ha 
stimato  di  ravvivarla,  e  meglio  addattarla  all'  uso  d'oggidi  il  suo  medesimo  primo 
autore.  Egli,  per  commandamento  del  generoso  personaggio  che  la  fa  rappresentare, 
ed  a  cui  si  fa  pregio  di  servire  attualmente,  ci  ha  tramezzate  due  parti  ridicole  affatto 
sciolte  dal  nodo  del  dramma  (siccome  oggi  si  pratica  nelle  scene  di  Venezia,  ed  altrove) 
colle  quali  s'intrecciano  gli  stessi  intermedj,  di  piacevoli  invenzioni  di  danze,  e  com- 
parse,  al  maggior  divertimento  composti." 

The  two  intermezzi  are  called  "Dorina  e  GruUo,"  but  were  also  known  as  "GruUo 
e  Dorina."  Schatz  1491 

L'Anagilda.  Drama  per  musica  da  rappresentarsi  nel  famoso 
Teatro  Tron  di  San  Cassiano  nel  carnovale  dell'  anno  1 735  .  .  . 

Venezia,  Marino  Rossetti,  1785.     44  V-     l^Y^- 

Three  acts.  By  conte  Antonio  Zaniboni,  who  figures  only  as  "un  pastore  d'Ar 
cadia."  Impresario's  dedication,  cast,  ailment,  and  name  of  [Gaetano]  Antonio 
Pampino  [PampaniP]  as  the  composer.  Schatz  7756 

Anagilda,  azione  drammatica,  da  rappresentarsi  nel  Regio  Teatro 
Danese. — Anagilda,  et  synge-spil  .  .  . 

Ki0benhavn,  H.  J.  Graae,  1772.     63  p.     17'^'^. 

One  act.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of  Paolo 
Scalabrini  as  the  composer.  ("La  muisica  h  tutta  nuova.")  Italian  and  Danish 
texts. 

First  performed  December  18,  1772,  as  indicated.  Schatz  9514 


OPEBA  LIBRETTOS  113 

•^L'anarchia  dell'  imperio.  Drama  per  musica  da  rappresentarsi 
nel  famosissimo  Teatro  Vendramino  k  San  Salvatore.  Ij'anno 
MDCLXXXIV.  Di  Tomaso  Stanzani.  Seconda  impressione  con 
nove  aggiunte  .  .  . 

Venetia,  Francesco  Nicolini,  1684-     60  p.     14h'^™. 

Three  acts.  Stanzani's  dedication,  dated  Venice,  January  1,  1684,  argument,  and 
Bcenario.    Giovanni  Legrenzi,  the  composer,  is  not  mentioned. 

First  performed,  according  to  Schatz,  fall  of  1683.  Schatz  5541 

L'Andromaca.  Drama  per  musica  da  rappresejitarsi  in  Fireuze  nel 
Teatro  di  via  della  Pergola  nel  prossimo  carnevale  dell'  anno 
1728  ... 

Firenze,  Domenico  Amhrogio  Verdi,  n.  d.     70  p.     15'^'^. 

Three  acts.  Argument,  cast,  scenario.  Author  and  composer  not  mentioned  and 
unknown  to  Schatz.    Text  based  on  Racine's  "Andromaque."  Schatz  11305 

Andromaca.  Drama*  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Milano  .  .  . 

Milano,  Marc'  Antonio  Pandolfo  Malatesta,  1701.     6  p.  I.,  60  p. 

Three  acts  and  prologue.     Dedication  signed  by  the  author  Pietro  d'Averara,  ar- 
gument and  scenario.    Composer  not  mentioned  and  unknown  to  Schatz. 
First  performed  1701  as  indicated.  Schatz  11304 

Andromaca. 

Apostolo  Zeno,  Poesie  drammatiche,    Venezia,   1744t  f-  H,  85  p. 

Five  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo  "  at  end  of  t.  x. ,  date  and  place  of  first  ed.  are  given  as  Vienna,  1724  (first  performed 
August  28  with  music  by  Caldara).  ML  49.A2Z3 

—  Andromaca.     Pubblicata  per  la  prima  volta  in  Vienna,  1724. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  vi,  p.  78. 

£1cm 

Five  acta  and  licenza.    Ailment.    No  composer  is  mentioned.        ML  49.A2Z4 

Andromaca.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  nell'  carnovale  dell'  anno  MDCCLXXII. 

Venezia,  Modesto  Fenzo,  n.  d.     54  p.     17 ^'^^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Ferd.  Gius.  Bertoni  as  com- 
poeer,  but  not  of  librettist,  Antonio  Salvi.  On  p.  24-26,  cast  and  description  of  the 
Dallet,  "Inca  il  tiranno,"  by  Giovanni  Antonio  Sacco  (composer  not  mentioned),  and, 
by  the  same  ballet  master,  on  p.  42^3,  description  of  the  ballet,  "La  piet4  inas- 
pettata." 

First  performed  at  Venice,  as  indicated,  December  26,  1771.  Schatz  904 

Andromaca,  drama  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
del  Signor  Domenico  Valle  nel  carnevale  dell'  anno  1730  .  .  . 

Roma,  Zempel  e  de  Mey,  n.  d.     59  p.     15^"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned,  but  "Ridotta  oggi  all'  uso 
delle  Romane  scene"  (p.  4).  Impresario's  dedication,  argument,  cast,  scenario,  and 
name  of  Francesco  Feo  as  the  composer. 

First  performed  as  indicated,  February  5,  1730.  Schatz  3062 

72251°— VOL  1—14 S 


114  LIBRARY   OF   CONGRESS 

L'Andromaca.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  S.  Carlo  nel  di  4.  novembre  di  quest'  anno  1742.  Per 
festeggiare  il  glorioso  nome  di  Sua  Maestk. 

Napoli,  Francesco  e  Cristqforo  Ricciardo,  n.  d.     2  p.  I.,  60  p.     1^'^™'. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Dedication,  argument, 
cast,  scenario,  and  name  of  Leonardo  Leo  as  composer.  According  to  the  dedication 
by  barone  di  Liven,  "  L'Andromaca,  .  .  .  altra  volta  col  titolo  di  Astianatte  videsi  in 
queeta  citta  ..."  which  leaves  it  open  whether  this  applies  to  the  text  only  or  also 
to  Leo's  music.  Schatz  5556 

Androiuaca.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  carnovale  del  1781.  Alia  presenza  delle  Maestk 
Loro. 

Torino,  Onorato  Derossi,  n.  d.     viii,  63  p.     16'^^. 

Three  acts.  By  Ant»nio  Salvi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  names  of  Vincenzo  Martin  (Martin  y  Soler)  as  the  composer  of  the  opera,  of 
Vittorio  Amedeo  Canavasso  as  composer  of  Filippo  Beretti  s  ballets,  "La  bella 
Arsene,"  "II  teatro  italiano  alia  China,"  and  "Marinari  di  nazioni  diverse." 

First  performed,  as  indicated,  December  26,  1780.  Schatz  6027 

Andromaca.  Dramma  per  musica  da  rappresentarsi  nel  nobilissineo 
Teatro  di  San  Samuele  il  carnovale  dell'  anno  1790. 

Venezia,  Modesto  Fenzo,  1790.     46  p.     W"^. 

Three  acts.  Antonio  Salvi,  the  author,  not  mentioned.  Argument,  cast,  and 
name  of  Sebastiano  Nasolini  as  the  composer.  Schatz  6999 

L'Andromaca.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
La  Fenice  per  il  solito  tempo  dell'  Ascensione  dell'  anno  1798. 

Venezia,  Stamperia  Valvasense,  n.  d.     55  p.     17""^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz,  Argument,  cast, 
scenario,  and -name  of  the  composer,  Giovanni  Paisiello. 

First  performed  at  Naples,  Teatro  S.  Carlo,  fall  1797.  Schatz  7598 

L'Andromaca.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
dell'  illustrissima  citta  di  Lodi  nel  carnovale  dell'  anno  1757  .  .  . 

Milano,  Carlo  GTiioIandi,  n.  d.     6  p.  I.,  48  p.     15'^'^. 

Three  acts.  Dedication  signed  by  the  author  Giuseppe  Maria  Viganb  and  dated 
Lodi,  January  20,  1757.  Argument,  scenario,  cast,  and  name  of  Giuseppe  Scolari  aa 
the  composer.  Schatz  9803 

Andromaca  in  Epiro,  ballet.    See  Gazzaniga's  Tullo  Ostilio. 

Andromaca  in  Epiro,  ballet.    See  Sarti's  Farnace. 

Andromaque,  trag^die-lyrique,  en  trois  actes,  representee  pour  la 
premiere  fois,  par  I'Academie-royale  de  musique  le  mardi  6  juin  1780. 
Paris,  P.  de  Lorrael,  1780.     66  p.     22^"^. 

Based  by  Louis  Guillaiune  Pitra  (who  is  not  mentioned)  on  Racine's  tragedy.  As 
the  "Avertissement"  says  on  p.  7: 

"On  a  conserve  les  vers  de  ce  grand  homme,  autant  que  la  coupe  des  scenes,  la 
forme  des  airs  &  du  r^citatif,  I'ont  permis.  II  a  fallu  malheureusement  meler  souvent 
d'autres  vers  avec  les  siens  pour  former  la  contexture  de  Taction," 

Cast  and  name  of  GrStry  as  the  composer.  Schatz  4138 

Andromeda.  Poemetto  drammatico  nel  giorno  del  gloriosissimo 
nome  della  Sac.  Ces.  R.  MaestS,  dell'  imperadrice  Amalia  Willelmina. 

Bemardoni,  Pietro  Antonio,  Poemi  drammatid,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  137-147.     16^"^. 

The  composer  is  not  mentioned  by  von  Weilen. 

First  performed  at  Vienna,  as  indicated,  July  10,  1702.  ML  49.A2B4 


OPEEA   LIBRETTOS  115 

Andromeda.  Dramma  per  music  a  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnevale  del  1755  .  .  . 

Torino,  Zappata  ed  Avondo,  n.  d.     xi,  [1],  55  p.     15^^. 

Three  acts.  By  Vittorio  Amadeo  Cigna-Santi  (not  mentioned).  Argument,  cast, 
Bcenario,  and  name  of  the  composer,  Gioacchino  Cocchi.  Rocco  Gioannetti  is  men- 
tioned as  the  composer  of  the  ballet  music.  Schatz  2051 

Andromeda.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  carnovale  del  1772  alia  presenza  di  S.  S.  R.  M, 

Torino,  Onorato  Derossi,  n.  d.     viii,  54,  [1]  p.     16^^. 

Three  acts.  By  Vittorio  Amadeo  Cigna-Santi,  who  is  not  mentioned.  Argument, 
cast,  scenario,  and  name  of  the  composer,  Giuseppe  Colla.  On  p.  52-54  description 
of  the  allegorical  ballets  "II  ritomo  della  primavera,"  "Le  nozze  americane  and 
"Feste  in  onore  di  Bacco."  The  ballets  were  by  Giacomo  Favier,  their  music  by 
Giuseppe  Antonio  Le  Messier. 

First  performed  as  indicated,  December  26,  1771.  Schatz  2106 

L'Andromeda  del  Signer  Benedetto  Ferrari.  Rappresentata  in 
musica  in  Venetia  I'anno  1637  .  .  . 

Venetia,  Antonio  Bariletti,  1637.     70,  [2]  p.     IS^""^. 

Three  acts.  Publisher's  dedication  dated  Venice,  May  6,  1637,  sonnet  by  Alfonso 
Pucinelli  "all'  autore,  poeta,  musico,  e  sonatordi  tiorbaeccellentissimo,"  sonnets  by 
Bartolameo  Angarani  and  Gio.  Francesco  Busenello  to  the  author,  on  p.  5-12  a  very 
interesting  preface  by  the  publisher  with  name  of  Francesco  Majielli  as  composer 
and  describing  in  detail  the  scenes,  costumes,  machines,  etc.,  giving  the  names  of 
the  singers.  Following  the  text  of  the  opera  on  p.  61-68  "Sonetti  del  Signor  Bene- 
detto Ferrari  in  lode  de  signori  musici  piii  celebri,  ch'  intervennero  nell'  Andromeda," 
a  sonnet  by  Carlo  Federici  to  Ferrari,  one  by  Donato  Milcetti,  "per  I' Andromeda," 
latin  ode  by  Bartolameo  Angarani  to  Ferrari,  and  on  last  page  the  errata.  From  the 
publisher's  preface  and  from  the  sonnets  it  appears  that  Annibale  Graselli  da  Citt4 
di  Castello  represented  Mercurio,  Perseo  and  Ascal^,  Francesco  Angeletti  da  Assisi 
represented  Giunone,  Giovanni  Battista  Bisucci  Bolognese  represented  Protheo  and 
Giove,  Anselmo  Marconi  Romano  represented  Venere,  Madelena  Manelli  Romana 
represented  Andromeda  and  Francesco  Manelli  da  Tivoli,  the  composer,  Nettuno 
and  Astarco  Mago  and  Girolamo  Medici  Romano  represented  Astrea.  Enthusiastic 
praise  is  also  bestowed  on  Gio.  Battista  Balbi  Venetiano,  ballarino  celebre,  and  on 
Ferrari's  several  tiorba  accompaniments.  From  the  dedication  the  date  of  per- 
formance may  be  fixed  since  Bariletti  says: 

"Andromeda  che  su  le  scene  rinacque  gia  son  due  mesi;  su  le  glorie  de'  suoi  natali, 
esce  ad  acrescersi  negl'  applausi  dell'  universo."  Schatz  5887 

Andromeda.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  il  carnovale  dell'  anno  1788.  Composto  con  11 
balli  analoghi  da  Antonio  Filistri  de'  Caramondani  .  .  .  e  messo  in 
musica  dal  Sigr.  Giov.  Feder.  Reichardt  .  .  . 

Berlino,  Eaude  e  Spener,  n.  d.     167,  [1]  p.     15^*^^. 

One  act.  Argument  and  cast.  German  title  and  text  face  Italian,  and  it  is  stated 
on  p.  19  that  the  translation  is  not  by  the  translator  "der  mehresten  vorhergehenden 
opem."  On  p.  160-167  "die  umstaendliche  anzeige  von  dem  urspruenglichen  ent- 
wurf  dee  Schlussballets  bey  dessen  ausfuehrung  jedoch  ein  theil  der  details  vielleicht 
wegbleiben  duerfte." 

First  performed  January  11,  1788,  as  indicated.  Schatz  8634 

L'Andromeda.  Dramma  del  cavalier  Carlo  Bassi  posto  in  musica 
dal  Sig.  Isidoro  Tortona,  e  rappresentato  nel  Teatro  Ducale  di  Pia- 
cenza  I'anno  1662  .  .  . 

Piacenza,  Giovanni  Bazachi,  n.  d.     8  p.  I.,  72  p.     14*^^. 

Prologue  and  three  acts.  Author's  dedication  dated  May  17,  1662.  Ailment, 
cast  and  somewhat  stilted  notice  to  the  reader  in  which  Bassi  says: 

"a  simil  genere  di  componimgto,  questa  h  la  prima  volta,  ch'io  ci  h6  lasciata 
incorrere  la  penna."  Schatz  10374 


116  LIBRABY  OF  CONGRESS 

Andromeda.  Melodramma  in  due  atti  a  tre  personaggi.  Rappre- 
sentato  nell'  anno  1796  nel  Teatro  di  S.  E.  il  Signor  conte  Carlo  di 
Breunner  ambasciatore  Cesareo  regio  presso  la  serenissima  repubblica 
di  Venezia,  ec.  eo.  ec. 

n.  L,  n.  d.     18  p.     20^"". 

Argument,  cast  (aristocratic  amateurs),  names  of  Giovanni  Bertati  as  author,  of 
Nicola  Antonio  Zingaxelli  as  composer.  Schatz  11265 

Andromeda  e  Perseo,  ballet.     See  Bernardini's  Achille  in  Sciro. 

Andromeda  e  Perseo,  ballet.     See  Mortellari's  Le  astuzie  amorose. 

Andromeda  und  Perseus.  Ein  schauspiel  mit  musik.  Aufge- 
fuehrt  im  Kais.  Koenigl.  National  theater. 

Wien,  hey7n  Logenmeister,  1780.     32  p.     17'^'^. 

One  act.  Neither  the  author,  Kempel,  nor  the  composer,  Anton  Zinunenuann, 
is  mentioned. 

First  performed,  aa  indicated,  April  23,  1781.  Schatz  11234 

Andronico  e  Ramira,  ballet.     See  Borghi's  Egilina. 

Andronico  e  Ramira,  ballet.  See  Nasolini  and  Trento's  Gli 
innamorati. 

Andronico  e  Ramira,  ballet.    See  Sarti's  I  pretendenti  deliisi. 

Andronico  e  Ramira,  ballet.    See  Winter's  I  fratelli  rivali. 

L'ane  d'or  d'Apulee,  opera-comique  en  deux  actes,  mSl^  de  prose  & 
de  vaudevilles.  Joue  sur  le  Th6&tre  du  Fauxbourg  Saint-Laurent 
en  1725. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  3,  [285]-346  p. 

In  a  foot-note  on  p.  287  the  editor  says:  "Cette  pifece  eut  40  repr&entations  con- 
B^cutives  pendant  40  jours."    Composer  not  recorded.  PQ  2019. P6 

L'anello  incantato.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  della  rua  dos  Condes  in  Lisbona  nell'  estate  dell' 
anno  1772. 

[LishoTw],  neUa  Stamperia  reale,  n.  d.     S3  p.     17^^. 

Three  acts.  Cast,  scenario,  and  names  of  Ferdinando  Giuseppe  Bertoni  as  com- 
poser and  of  the  author,  Giovanni  Bertati.  The  first  ballet,  "Diana  e  Endimione," 
was  by  Vinceslao  de  Rossi.    The  composer  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Mois6,  fall  of  1771.  Schatz  929 

Anfitrione.  Tragiconimedia  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassano,  I'autunno  dell'  anno  MDCCVII  .  .  . 

Venezia,  Marino  Rossetti,  1707.     70  p.     l^Y^- 

Five  acts  with  prologue.  Dedication,  signed  by  Pietro  Pariati,  the  author,  argument, 
cast,  scenario  and  name  of  Carlo  Francesco  Gasparini  as  the  composer.  Fehr 
attributes  the  text  jointly  to  Zeno  and  Pariati,  but  the  text  does  not  appear  so  in 
Zeno's  works.  Schatz  3559 


OPERA   LIBRETTOS  117 

Anfitrione — Continued . 

—  Amphytrion,  in.  einem  sing-spiele,  auf  dem  Hamburgischen 
Schauplatze  im  jahr  1725  vorgestellet. 

[Hamburg],  Gedruckt  mit  Stromerischen  sckrifften,  n.  d.     Unpaged. 

Three  acts  and  prologue.  The  "Vorbericht  an  den  leser"  informs  us  wherein  the 
condensation  of  Pariati's  original  text  consists.     The  end  of  this  curious  preface  reads: 

"An  der  musique  hat  der  beruehmte  Francesco  Gasparini  keinen  geringen  antheil, 
doch  Bind  die  meisten  arien  wohlgerathene  kinder  einer  illustren  persohn  [Johann 
von  Wich,  according  to  Schatz],  welche  die  von  ihren  hohen  vemchtungen  abge- 
muessigte  stunden  emem  so  edlen  zeit-vertreibe  zu  widmen  kein  bedencken  traeget. 
Da  nun  das  Recitativ  auch  von  einem  beruehmten  manne  verfertiget  word  en,  so  mag 
die  schoenheit  der  musique,  der  unvoUkommenen  uebersetsung  zu  statten  kommen. 
Es  ist  dieselbe  ein  poetisches  kinder-werck  von  J.  P.  Praetorius." 

Scenario  and  cast.  German  text  faces  Italian,  but  not  throughout.  Some  scenes 
and  arias  have  German  text  only.  Schatz  3560 

L' Angelica,  serenata. 

[379]-424  V'     19'^^-     iPietro  Metastasio,  Opere  drammatiche,  Vene- 

zia,  Giuseppe  BettineUi,  1733-37,  v.  3.) 

Two  parts.     No  composer  mentioned.  ML  49.A2M4 

First  performed  with'  music  by  Porpora  at  Vienna,  November  19,  1720. 

—  L' Angelica.     Serenata. 

MetastoMo,  Poesie,  Parigi,  vedova  Quillau,  1755,  t.  ix,  [181]-2S8  p- 
le""". 

Two  parts  with  licenza.  ML  49,A2M42 

—  L'Angelica.     Serenata. 

pi.,  [199]-250  p.  26'^™.  (Metastasio,  Opere,  t.  x,  Parigi,  vedova 
Herissant,  1782.) 

Two  parts  with  licenza.  ML  49.A2M44 

La  Angelica.  Serenata  da  rappresentarsi  sopra  il  Teatrino  della 
ducal  corte  in  Wolfenbuttell,  per  festeggiare  il  giorno  natalizio  della 
Altezza  Serenissuna  di  Antonetta  Amalia,  duchessa  di  Bronsevigo  at 
Luneburgo  etc  li  22.  aprile  MDCCLI. 

n.  i.,  n.  d.      Unpaged.     W^^. 

Two  parts.    Author  (Metastasio)  and  composer  (unknown  to  Schatz)  not  mentioned. 

Schatz  11306 

L'Angelica.  Serenata  per  musica  da  cantarsi  nella  Real  villa  di 
Queluz  .  .  .  per  celebrare  il  felicissimo  giorno  natalizio  della  Serenis- 
suna Signora  D.  Maria  Francesca  Benedetta,  principessa  del  Brasile, 
li  25.  lug.  1778. 

[Lishona],  Stamperia  reale,  n.  d.     28  p.     16'^™'. 

Two  parts.  Cast  and  names  of  Metastasio  as  author,  of  Giovanni  de  Sousa  Cara- 
valho  (CarvaLho)  as  composer.  ML  50.2.A71C2 

Angelica.  Drainma  per  musica  da  rappresentarsi  nel  Teatro  Gri- 
mani  di  S.  Samuele  nella  fiera  dell'  Ascensione  dell'  anno  1738  .  .  . 

Venezia,  Marino  Rossetti,  1738.     47  p.     Ij^Y"^. 

Three  acts.  Dedication  signed  by  Domenico  Lalli,  cast,  scenario,  argument,  name 
of  Giovanni  Battista  Lampugnani  as  the  composer  and  statement,  that  this  is  the 
first  drama  of  the  author  (Carlo  Vedoa,  not  mentioned  by  name)  and  that  it  was  written 
in  eight  days. 

First  performed  May  11,  1738,  as  indicated.  Schatz  5391 


118  LIBRARY   OF   CONGRESS 

Angelica  e  Medoro.  Dramma  per  musica  da  rappresentarsi  in 
Firenze  uel  Regio  Teatro  degli  Intrepid!  detto  della  Palla  a  Corda  nella 
prima  vera  dell  anno  1792  .  .  . 

Firenze,  Ant.  Gius.  Pagani  e  comp.,  1792.     36  p.     W^. 

Two  acts.  By  Gaetano  Sertor,  based  on  Metaatasio's  "Serenata  1' Angelica  e 
Medoro."  Cast,  argomento,  and  name  of  Gaetano  Andreozzi,  as  composer,  but  not  of 
librettist.  At  Florence  the  opera  was  followed  by  "La  turca  in  cimento.  Ballo- 
eroi-comico  pantomimo  diviso  in  due  atti  composto  dal  Sig.  Luigi  Dupen  "  and  the 
libretto  contains  on  p.  7-10  the  plot  of  this  ballet.  Composer  of  the  music  not  men- 
tioned. 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  carnival  1791.      Schatz  194 

[Angelica  e  Medoro]  Angelica  und  Medorus,  ein  singspiel 
welches  auf  Sr.  Koenigl.  Majestaet  in  Preussen  allergnaedigsten 
befehl  an  dem  hoechsterfreulichen  geburts-feste  Iliro  Majestaet  der 
koenigl.  frau  mutter  frauen  Sophien  Dorotheen  koeniginn  in  Preussen 
etc  etc  etc  auf  dem  Berlinischen  schauplatze  soil  aufgefuehret  werden. 
Berlin,  Haude  und  Spener,  1749.     128  p.     15^'^. 

Three  acts.  Leopoldo  de  Villati  is  mentioned  as  author  and  Carl  Heinrich  Graun 
as  the  composer.    Argument  and  scenario.     German  text  faces  Italian. 

First  performed  at  Berlin,  Kgl.  Opemtheater,  March  27,  1749.  Schatz  4088 

Angelica  e  Wilton,  ballet.     See  Isola's  La  conquista  del  vello  d'oro. 

Angelica  in  India.  Istoria  favoleggiata  con  drama  musicale  dal 
CO.  Pietro  Paolo  Bissari.  K.  . 

Vicenza,  gli  Jieredi  Amadii,  1656.     82  p.     14*^. 

Three  acts  and  prologue.    Author's  dedication,  ai^ument.     On  p.  79-82  "Registro 
•  delle  istorie  fi^urate  nel  drama"  and  "Auttoritk  della  lingua  in  Antello."    Com- 
poser not  mentioned  and  unknown  to  Schatz.  Schatz  11307 

Angelica  und  Medorus.     Tr.  of  Graun's  Angelica  e  Medoro. 

Die  Angelsachsen.     A.  T.  of  Schulz's  Minona. 

Der  angenehme  betrug,  oder  Der  carneval  von  Venedig,  in  einem 
sing-spiele  auf  den  grossen  Hamburgischen  schau-platze  vorgestellet 
im  ]ahr  1707. 

n.  i.,  n.  d.     Unpaged.     18Y™. 

The  last  leaf  contains  "Was  im  druck  ausgelassen  worden." 

Three  acts.  The  "Vorbericht"  by  the  author,  resp.  translator,  Barthold  Feind 
(not  mentioned)  says  in  part: 

"Unterschiedlicnes  ist  aus  den  frantzosischen  und  anderen  authoren  genommen 
und  vor  hiesigen  zustand  accommodiret  .  .  .  Was  die  music  betrifft,  moegen  die- 
jenigen  kenner  rahten,  welche  von  dem  herm  capell-meister  Kaiser  sey,  die  in 
die  12.  jahr  dessen  arbeit  bereits  gehoeret." 

To  some  arias  the  Italian  text  has  been  added. 

First  performed,  as  indicated,  February,  1707.  Schatz  5076 

—  Der  angenehme  betrug  oder  Der  carneval  von  Venedig.  In 
einem  sing-spiele  auf  dem  Grossen  Hamburgischen  Schau-platze  vor- 
gestellet. 

Hamburg,  Friderich  Conrad  Grejiinger,  1716.     Unpaged.     19*^^. 

Three  acts.  Scenario  and  "  vor-bericht "  with  name  of  Reinhard  Keiser  as  the 
composer  and  statement  that  this  is  a  "  veraenderung "  of  the  opera  as  performed 
there  years  ago.  The  author,  Barthold  Feind,  is  not  mentioned.  Some  of  the  arias 
have  the  Italian  text  added  to  the  German.  The  text  is  practically  the  same  as  in 
the  version  of  1707,  except  that  the  burlesque  scene  III,  10,  has  been  doubled  in 
length,  everything  after  the  words  "So  kann  ich  bym  olden  een  jungen  erwarven" 
being  added. 

First  performed,  as  indicated,  1716.  Schatz  5118 


OPERA   LIBRETTOS  119 

Der  angenehme  betrug — Continued. 

—  Der  angenehme  betrug,  oder  Der  carneval  von  Venedig.  Auf 
dem  Hamburgischen  Schau-platze  in  einer  opera  vorgesteTlet,  im 
jahr  1723. 

Hamburg,  Caspar  Jdkhel,  n.  d.      Unpaged.     18*^. 

Three  acts.  Third  version  of  this  opera.  Neither  Feind  is  mentioned  nor  Eeiser. 
The  Italian  text  is  added  to  many  of  the  arias.  The  text  is  somewhat  different  from 
the  1716  version.  For  instance,  1, 1,  now  begins  "Lungi  da  me  vagha  belt^-^choen- 
heit  entfeme  dich  von  mir"  instead  of  "Liebste  freyheit,  du  allein,"  I,  l-I,  5  are 
the  same,  also  dialc^ue  of  I,  6,  but  the  aria  "Unsre  Hebe  bleibt  bestaendig"  has  become 
"Mio  tesoro.  Mio  diletto — Mein  Schatz!  Mein  ergoetzen,"  the  seventh  scene  now 
begins  "Quanto  h  dolce,  quanto  piace — ^Wie  angenehm  und  vergnuegt  ist  es"  instead 
of  "Amor,  te'l  giomo  a  f^— O  Liebe!  ich  schwoere  dir,"  etc.,  etc.  Schatz  5119 

Les  animaux  raisonnables.     Piece  d'un  acte.     Par  messieurs  F** 
&  Le  G**.     Representee  a  la  Foire  de  S.  Germain  1718. 
Le  theatre  de  la  foire,  Paris,  17S7,  t.  Ill,  pi.,  85  p.     W"^. 

By  Louis  Fuzelier  and  Alexandre  Le  Grand.  The  airs,  selected  or  composed  and 
arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table 
des  airs." 

First  performed,  according  to  Parfaict,  end  of  February,  1720.  ML48.L2m 

L'anneau  perdu  et  retrouve,  opera  comiq^ue  en  deux  actes,  melee 
de  morceaux  de  musique.  Par  M.  Sedame.  La  musique  de  M. 
B.  *  *  *  Represente  pour  la  premiere  fois  par  les  Comediensitaliens 
ordinaires  du  roi,  le  luncli  20  aotit  1764. 

Paris,  Claude  Eerissant,  1764.     bn],  [2],  56  p.     20""^. 

Page  1  is  preceded  by  two  pages  (numbered  75,  58)  with  list  of  Sedaine's  works,  the 
contents  of  the  "Theatre  de  la  Foire  &  des  Boulevards,"  etc.  Cast  and  "avertisse- 
ment,"  in  which  Sedaine  says:  * 

"Le  5  mars  1761  on  a  donn6  a  I'Opera  Comique  de  la  Foire  S.  Germain,  une  pik;e 
intitule :  les  Bons  comperes,  ou  Les  bons  amis,  qui,  comme  dit  le  Dictionnaire  des 
Th^&tres,  n'eut  pas  de  succfes.  L'auteur  de  la  musique  qui  m'honore  de  son  amitie 
[Jean  Benjamin  de  La  Borde],  me  pria  de  vouloir  y  faire  des  changemens,  je  les  fis  du 
jour  au  lendemain.  Je  retranchai  les  scenes,  &  j'en  fis  des  neuves  pour  joindre  les 
scenes  divis^es,  mais  tous  mes  efforts  ne  purent  retarder  la  chute  de  la  pi^ce:  la 
musique  cependent  avoit  fait  plaisir,  &  sur-tout  une  des  ariettes.  Seduit  par  elle, 
je  me  mis  en  tete  de  mettre  cette  piece  en  etat  d'etre  rejou^e  .  .  .  il  s'est  trouve  k  la 
fin  que  j'avois  fait  une  maison  neuve:  cela  a  oblige  le  musicien  de  faire  toute  musique 
nouvelle,  k  I'exception  d'un  morceau  qui,  par  le  plus  grand  hazard,  s'est  rencontr^ 
ajust6  sur  mes  paroles,  &  de  cette  ariette  en  question  que  j'a  vols  parodiee.  Mais  le 
musicien  a  exig^  de  moi  que  je  laissasse  les  anciennes  paroles;  &  de  fait  elles  sont  plus 
conformes  k  la  musique  qui  avoit  6t^  faite  pour  elles.  Je  les  ai  done  conserv^es,  du 
consentement  du  propri^taire  de  I'ancienne  pifece  "... 

He  then  points  out  some  differences  between  the  new  and  the  old  piece,  and  saya 
that  he  used  two  verses  by  La  Fontaine.  Schatz  5350 

Annetta  e  Pierillo,  ballet.     See  MiUico's  La  Zelinda. 

Annette  and  Lubin,  pantomime.  See  The  fable  of  the  pantomime 
dances. 

Annette  and  Lubin :  A  comic  opera  in  one  act.  As  it  is  performed 
at  the  Theatre-Royal  in  Covent-Garden. 

London,  G.  Kearsley,  1778.     H  p.     ^i*^"*. 

Cast  and  the  author-composer,  Charles  Dibdin's,  "Advertisement,"  which  he  pub- 
lished with  all  of  his  imitations  of  one  act  French  comic  operas. 

First  performed  October  2,  1778,  as  indicated.  Longb  102 


120  LIBRARY  OF  CONGRESS 

Annette  et  Lubin,  com^die  en  un  acte  en  vers;  m616e  d'ariettes  & 
de  vaudevilles.  Par  Madame  Favart  &  Mr,  *  *  *.  Reprfeent^ 
pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le 
15  f^vrier  1762. 

Paris,  Duchesne,  1763.  78,  [2]  f.  W'".  (.Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  v.) 

One  act.  Cast.  At  the  time  of  its  appearance  the  play  was  attributed  to  Voisenon, 
but  Font  argues  that  he  had  nothing  to  do  with  it,  and  that  the  text  was  written  by 
Mad.  Favart  in  collaboration  with  her  husband  and  Lourdet  de  Santerre  for  the 
wedding  festivities  of  M.  de  Mailly  and  M'J^  de  P^rigord.  It  was  first  privately 
performed  in  January,  1762,  according  to  Favart's  Corresp.  Font  incorrectly  attrib- 
utes the  music  to  Martini,  but  the  music  was  arranged  and  partly  composed  by  Blaise. 
Many  of  his  ariettes  appear  printed  in  the  text  (the  duo  "Lorsgu'  Annette  est  avec 
Lubm"  expressly  bears  his  name),  whereas  no  vaudeville  air  is  so  printed.  "Mes 
trois  femmes  ^toient  veuves"  was  to  be  sung  to  "Air:  de  M.  Sodi."     ML  49.A2F1 

—  Annette  et  Lubin.  Com^die  en  un  acte  en  vers ;  m§16e  d'ariettes 
&  de  vaudevilles.  Par  Madame  Favart,  &  Mr.  *  *  *  Representee 
pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  15 
f^vrier  1762. 

Paris,  Duchesne,  1763.     78  p.     18^"^- 

The  composer,  Adolphe  Blaise,  is  not  mentioned.  Most  of  the  airs  are  printed 
in  the  text.  Schatz  1063 

—  Annette  et  Lubin,  comedie  en  un  acte,  en  vers,  m§16e  d'ariettes 
&  de  vaudevilles;  par  madame  Favart,  &  Mr.  *  *  *.  Repr6sent6e 
pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le 
15  fevrier  1762. 


cm 


Paris,  la  veuve  Duchesne,  1770.     4^  p.     19 

On  p.  15  the  air  of  "II  etoit  une  fiUe,  une  fille  d'honneur,"  on  p.  45—46  the  vaude- 
ville "Que  tout  le  hameau  s'appr^te,"  and  on  p.  47  the  ronde  "Lubin  aime  sa  bergere." 
Blaise,  the  composer,  is  not  mentioned.  Schatz  11675 

—  Annette  et  Lubin,  comedie  en  un  acte  et  en  vers  libres,  m§16e 
d'ariettes  &  de  vaudevilles  par  Madame  Favart,  &  M  *  *  *  Repre- 
sentee pour  la  premiere  fois  par  le  Comediens  italiens  ordinaires  du 
roi,  le  15  Fevrier  1762. 

Avignon,  Louis  Chamheau,  177 4.     Jfi  p.     19Y^. 

Blaise,  the  composer,  is  not  mentioned.  ML  48.M2M 

—  Annette  et  Lubin,  Comedie. 
p.  5-55.     16""^. 

Title  page,  etc.,  missing.  Schatz  11676 

Annibale.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Angelo  nell'  autunno. 

Venezia,  Carlo  Buonarrigo,  1731.     1  p.l.,  60  p.     15^^. 

Three  acts.  By  Filippo  Vanstryp,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Nicole  Antonio  Porpora  as  the  composer.  Schatz  8.368 

L'Annibale  in  Capua.  Melodrama  rappresentato  in  Venetia  nel 
famoso  Teatro  Grimano  I'anno  MDCLXI  .  .  . 

Venetia,  Giacomo  Batti,  1661.     2  p.  I.  {incl.  front),  94  p.     15""^. 

Prologue  and  three  acts.  By  conte  Nicolo  Beregani,  who  is  not  mentioned  by 
name.  Publisher's  dedication,  ailment,  scenario,  and  notice  to  the  reader,  inform- 
ing him  that  this  drama  was  prepared  for  performance  in  twenty  days,  and  that  the 
music  was  composed  by  Pietro  [Andrea]  Ziani. 

First  performed,  as  indicated,  carnival,  1661.  Schatz  11225 


OPEKA   LIBRETTOS  121 

Annibale  in  Torino.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  carnovale  del  1771  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     xi,  52  p.     16'^'^. 

Three  acts.  By  Jacopo  Durandi,  who  is  not  mentioned.  Argument,  caat,  scenario, 
and  names  of  Paisiello  as  the  compoeer  of  the  opera,  of  Giuseppe  Antonio  Le  Messier 
of  the  ballet  music.  Schatz  7692 

Annibale  in  Torino,  ballet.     See  Tarchi's  Bacco  ed  Arianna. 

Annibale  in  Torino.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  carnovale  del  1792  ,  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  55,  [1]  p.     15'^'^. 

Three  acts.  By  Jacopo  Durandi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Nicola  Antonio  Zingarelli  as  the  composer.  With  the  opera  were  per- 
formed Domenico  Le  Fevre's  ballets  "II  finto  giardiniere,"  "Alcina  ed  Astolfo," 
and  "La  cuccagna,"  the  music  selected  by  Le  F^vre  from  "diversi  celebri  autori." 

Schatz  11239 

The  anniversary  of  St.  Patrick.     A.  T.  of  The  shamrock. 

L'annore  resarciuto.  Commedeja  napoletana  de  lo  dottore  Nicola 
Gianni  da  rappresentarese  a  lo  Tiatro  de  li  Shiorentine  nchist'  anno 
1727  .  .  . 

Napole,  Pe  lo  soleto  [mutilated],  1727.     48  p.     14^"^. 
Three  acts.     Dedication,  cast  and  name  of  Antonio  Arefice  (Orefice)  as  composer. 

ML  50.2.A715O7 

Antigona.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  La  Fenice  per  seconda  delF  autunno  1799. 

Veneda,  Valvasense,  1799.     39  p.     17^"^. 

Two  acts,  based  on  an  English  drama  with  additions  by  Gaetano  Rossi.  Cast  and 
names  of  librettist  and  Francesco  Basili  as  composer.  Schatz  630 

Antigona.  Tragedia  per  musica  da  rappresentarsi  nel  Teatro  grande 
alia  Scala  il  carnevale  delF  anno  1789  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     6  p.  I.,  13-56  p.     16^'^. 

Three  acts,  based  on  a  libretto  by  Marco  Coltellini  written  for  St.  Petersburg  in 
1772,  as  is  stated  in  the  ai^omento.  This  is  preceded  by  a  dedication  and  followed 
by  cast,  scenario,  and  name  of  Vincenzo  Campobasso  d'Alessandro  as  composer. 
With  the  opera  were  performed  Gaspero  Angiolini's  ballets  (also  the  music)  "Fedra" 
and  "Lorezzo." 

First  performed,  as  indicated,  December  26,  1788.  Schatz  1538 

Antigona.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1752  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  efigliuolo,  1752.     69  p.     15^'^. 

Three  acts.  By  Gaetano  Roccaforte  (not  mentioned).  Argument,  scenario,  cast, 
and  name  of  the  composer,  Giovanni  Battista  Casali.  With  the  opera  were  per- 
formed Pietro  Alovar's  ballets,  composer  of  the  music  not  mentioned,  ^'Armida"  and 
"Le  nozze  di  Perseo  e  d'Andromada."  Schatz  1678 

Antigona.  Drama  per  musica  da  rappresentarsi  in  Roma  nel  Teatro 
delle  Dame  nel  carnevale  dell'  anno  MDCCLI  .  .  . 

Roma,  Fausto  Amidei,  n.  d.     66  p.     14h""' 

Three  acts.  Dedication,  argument,  scenario,  cast  and  names  of  Gaetano  Rocca- 
forte as  author,  of  Baldassare  Galuppi  as  composer. 

First  performed  as  indicated,  January  9, 1751  (Piovano).  ML  50.2.A718G3 


122  LIBRARY  OF  CONGRESS 

Antigona — Continued . 

—  Antigona.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tinian  di  S.  Moise  I'autunno  dell'  anno  1754. 

Venezia,  Modesto  Fenzo,  1754.     ^^  V-     ^^i"""- 

Three  acts.  By  Gaetano  Roccaforte,  who  is  not  mentioned.  Argument,  scenario, 
cast,  and  name  of  Baldaesare  Galuppi  as  composer. 

First  performed  at  Rome,  Teatro  delle  Dame,  Jan,  9,  1751  (Piovano). 

ScHATZ  3437 

—  Antigona.  Ein  musicalisches  schauspiel  so  an  dem  churfuerstl 
pfaeltzischen  hof  auf  den  erfreulichen  noechsten  geburts-tag  der 
durclilaeuchtigssten  frauen  churfuerstin  den  17  Januarii  1752  .  .  . 
anfgefuehret  worden. 

Mannheim,  Nicolaus  Pierron,  n.  d.     86  p. 

Three  acts.  Argument,  scenario,  cast,  and  names  of  the  author,  Gaetano  Rocca- 
forte, and  the  composer,  Bald.  Galuppi.    Text  in  German  only.  Schatz  3438 

Antigona.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  delle  Dame  il  carnevale  dell'  anno  1768.     Dedicate  a  Sua 
Eccellenza  la  Signora  D.  Matilde  Bentivoglio  Erizzo,  ambasciatore  di 
Venezia. 
Roma,  Ottavio  Pucdnelli,  n.  d.     68  p.     ISY"^. 

Three  acts.  Dedication,  ai^ument,  scenario,  cast,  and  names  of  Gaetano  Rocca- 
forte as  author,  of  Giovanni  Francesco  de  Majo  as  composer.  Schatz  5862 

Antigona.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  San  Benedetto  per  la  fiera  dell  Ascensione  dell'  anno  1776. 

Venezia,  Modesto  Fenzo,  1776.     70  p.     17 Y"^. 

Three  acts.  Gaetano  Roccaforte  is  mentioned  as  the  author,  Michele  Mortellari 
as  the  composer.  Argument,  cast,  and  scenario.  On  p.  [25J-39  argument  and  descrip- 
tion of  Giuseppe  Canziani's  "Linceo,  ballo  tragico  in  cinque  atti.  The  composer  of 
the  mxisic  is  not  mentioned. 

First  performed  as  indicated.  May  11,  1776.  Schatz  6679 

Antigona.  Tragedia  da  cantarsi  nel  Teatro  Tron  nel  carnovale  dell' 
anno  MDCCXVIII  offerita  a  G.  A.  G.  da  Merindo  Fesanio  Past.  Arc. 

Venezia,  Marino  Rossetti,  1718.    front.,  1  p.  I.,  71  p.     W^^. 

Five  acts.  Author's  real  name,  Benedetto  Pasqualigo.  Dedicatory  poems,  ail- 
ment, cast,  scenario,  and  name  of  Giuseppe  Maria  Orlandini  as  the  composer. 

Schatz  7327 

—  La  fedelta  coronata.  Drama  per  musica  da  rappresentarsi  in 
Bologna  nel  Teatro  Malvezzi  la  state  dell'  anno  MDCXJAXVII. 

(At  end)  Bologna,  Clemente  Maria  Sassi,  1727.     59  p.     16^'^. 

Three  acts.  Imprimatur  dated  May  19,  1727,  scenario,  cast,  name  of  Giuseppe 
Maria  Orlandini  as  composer  and  notice  to  the  reader  with  argument  and  apologies 
for  the  alterations  in  the  "presente  Libretto"  by  Benedetto  Pasqualigo,  who  is  not 
mentioned.  It  is  remarked:  "Questa  h  la  sorte,  che  incontrano  i  drami  fatti  per 
musica,  primieramente  di  doversi  agli  altrui  vari,  e  discordi  giudicj,  piii  che  a  quelle 
del  poeta  accomodare;  e  poi  di  essere  in  nuove  maniere  riordinati,  e  rivestiti." 

In  this  rifacimento,  for  instance,  the  aria  "Se  vaporetto  in  nuvoletto"  has  been 
dropped  from  I,  1,  and  moved  to  I,  3;  "Fu  di  xh  comando  allora"  in  I,  2,  has  been 
replaced  by  "II  padre  amante  contro  un'  ingrato";  scene  V,  6,  "Ti  vendichi,  e  ti 
salvi,"  has  become  III,  11,  and  indeed  this  three  act  version  is  so  different  from 
the  original  five  act  version  as  to  be  almost  a  different  opera. 

"La  fedeM  coronata"  was  first  performed  as  indicated,  June  14,  1727. 

ML  50.2.A718O7 


OPERA   LIBRETTOS  123 

L'Antigona  delusa  da  Alceste.  Drama  per  musica  di  Aurelio 
Aureli,     Favola  settima  .  .  . 

Milano,  Stampa  archiepiscopdle,  1662.     84  p.     13^'"\ 

Three  acts.  Dedication  dated  Milan,  April  15,  1662,  argument,  scenario,  and 
notice  to  the  reader  with  name  of  Pietro  Andrea  Ziani  as  the  composer: 

".  .  .  La  mia  debolezza  costretta  k  obedire  a  i  commandi  di  quella  autorit^,  che 
non  k  awezza  k  ricever  negative  da  chi  conosce  di  poter  restare  servita,  quando  'I 
desidera,  si  6  veduta  questa  volta  necessitata  ^  produrti  nel  corso  d'un  mese  non 
diro  un  parto,  m^  un'  abhorto  d'ingegno,  ed  ad  amareggierti  la  soa\-it4  di  quel  gusto, 
che  haveresti  provato  fino  al  fine  del  camevale  corrente  dalle  contuate  recite  del 
virtuosissimo  drama  dell'  illustrissimo  Signor  Pietro  Angelo  Zaguri,  mio  riverito 
signore  e  padrone  .  .  .  Avverti  di  piii,  che  per  la  strettezza  del  tempo  mi  6  con- 
venuto  aggiustare  il  drama  sopra  le  scene  (trattane  sol  una)  sopra  i  medesimi  balli, 
e  eii  parte  delle  machina  inventate  dall'  illustrissimo  Signore  Zaguri,  onde  se  tu  credi, 
che  da  questa  mia  fatica  io  sia  per  acquistare  alcuna  portione  di  gloria,  io  tutta  volun- 
tariamente  la  cedo  all'  illustrissimo  Signor  Zaguri,  eudetto,  come  k  quello,  che  mi 
h^  prestato  la  base  per  fondamentare  la  machina  di  questo  mio  drama. 

First  performed  at  Milan,  Teatro  del  Palazzo  Ducale,  April  15,  1662;  at  Venice, 
Teatro  di  S.  Gio.  e  Paolo,  carnival  1660.  Schatz  11212 

Antigono. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t  v,  [173]-263  p. 
16""^. 

Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Antigono.  Dramma  scritto  dalF  autore  in  Vienna  Tanno  1744  per 
la  reale,  ed  elettoral  corte  di  Dresda:  dove  nel  camevale  fu  rappre- 
sentato  la  prima  volta  con  musica  dell'  Hasse. 

pi.,  [181]-274  p-  26''^.  {Metastasio,  Opere,  t.  vi,  Parigi,  vedova 
Eerissant,  1780.) 

Three  acta,  •writh  licenza.    Argument.  ML49.A2M44 

Antigono.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascenzione  dell'  anno 
MDCCLXXIII. 

Venezia,  Modesto  Fenzo,  1773.     48  p.     n^""". 

Three  acts.  By  Pietro  Metastasio.  Cast,  scenario,  argomento,  and  name  of  Pas- 
quale  Anfossi  as  composer,  but  not  of  librettist.  The  libretto  of  the  opera  is  followed 
by  the  "Programma  delH  due  balU"  (on  30  p.).  The  first  is  called  "Semiramide, 
ballo  tragico  pantomime  .  .  .  inventato  e  composto  dal  Signor  Gasparo  Angiolini," 
who  is  also  mentioned  in  the  cast  as  the  composer  of  the  music.  He  was  also  the 
inventor,  author,  and  composer  of  the  other  ballo  pantomimo  "II  disertore  francese." 

Schatz  225 

Antigono.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
grande  alia  Scala  di  Milano  nel  camevale  dell  anno  1781. 

Milano,  Gio.  Batista  Bianchi,  n.  d.     62,  [i]  p.     16'^™. 

Three  acts.  The  added  page  contains  the  additional  aria  for  II,  7,  "Schemo  degli 
astri,  e  gioco."  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast,  and 
note,  "musica  nuova  in  parte  del  Sig.  maestro  Pasquale  Anfossi,  e  nella  maggior  parte 
del  Sig.  maestro  abate  Luigi  Gatti.  '  With  the  opera  were  performed  Gasparo  Angio- 
lini's  ballets  (also  the  music),  "Attila,"  "II  castigo  de'  bonzi,"  and  a  Divertimento. 

First  performed,  as  indicated,  February  3,  1781.  Schatz  283 

Antigono.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  La  Fenice  la  fiera  dell'  Ascensione  dell'  anno  1794. 


?cm 


Venezia,  Modesto  Fenzo,  1794-     60  p.     18*^ 

Three  acts.     By  Metastasio.    Ailment,  cast,  scenario,  and  name  of  the  composer, 

Luigi  Caruso.    On  p.  21-33,  argument,  cast,  and  detailed  description  of  the  first 


124  LIBRABY  OP  CONGBESS 

Antigono — Continued . 

ballet,  music  by  Luiei  Marescalchi,  "La  morte  d'Egieto  ossia  Le  furie  d'Oreste,  ballo 
tragico  pantomimo  d  invenzione  e  direzione  del  Sig.  Onorato  Vigan5."  The  second 
ballet  was  called  "Amore  vendicato." 

First  performed  at  Rome,  Teatro  Alibert,  carnival,  1788.  Schatz  1659 

Antigono.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gri- 
mani  di  S.  Benedetto  il  carnovale  dell'  anno  1762. 
Venezia,  Pavlo  Colomhani,  1762.     58  'p.     IJ^.^'^. 

Three  acts.  By  Metastasio.  Argument,  caat,  ecenario,  and  name  of  Baldassare 
Galuppi  as  composer. 

First  performed  at  London,  Haymarket,  13/24  May,  1746.  Schatz  3439 

Antigono.  Drama  per  musica  da  rappresentarsi  in  Roma  nel  Teatro 
di  Torre  Argentina  nel  carnevale  dell   anno  1756  .  .  . 

Roma,  Fausto  Amidei,  n.  d.     59  p.     14¥'^- 

Three  acts.  Dedication  ("la  prima  volta  sti  questo  teatro"),  argument,  scenario, 
caet  and  names  of  Metastasio  as  author,  of  Gluck  as  composer. 

First  performed  as  indicated,  February  9,  1756.  ML  50.2.A72G5 

Antigono,  dramma  per  musica  da  rappresentarsi  nel  Regio  elettoral 
Teatro  alia  corte  di  Dresda  nel  carnovale  deU'  anno  MDCCXLIV. 
71.  L,  n.  d.     70,  [1]  p.     i5^<="». 

Three  acts  and  licenza.  Argument,  cast,  scenario,  and  names  of  Metastasio  as 
author,  of  Johann  Adolph  Hasse  as  composer. 

First  performed  at  Hubertusburg,  October  10,  1743;  at  Dresden,  January  20,  1744. 

ML50.2.A72H2 

—  Antigono.  Dramma  per  musica  rappresentata  nel  Regio  elettoral 
Teatro  alia  corte  di  Desdra  [ !  ]  I'anno  MDCCXLIV  del  Signer  abbate 
Pietro  Metastasio. 

Lucca,  Domenico  Ciuffetti,  e  Filippo  Maria  Benedini,  1744-  60  p. 
19\'^. 

Three  acta.  Composed  by  Hasse,  who  is  not  mentioned.  Argument  and  scenario. 
The  text  is  the  same  as  in  the  Dresden  edition,  except  that  the  licenza  has  not  been 
reprinted.  ML  48.M2M7 

Antigono.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1768  .  .  . 

Venezia,  Modesto  Fenzo,  1768.     62  p.     WY"^- 

Three  acts.    By  Metastasio,  who  is  not  mentioned.     Prefatory  poem  by  Michele 
dall'  Agata,  argument,  cast,  scenario,  and  name  of  Francesco  de  Majo  as  composer 
First  performed  as  indicated,  December  26,  1767.  Schatz  5854 

Antigono.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Torre  Argentina  nel  carnevale  dell'  anno  1772  .  .  . 

Roma,  Arcangelo  Casaletti,  n.  d.     60  p.     15'^'^. 

Three  acts.  By  Metastasio.  Argument,  scenario,  cast,  name  of  Carlo  Monza  as 
the  composer,  and  impresario's  dedication,  in  which  he  says: 

"Si  rappresenta  per  la  terza  volta  su  le  scene  romane  L'Antigono,  opera  dell' 
insigne  poeta  Cesareo." 

On  p.  10  the  note: 

"Tuttocio,  che  si  trova  cangiato  nel  dramma  si  e  dovuto  fare  per  adattarai  alle 
circostanze  presenti  del  Teatro;  si  6  procurato  per  altro  di  servirsi  dei  sentimenti 
medesimi  del  primo  autore  sparsi  nell'  altre  opere  da  lui  composte." 

Consequently,  this  version  was  a  pasticcio  from  Metastasio  s  works.    Schatz  6620 


OPEEA  LIBRETTOS  125 

Antigono.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
di  corte  .  .  .  nel  carnevale  dell'  anno  MDCCLXIX.  La  poesia  ^ 
deir  abbate  Pietro  Metastasio  ...  La  musica  e  del  Sig.  Pietro 
Pompeo  Sales  .  .  . 

[Monaco,  Maria  Maddalena  Mayrin],  n.  d.    205,  [3]  p.     14h'^'^- 
Three  acts.    Argument,  cast,  and  scenario.    German  title,  "Antigonus,"  and  text 
face  Italian.    The  3  unnumb.  p.  contain  the  argument  of  the  baUet,  "Antoine  & 
Cleopatre."  Schatz  9269 

Antigono.     Dramma    per    musica    da    rappresentarsi    nel    Nuovo 
Teatro  in  Padova  per  la  solita  fiera  di  giugno  1764  .  .  . 
Padova,  n.  puhl,  1764.     56  p.     17 '''^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  com- 
poser, Tomaso  Traetta,  but  not  of  librettist,  Pietro  Metastasio.  ,  The  music  is  called 
"  t  utta  nuo va . ' '  Schatz  10406 

L' Antigono.  Dramma  per  musica  dell'  incomparabile  Signor  abate 
Pietro  Metastasio  Poeta  Cesareo  da  rappresentarsi  in  questo  Regio- 
Ducal  Teatro  Nuovo  la  primavera  delF  anno  1786  .  .  . 

Mantova,  Verede  di  Alberto  Pazzoni,  n.  d.     45,  20  p.     17 Y"^. 

Two  acts!  Dedication  dated  April  13,  1786  (when  the  stagione  began),  argument, 
cast,  scenario  and  name  of  Niccola  Zingarelli  as  composer.  On  the  20  additional  p., 
argument,  cast,  scenario  and  detailed  description  without  name  of  composer  of  music 
of  Antonio  Muzzarelli's  five-act  "Ines  de  Castro,  ballo  tragico  pantomimo." 

ML  50.2.A72Z4 

Antigono  tutore  di  Pilippo  re  della  Macedonia.  Tragedia  da 
cantarsi  nel  Teatro  Giustiniano  in  S.  Mois6.  II  carnovale  dell'  anno 
1724. 

Venezia,  Carlo  Buonarrigo,  1724-     48  p.     14^"™- 

Five  acts.  Argument,  scenario,  cast.  Neither  the  author,  Giovanni  Piazzon,  is 
mentioned,  nor  the  composers  Tommaso  Albinoni  and  Giovanni  Porta. 

Schatz  133 
Antigonus.     Tr.  of  Sales'  Antigono. 

Antiochus  und  Stratonica.  A.  T.  of  Graupner's  Die  kr^nckende 
liebe. 

Antioco.     O.  T.  of  Zeno  and  Pariati's  Seleuco. 

Antioco. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1 744,  t-  ^,  P-  [289]-S82. 
19^"^. 

Three  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  vol.  x  date  and  place  of  first  edition 
are  given  as  Venice,  1705.  ML  49.A2Z3 

—  Antioco.     Pubblicato  per  la  prima  volta  in  Venezia  1705. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ix,  p.  95- 
I84.    21'='^. 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Antioco.  Drama  per  musica  nel  Teatro  a  San  Cassano  per  I'anno 
1658  .  .  . 

Venetia,  Andrea  Giuliani,  1658.     5  p.  I.,  72  p.     ISi'^^. 

Three  acta  with  prologue.  By  conte  Niccoll^  Minato.  Author's  dedication  dated 
Venice,  January  21,  1658,  notice  to  the  reader,  and  argument,  but  without  name  of 
the  composer,  Pietro  Francesco  Cavalli.  Schatz  1717 


126  LIBRARY  OF  CONGRESS 

Antioco.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
S.  Cassano  I'autunno  dell'  anno  MDOCV  .  .  . 

Venezia,  Marino  Rossetti,  1705.     72  f.     16'^'^. 

Three  acta.  By  Apostolo  Zeno  and  Pietro  Pariati,  -who  are  not  mentioned.  Im- 
presario's dedication,  dated  Venice,  October  30,  1705,  argument,  cast,  and  scenario. 
Carlo  Francesco  Ga43paxiiu,  the  composer,  is  not  mentioned.  Schatz  3561 

Antioco.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  carnevale  dell  anno  1788  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     64  p.     17^. 

Three  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Dedication,  argu- 
ment, cast,  scenario,  and  name  of  Angelo  Tajrchi  as  the  composer.  With  the  opera 
were  performed,  composers  of  the  music  not  mentioned,  Filippo  Beretti's  "ballo 
pantomime  eroico-tragico  Giulietta  e  Romeo,"  "ballo  eroico-comico.Lilla  e  Lubino, 
oesia  Una  cosa  rara."    Of  these,  a  note  informs  us,  special  librettos  were  published. 

First  performed  December  26,  1787,  as  indicated.  Schatz  10234 

>/ Antioco  il  Grande.     Drama  per  musica  da  rappresentarsi  I'anno 
MDCLXXXI  nel  famoso  Teatro  Grimano  di  S.  Gio.  Grisostomo  .  .  . 
Venetia,  Francesco  Nicolini,  1681.     72  p.     1^'^^. 

Three  acts.     Dedication  dated  Venice,  December  17,  1681,  and  signed  by  the- 
author,  Girolamo  Frisari,  argument,  scenario,  and  name  of  the  composer,  Giovanni 
Legrenzi,  "che  a  nostri  tempi  h  la  vera  norma  della  musica;  &  il  vivo  oracolo  dell' 
armonia." 

The  libretto  contains  a  list  of  errata,  due  to  the  sickness  of  the  author  while  it  waa 
being  printed,  and  for  which  he  apol(^ze8  in  the  dedication.  Schatz  5533 

Antioco  principe  della  Siria,  dramma  per  musica  da  recitarsi  nel 
Teatro  del  Falcone  I'anno  1690  .  .  . 

Genova,  Gio.  Battista  <&  Antonio  Scionid,  n.  d.     79  p.     IS*^^. 

Three  acts.  Dedication  by  the  scenery  painter,  Tomaso  Aldrovandini,  argument, 
cast.  The  composer,  Carlo  Ambrogio  Lonati,  who  also  wrote  the  text,  is  not  men- 
tioned. Schatz  5681 

Antiope.     Ballet  heroique  en  trois  actes,  avec  un  prologue. 

VenAird  de  La  Jonchere,  Theatre  lyrique,  Paris,  1772,  t.  I,  p.  [229]- 
288.     IS^^"^. 

"Avant-propos"  (p.  231-244).  No  composer  mentioned,  and  none  recorded  by 
CI.  &  L.  ML  49.A2L2 

Gli  antiquari  in  Palmira.     Commedia  per  musica  da  rappresen- 
tarsi nel  Teatro  grande  alia  Scala  I'autunno  dell'  anno  1780  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     86  p.     16^^. 

Three  acts.  By  Giuseppe  Carpani,  who  is  not  mentioned.  Dedication,  cast, 
scenario,  and  name  of  Giacomo  Bust  as  the  composer  ("musica  nuova").  With  the. 
opera  were  performed  Gaspero  Angiolini's  ballete,  "La  morte  di  Cleopatra"  and 
'L'amore  e  1  azzardo,"  for  which  he  also  composed  the  music.  Schatz  9176 

L'Antiquario  fanatico.  A.  T.  of  Bernardini's  La  finta  Galatea, 
the  O.  T.  of  his  Le  donne  bisbetiche  o  sia  L'antiquario  fanatico. 

Antoine  e  Cleopatre,  ballet.    See  Sales'  Antigono. 

Antoine  Masson.     O.  T.  of  Philidor's  Le  bon  fils. 

Anton  der  dumme  gartner  oder  Der  name  thut  nichts  sur  sache. 
O.  T.  of  Schack's  Die  beiden  Antone  and  Der  dumme  gartner. 


OPEEA   LIBKETTOS  127 

Anton  und  Antonette.     Tr.  of  Gossec's  Toinon  et  Toinette. 

Antonlno  e  Pompeiano.  Drama  per  musica  nel  famosissimo 
Teatro  Vendramino  di  S.  Salvatore.  L'anno  MDCLXXVII.  Del 
Bussani  .  .  . 

Venetia,  Francesco  Nicolini,  1677.     68,  [1]  p.  (incl.  front.)     15"^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
with  the  name  of  Antonio  Saxtorio  as  tiie  composer.  Schatz  9491 

Second  copy.    ML  48.M20 

Antonino  e  Pompejano.  O.  T.  of  Bussani's  text  La  tirannide 
punita. 

Antonius  und  Cleopatra.  Ein  duodrama  mit  gesang,  in  zwey 
aufzuegen,  von  d'Arien.  In  musik  gesetzt  von  J.  C.  Kanka.  (Zum 
erstenmal  vorgestellt  auf  der  hiesigen  schaubiihne  den  15.  dieses 
monats.) 

p.  753- 761 ,  769 - 773.  (Litteratur  und  Theater  Zeitung,  Berlin,  1 779, 
^«-  jalirg.,  4^  t.)     18^"^.  Schatz  4772 

L'antre  de  Trophonius,  opera-comique  en  un  acte.     1722. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  3,  [47]-97  p.     17^^^. 

In  his  Avertissement  Piron  says: 

"Cette  piece  fut  represent^  la  demiere  eemaine  de  Careme,  sur  le  Th^toe  du 
Sieur  Francisque,  apr^  Deucalion.  Alors,  tons  les  th^tres  6tant  ferm^s,  &  le 
privilege  des  Com^diens  n'ayant  plus  lieu,  tous  lea  acteurs  parloient.    Apr^s  mon 

Sremier  essai  thd&tral,  dans  un  monologue,  je  voulus  voir  ce  que  je  satirois  faire  en 
ialogue,  dans  une  pi^ce  d'intrigue  telle  quelle  ..." 
Composer  not  recorded  by  Parfaict,  etc.  PQ  2019. P6 

L'ape.  Componimento  drammatico,  scritto  daU'  autore  in  Vienna, 
l'anno  1760,  per  uso  della  Real  corte  cattolica. 

[149]- 162  p.  £6*^^.  { Metastatic,  Opere,  t.  xi,  Parigi,  vedova 
Herissant,  1782.) 

One  act.  ML  49.A2M44 

L'ape  musicale  rinnuovata.     Comedia  per  musica  in  tre  atti. 
Da  rappresentarsi  la  quadragesima  dell'  anno  MDCCLXXXIXI.  [Q 
Lei  [  0  Teatro  di  corte  a  benefizio  di  alcuni  virtuosi. 
Vienna,  Giuseppe  nob.  de  KurzbeTc,  n.  d.     61  p.     16'^™. 

Three  acte.  By  Lorenzo  da  Ponte,  who  is  not  mentioned.  Cast  and  notice  to  the 
reader: 

"Questo  h  una  spezie  di  comediola,  dove  ora  parodiando,  ora  cangiando,  ed  ora 
conservando  le  origmarie  parole,  si  sono  introdotti  i  migliori  pezzi  di  musica,  che  si 
sentiron  fin'  ora  nelle  nostre  opere,  e  quelli  particolannente  che  piii  sono  stati  amati  e 
favoriti  dal  pubblico  questi  due  ultimi  anni  ..." 

First  performed,  as  indicated,  Vienna,  Burgtheater,  March  23,  1791. 

Schatz  11308 

Apelle.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  della  Fenice  del  Signor  Antonio  Simon  Sografi  ...  in 
Venezia  I'autunno  1793. 

n.  i.,  n.  d.     64  p.     19^"^. 

Three  acts.  Cast,  scenario,  name  of  Nicola  Antonio  Zingarelli  as  composer,  and 
dedication,  dated  Venezia,  November  18,  1793,  in  which  Sografi  says: 

"Ho  sempre  creduto,  che  bello  sia  quello  spettacolo  in  questo  genere,  dove  le  belle 
art!  per  modo  vi  figurano,  che  non  laeciano  molto  a  desiderare.    Nel  case  mio  la  poesia 


128  LIBRARY   OF   COXGRESS 

Apelle— Continued. 

si  e  adoperata  per  queeto,  invitando  a  concorrere  nel  lavoro  la  muaica,  I'architettura, 
la  pittura,  la  declamazione,  la  danza,  somministrando  ad  eese  i  mezzi  onde  poteesero 
sfoggiare  la  loro  piacevole  attivit^  ..." 

On  p.  r53]-64,  cast  and  description,  without  name  of  the  composer  of  the  music  of 
Giacomo  Onorati's  "L'eroe  castigliano  o  sia  Rodrigo  Ecimene,  gran  ballo  eroico  panto- 
mimo,"  in  five  acta.  Schatz  11266 

—  Apelle  e  Campaspe.  Dramma  serio  per  mnsica  da  rappresen- 
tarsi  in  Bologna  nel  Nuovo  Publico  Teatro  la  prima  vera  dell'  anno 
1795  .  .  . 

Bologna,  Sassi,  n.  d.     64  p.     l?^""*. 

Three  acta.  Impresario's  dedication  and  prefatory  note,  caat,  scenario,  argument, 
and  name  of  Nicola  Antonio  Zlngarelli  aa  the  composer.  This  is  Sografi's  "Apelle" 
text,  but  with  numerous  alterations.  For  instance,  the  third  act  now  begins,  Dove, 
ahi  dove  mi  trovo,"  instead  of  "Ministri,  il  sacrifizio,"  which  now  opens  the  second 
scene  in  the  act.  On  p.  [55]-64,  argument,  cast,  and  description,  without  name  of  the 
composer  of  the  music  of  Francesco  Clerico's  "Amleto,  ballo  tragico  pantomimo." 

First  performed,  aa  indicated,  May  24,  1795.  Schatz  11267 

Apelle  e  Campaspe.     A.  T.  of  the  ballet  La  generositk  d'Alessandro. 

Apelle  e  Campaspe,  ballet.     See  Schuster's  L'amor  artigiano. 

Apelle  e  Cam.paspe.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  il  came  vale  dell'  anno  1796  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     50,  \6\  p.     W^. 

Three  acta.  By  Simone  Sografi,  who  is  not  mentioned.  Impresario's  dedication, 
dated  December  26,  1795,  argument,  cast,  scenario,  and  name  of  Giacomo  Tritto  as 
the  composer.  On  the  six  unnumb.  pages,  casts  and  brief  descriptions,  without 
names  of^the  composers  of  the  music  of  Gaspare  Ronzi's  "ballo  eroico  tragico  panto- 
mimo La  Didone    and  "ballo  comico  pantomimo  Le  reclute  d'amore." 

Schatz  10452 

Apelle  e  Campaspe.     L.  T.  of  Zingarelli's  Apelle. 

Apelle  et  Campaspe,  op6ra  en  un  acte,  par  le  citoyen  Demoustier, 
musique  du  citoyen  Eler;    repr^ente  pour  la  premiere  fois  sur  le 
Theatre  de  la  Republique  et  des  Arts,  le  24  messidor,  an  6. 
Paris,  Huet,  an  VI  [1797-98].     5 4  y.     W^"^. 

With  cast.  Correct  date  of  first  performance  is  26  messidor,  or  July  14,  1798, 
according  to  Schatz.     Clement  and  Larousse  give  July  12.  Schatz  2912 

Apelles  and  Camipaspe,  or,  The  self-conquest  of  Alexander.  An 
heroic  pantomimical  ballet. 

Noverre,  Jean  George,  Worlcs.  Tr.from  the  French,  London,  1783, 
V.  3,  p.  263-283.     21^"^. 

Aliment  and  detailed  description  of  the  five  scenes.  GV  1787. N8 

Le  api  riverite.  Azzione  dramatica  all'  illustriss.  e  reverendiss. 
Sig.  Card.  Francesco  Barberini  di  Bernardino  Mariscotti  nell"'  Aca- 
demia  de'  Gelati  il  Notturno. 

Bologna,  Clemente  Ferroni,  1628.     51  p.     19*^^. 

Five  acts,  preceded  by  a  dedicatory  "Canzone"  by  the  author  and  his  dedication, 
dated  Bologna,  Jime  2,  1628.  Mariscotti  says  that  the  Academia  de'  Gelati  wished 
to  honor  the  cardinal  after  his  return  to  Rome  from  a  successful  diplomatic  mission 
in  France  and  Spain  and  decided  for  the  purpose  on 

"qualche  azzione  academica,  appropriata,  quanto  per  noi  si  potesse  il  meglio,  all' 
occon-enza,  con  machinare  invenzione  vdstosa  per  van^ta  confacevole  per  argomento, 


OPERA  LIBEETTOS  129 

Le  api  riverite — Continued. 

e  significante  per  allegoria.  Fu  lavorato  di  scrittura,  e  di  pitttira,  e  gi^  erano  imparate 
le  musiche,  e  dato  I'intiero  compimento  alia  scena,  e  all'  apparenze.  Ma  dipoi  al 
mancar  della  cagione,  venae  k  mancar  I'effetto;  non  ci  fu  la  persona,  svani  I'azzione, 
rimase  I'invenzione  ..." 

Placed  in  this  embarrassing  situation  the  Academy  finally  decided  not  to  perform 
the  work  in  the  cardinal's  absence,  but  to  have  at  least  the  text  printed.  The  com- 
poser of  the  music  is  not  mentioned.    The  work  is  not  recorded  by  Ricci. 

ML  48.M2  I 

"^Apio  Claudio.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo.     L'anno  MDCLXXXIII  .  .  . 

Venetia,  Francesco  Nicolini,  1683.    front.,  56  p.     1^^^. 

Three  acts.  By  Adriano  Morselli,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argument,  scenario,  and  notice  to  the  reader,  in  which  he  complains: 

"Hanno  alcuni  havuto  la  bonti  di  levar  certe  arie  dell'  auttore  per  mettervi  le 
proprie  senza  sua  notitia." 

These  have  been  printed  in  quotation  marks.  The  notice  begins:  "L'auttore  del 
Temistocle  in  bando  ti  preseta  questo  nuovo  drama." 

The  composer,  Giovanni  Marco  Martini,  is  not  mentioned.  Schatz  6033 

Apollo  deluso,  drama  per  musica  rappresentato  nel  giorno  natale 
dell'  augustissimo  e  sempre  invitto  Leopoldo  .  ,  .     Musica  di  Gio. 
Felice  Sances  .  .  .     Poesia  di  Antonio  Draghi  .  .  . 
Vienna,  Matteo  Cosmerovio,  1669.      Unpaged.     19^*^. 

Three  acts  and  licenza.  Author's  dedication  of  date  Vienna,  July  9,  1669,  argu- 
ment, and  notice  to  the  reader  informing  him  that  this  drama 

"nel  suo  nascimento  egli  non  hebbe  piii  d'una  settimana  per  comparire  alia  luce 
.  .  .  Sono  concorsi  k  coprire  la  sua  nudity  con  adobbi  preziosi,  il  Signor  Felice 
Sances,  maestro  di  capella  di  S.  Maest^  Ces:  quale  con  la  soaviti  della  sua  armonia 
h^  reso  con  mirabile  artificio  dolce  I'amarezza  del  verso." 

Not  a  single  hint  will  be  found  in  the  libretto  that  Leopold  I  composed  part  or  ail 
of  the  score.  This  is  the  more  noteworthy,  because,  according  to  Adler,  the  title 
page  of  the  second  act  of  the  score  at  the  Hofbibliothek,  Vienna,  reads:  "Atto  2^' 
Apollo  deluso.  Musica  di  Sua  M'*  Ces*  Anno  1669  "  and  the  binding  of  the  first  act 
Bays  "Di  S.  M.  C."  (this,  however,  probably  meaning  "property  of"  not  "by").  In 
view  of  this  libretto,  however,  it  would  be  unsafe  to  agree  with  Adler  that  "probably 
the  music  of  all  three  acts  with  exception  of  the  licenza"  is  by  Leopold  I.  Presum- 
ably the  libretto  was  published  with  Sances'  name  as  composer,  though  Leopold  I, 
as  he  often  did,  had  contributed  more  or  less  music  to  the  score  of  his  court  con- 
ductor. Adler  published  in  his  " Musikalische  Werke  der  Kaiser"  as  by  Leopold  I 
the  arias  "Aurimena,  la  tua  pena"  (II,  10),  Recitativ  "In  oscura  prigion"  and  aria 
"Pensieri  non  v'atterrite"  (II,  11),  "Se  non  basta"  (II,  11),  and  "Sii,  che  fate" 
(II,  11).  ML  48.M2  D 

Apollo  e  Dafne.     A.  T.  of  the  ballet  Cupido  trionfatore. 

Apollo  e  Dafne,  ballet.     See  G.  Giordani's  Atalanta. 

Apollo  geloso.     Pastorale  per  musica  da  rappresentarsi  nel  Teatro 
di  Lugo  in  occasione  della  Fiera  d'  Agosto  dell   anno  1720  .  .  . 
Bologna,  Costantino  Pisarri,  n.  d.     Ji.1  p.     15Y^. 

Three  acts.  Argument  and  dedication  dated  Lugo,  August  17,  1720,  and  signed 
by  Giuseppe  Maria  Buini,  "compositore  della  musica,"  who  says  "I'ApoUo  geloso, 
che  sotto  la  mia  debole  direzzione  dee  rappresentarsi  su  queste  scene."  Not  recorded 
by  AUacci,  Schatz  or  Dent.     Author  unknown  to  me.  ML  50.2.B727A9 

Apollo  in  Tessaglia.  Cantata  a  tre  voci  per  festeggiar  la  solenne 
apertura  dell'  Accademia  degl'  Ingegnosi  nel  Teatro  del  Corso  de' 
Tintori  la  sera  de'  12  marzo  1769. 

Firenze,  Giuseppe  AUegrini,  e  comp.,  1769.     15  p.     19^*^. 

Two  parts.  By  Luigi  Semplici.  With  argument,  "Attori,"  and  names  of  author 
and  composer,  Alessandro  Pelici  ("musica  nuova").  Schatz  3052 

72251°— VOL  1—14 9 


130  LIBRARY   OF  CONGRESS 

Apollo  in  Tessaglia.  Drama  per  musica  da  rappresentarsi  nel 
nuovo  famoso  Teatro  Formagliari  Fanno  1679  .  .  . 

Bologna,  per  Verede  d\  Vittorio  Benacd,  n.  d.     5  p.  1-,  92,  [i]  p. 

Three  acts  and  prologue.  By  Tommaeo  Stanzani,  who  dates  his  dedication 
Bologna,  May  27,  1679.  Printer's  notice  to  the  reader  with  the  name  of  Petronio 
Franceschini  as  composer,  and  argument.  Schatz  3316 

Apollo  placato,  ballet.     See  Salieri's  Europa  riconosciuta. 

Apollo  tum'd  stroller;  or,  Thereby  han^s  a  tale.  A  musical  pas- 
ticcio. In  two  parts.  As  performed,  with  the  most  unbounded 
applause,  at  the  Royalty-Theatre. 

London,  S.  Bladon,  1787.     2  jp.l.,  28  p.     21^"^. 

Cast.  Neither  the  author.  Sir  John  Oldmixon,  nor  the  composers,  G.  F.  Handel 
and  others,  are  mentioned. 

First  performed  December  3,  1787,  as  indicated.  Lonoe  102  . 

Apollo  unter  den  hirten.  Ein  vorspiel  mit  arien.  An  dem 
geburtsfeste  Ihro  Majestaet  des  koenigs  aufgefuehrt  von  der  Han- 
noeverischen  Gesellschaft  koeniglicher  schauspieler  den  4ten  Juni 
1770. 

n.  i.,  n.  d.    31  p.     17'^'^. 

Neither  Johann  Georg  Jacoby,  the  author,  nor  Anton  Schweitzer,  the  composer, 
is  mentioned.  Schatz  9769 

Apollon  et  Coronis.     See  Mouret's  Les  amours  des  dieux. 

Apollon  et  Daphne,  divertissement  mis  en  musique  par  Monsieur 
de  Lully  .  .  .  Chante  devant  Sa  Majeste,  h  Fontainebleau  le 
[blank]  octobre  1698. 

Amsterdam,  les  Mritiers  d'Antoine  Schelte,  1699.  22  p.  (incl.  front.). 
14'^'^. 

Prologue  and  one  act.  By  Danchet.  Composed,  probably,  by  Louis  de  Lully  in 
his  capacity  as  "compositeur  de  la  chambre  du  roi."  Not  recorded  by  Schatz  or 
CI.  &  L.  ML  50.2.A73L9 

—  Apollon  et  Daphne,  divertissement  mis  en  musique  par  M.  de 
Lully,  .  .  .  chante  devant  Sa  Majeste  a  Fontainebleau,  le  \hlank] 
octobre  1698. 

[i5]-26  p.     17 Y"^-     (Antoine  Danchet,  Theatre,  t.  ii,  Paris,  1751.) 
One  act.  PQ  1972.D2 

Apollo's  mask.     See  Stapylton's  text  Diana's  mask. 

L'apoteosi  d'Ercole.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno 
1791. 

Venezia,  Modesto  Fenzo,  1790.     54  p.     17 Y"^. 

Three  acts.  By  Mattia  Butturini,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Angelo  Tajchi  as  the  composer.  On  p.  49-54,  scenario  and  prefatory  note  to 
Gaspero  Angiolini's  (who  composed  also  the  music)  "Tito  o  La  partenza  di  Berenice, 
ballo  eroico  pantomimo  in  cinque  atti."  Schatz  10212 

De  Apothecar  en  de  doctor.  Tr.  of  Dittersdorf  s  Der  apotheker 
imd  der  doktor. 


OPERA   LIBRETTOS  131 

Die  apotheke,  eine  komisclie  oper  in  zwe}^  aufzuegen.     [vignette] 
Leipzig,  Dyckische  hucTihandlung,  1772.     xv,  [1],  96  p.     17<^, 
Preface  addressed  to  J.  F.  Bause  by  the  author  [J^hann  Jakob  Engel]   and  dated 
Leipzig,  November  10,  1771.     The  preface  is  interesting  as  containing  Engel's  views 
of  tne  esthetics  of  the  "Possenspiel."     On  p.  vii,  this  shrewd  remark: 

"Ich  denke  uebrigens,  man  wuerde  gutthun,  wenn  man  aus  alien  possenspielen 
operetten  machte.     Unser  publikum  sieht  diese  possen  geme,  und  moechte  doch  geme 
das  ansehen  haben,  als  wenn  es  sie  verachtete;  es  lacht  von  herzen  ueber  die  Goldoni- 
schen  stuecke,  und  zuckt  die  achseln  darueber,  wenn  sie  aus  eind." 
On  p.  vi,  this  remark  on  the  origin  of  this  libretto: 

"Ein  tonkuenstler  [Hiller]  .  .  .  bat  mich  um  eine  oper,  worinn  nicht  der  naive 
ton,  sondem  zur  abwechslung  der  eigentlich  komische  herrschte  .  .  .  Mein  freund 
wurde  krank,  und  konnte  lange  zeit  an  keine  komposition  denken.  Er  hatte  aber 
die  ersten  arien,  so  wie  sie  fertig  geworden  waren,  einem  jungen  tonkuenstler,  von  viel 
versprechendem  genie  [Neefe],  uebergeben,  der  sie  sogleich  in  musik  setzte;  und  ich 
schneb  hemach  weiter,  damit  dieser  nicht  moechte  umsonst  gearbeitet  haben . ' ' 

First  performed  at  Berlin,  Koch'sches  Theater  in  der  Behrenstrasse,  December  13, 
1771.  ScHATZ  7070 

Die  apotheke.  Ein  originalsingsspiel  in  zween  aufzuegen.  Die 
musik  ist  vom  herrn  Umlauf .  Aufgefuehrt  auf  der  K.  K.  rsfational- 
schaubuehne. 

Wien,  hey  dem  logenmeister,  1778.     35  p.     ^5^*"*. 

By  Johann  Jakob  Engel,  who  is  not  mentioned. 

First  performed,  as  indicated,  June  20,  1778.  Schatz  10523 

Der  apotheker.     Tr.  of  Pallavicini's  and  Fischietti's  Lo  speziale. 

Der  apotheker  und  der  doktor.  Ein  komisches  singspiel  in  zwey 
aufzuegen.  Nach  dem  fra'nzoesischen  des  grafen  von  N  .  .  . 
I'Apoticaire  de  Murcie  von  Stephani  dem  juengern.  Die  musik  ist 
neu  vom  herrn  Ditters  v.  Dittersdorf . 

n.  i.,  1788.     128  p.     16'^^. 

First  performed  at  Vienna,  Nationaltheater  n.  d.  Burg,  July  11,  1786,  as  "  Doctor 
und  apotheker."  '  Schatz  2585 

—  The  doctor  and  the  apothecary.  A  musical  entertainment  in 
two  acts.     As  performed  at  the  Theatre-Royal,  Drury-Lane. 

London,  C.  DiUy,  17 88.     1  p.  l,  44  p.     20<='». 

Cast.  The  preliminary  half-title  is  missing.  By  James  Cobb,  adapted  to  Ditters- 
dorf's  music  with  additions  by  Stephen  Storace.  In  Longman  <fe  Broderip's  voCal 
score  "  This  marriage  article  "  is  headed  as  composed  by  Paisiello. 

First  performed  as  indicated,  October  25,  1788.     (Genest).  Schatz  2586 

Second  copy  (2  pi.,  44  p.  21<'°».)     Longe  164 

—  De  apothecar  en  de  doctor,  zangspel.  Gevolgd  naar  het  hoog- 
duitsch  van  Stephani  door  I.  J.  A.  Gogel. 

Amsteldam,  J.  Heiders,  1796.     108  p.     16^"^. 

First  performed  at  Amsterdam,  Stads  Schouwbui^,  1796.  Schatz  2611 

The  apotheosis  of  Punch ;  a  satirical  masque :  With  a  monody  on 
the  death  of  the  late  Master  Punch.  As  now  performing  at  the 
Patagonian  Theatre,  Exeter-'Change,  with  universal  applause  .  .  . 

London,  J.  Wenman,  F.  Newberg  and  W.  Thompson,  1779.  42, 
[2]  p.     21^. 

Dedication  by  "Plunder"  to  Richard  Brinsley  Sheridan.  The  first  unnumb.  p. 
contains  advertisement  of  the  opera  "Retaliation.  By  the  same  author,"  therefore, 
Leonard  Mac  Nally,  whose  idea  was  to  ridicule  Sheridan's  monody  on  the  death  of 
Garrick.    The  composer,  if  any,  is  not  recorded  by  Clarence  or  Schatz.    Lonoe  102 


132  LIBRARY   OF   CONGRESS 

L'apparenza  inganna  o  sia  La  ville^giatura.  Commedia  in  due 
atti  per  musica  di  Giambattista  Lorenzi  P.  A.  da  rapprescntarsi  nel 
Teatro  de'  Fiorentini  nella  prima  vera  del  corrente  anno  1784. 

Napoli,  n.  yubl.,  1784.     58  p.     15"'^. 

Two  acts.     Cast  and  name  of  the  composer,  Domenico  Nicola  Cimarosa. 

SCHATZ  1980 

The  apparition!  A  musical  dramatic  romance,  in  two  acts,  as  per- 
formed with  universal  applause  at  the  Theatre-Royal,  Hay-Market. 
By  J.  C.  Cross  .  .  .  [vignette] 
London,  J.  Barker,  1794.     35,  [1]  p.     21^"^. 

Cast,  dedication  dated  Theatre-Royal,  Hay-Market,  Sept.  9,  1794,  and  prefatory 
note.     The  composer,  William  Reeve,  is  not  mentioned. 

First  performed  Sept.  3,  1794.  Longe  239 

The  apparition  of  the  cliffs.     A.  T.  of  Reeve's  The  Sicilian  romance. 

L'apprensivo  raggirato.  Commedia  per  musica  di  G.  M.  D.  da 
rapprescntarsi  nel  Teatro  de'  Fiorentini  per  terz'  opera  del  corrente 
anno  1798. 

Napoli,  n.  puhl.,  1798.     64  p.     15""^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Cast  and  name  of  the  composer,  Domenico 
Nicola  Cimarosa.  On  p.  58-59  cast,  argument,  and  detailed  description  of  Giov. 
Battista  Giannini's  ballet  "La  Ginevra  degli  Almieri."  The  composer  of  the  music 
is  not  mentioned.  Schatz  1904 

April-Day,  a  burletta,  in  three  acts.     Written  by  the  author  of 
Midas.     As  it  is  performed  at  the  Theatre  Royal  in  the  Hay-Market. 
The  music  composed  by  Dr.  Arnold, 
London,  G.  Kearsly,  1777.     vii,  [1],  44  p.     20^'^- 

Cast.  In  his  prefatory  "Extract  of  a  letter  ...  to  his  friend  in  London  "the 
author,  Kane  O'Hara,  says: 

"The  interlude  of  the  Magic  girdle  which  Mr.  Barthelemon  left  in  my  hands  for 
correction,  furnished  me  with  the  first  hint  of  this  drama.  I  send  you  the  original, 
that  you  may  see  my  great  reserve  in  borrowing  from  it;  at  the  same  time,  humbly 
begging  pardon  of  the  gentleman,  unknown,  with  whose  hasty  sketch  I  have  taken 
so  many  liberties.  This  plot  is  here  totally  changed,  and  his  personages  thrown  into 
a  different  cast  of  character:  I  have  availed  myself  but  very  sparingly  of  his  words; 
scarce  at  all  of  his  poetry  ...  I  adopt  the  laconic  dialogue  of  Italian  burletta,  in 
order  to  comprise  my  fable  within  the  narrow  limits  of  late  prescribed  by  the  taste 
of  your  audiences  ..." 

This  letter  is  dated  Dublin,  January  12,  1775. 

First  performed  at  London,  Hay-market,  August  22,  1777.  Longe  126 

L'Arabo  cortese.  Commedia  per  musica  di  Pasquale  Mililotti  da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nell'  autunno  del  cor- 
rente anno  1776. 

Napoli,  n.  publ,  1776.     59  p.     15^"^. 

Three  acts.  Scenario,  cast,  and  name  of  Paisiello  as  the  composer,  with  excep- 
tion of  the  following  starred  arias  by  Domenico  Cimarosa:  "Dint'a  st'uocchie 
appassionate "  (I,  6),  "Qual  colomba  innamorata,"  (III,  3). 

First  performed  at  Naples,  Teatro  Nuovo,  winter  1769.  Schatz  7665 

Arato  in  Sparta.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  Sant'  Angelo  il  carnovale  dell'  anno  1709  ... 

Venezia,  Gio.  Battista  Zuccato,  1709.     72  p.     15*^^. 

Three  acts.  Argument,  cast,  scenario,  and  dedication  in  which  this  is  called 
"questa  picciola  operetta,  parto  di  miei  primi  genii"  over  the  signature  of  N.  M., 
which  stands  for  Benedetto  Marcello  (Schatz).  The  composer,  Giovanni  Maria 
Buggeri,  is  not  mentioned.  Schatz  9130 


OPERA   LIBRETTOS  133 

L'Arbace.  Dramma  per  musica  da  rappresentarsi  in  Firenze  nel 
nuovo  Regio  Teatro  clegF  Intrepid!  detto  La  Palla  a  Corda  nella 
primaver  del  1785  .  .  . 

Firenze,  Stamperia  Bonducciana,  1785.     32  p.     16^^- 
Two  acts.     By  Gaetano  Sertor  (not  mentioned).     Cast,  argomento,  scenario,  and 
name  of  Gaetano  Andreozzi  as  composer.     The  music  for  the  "ballo  serio  pantomimo 
Giasone  e  Medea  "  by  Domenico  Ricciardi  was  by  Giuseppe  Horban. 

First  performed  at  Livomo,  Teatro  di  S.  Sebastiano,  1781.  Schatz  214 

Arbace.     Dramma   per   musica   da   rappresentarsi   nel   nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1782. 
Venezia,  Modesto  Fenzo,  1782.     61  p.     17""^. 

Three  acts.  By  Gaetano  Sertor.  Argument,  cast,  scenario,  and  names  of  the 
librettist  and  the  composer,  Giovanni  Battista  Borghi.  On  p.  27-34  cast,  argument, 
and  detailed  description  of  Paolino  Franchi's  "Tito  e  Berenice,  ballo  eroico  panto- 
mimo."   The  composer  of  the  music  is  not  mentioned.  Schatz  1239 

L'arbore  di  Diana.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  grande  alia  Scala  I'autunno  dell'  anno  1788  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     W™. 

Two  acts.  Lorenzo  da  Ponte  is  mentioned  as  author,  Vincenzo  Martini  (Martin  y 
Soler)  as  composer.  Dedication,  argument,  cast,  and  scenario.  With  the  opera 
were  performed  Domenico  Le  Fevre's  ballets,  "Giasone  e  Medea"  and  "Le  feste 
florali."    The  composers  of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  October  1,  1788;  at  Vienna,  Nationaltheater  nachst 
der  Burg,  October  1,  1782.  Schatz  5999 

—  Der  baum.  der  Diana.  Ein  singspiel  in  zwey  aufzuegen.  Auf- 
zufuehren  bei  der  ankunft  I.  K.  Hoheit  Maria  Theresia,  erzherzoginn 
von  Oesterreich,  braut  des  prinzen  Anton  von  Sachsen. 

Wien,  n.  pull.,  1787.     67  p.     15^'^. 

With  names  of  Lorenzo  da  Ponte  as  author  and  Vincenz  Martini  (Martin  y  Soler) 
as  the  composer.  Schatz  6000 

—  Text  der  beliebtesten  arien,  einiger  duetten,  terzetten  und  quar- 
tetten  aus  dem  Baum  der  Diana  samt  den  plan  dieses  singspiels, 
nach  der  uebersetzung  des  herrn  Eberls  wie  er  auf  dem  Leopold- 
staedtertheater  aufgefuehrt  worden.  Den  schoenen  stimmen  artiger 
maedchen  gewidmet  vom  berausgeber. 

Wien,  HocMeiter,  1788.     37  p.     15^'"^. 

Caat,  "Vorrede,"  and  "Nachrede."  Schatz  6001 

—  Gesaenge  aus  dem  sin^spiele :  Der  baum  der  Diana,  in  zwey 
aufzuegen,  nach  dem  italienischen  des  abbt  da  Ponte,  von  d' Arien. 
In  musik  gesezt  vom  kapellmeister  Vincenz  Martin. 

Hamburg,  J  oh.  Matthias  Michaelsen,  1792.     Ifi  p.     16'^'^. 

First  performed  at  Hamburg,  Opernhaus  am  Gansemarkt,  November  10,  1788. 

Schatz  6002 

—  Der  baum  der  Diana.  Eine  komische  oper  in  zwey  aufzuegen. 
Nach  der  musik  des  kapellmeisters  Martini  aus  dem  italienischen 
ins  deutsche  iibersetzt  von  C.  H.  Necse  [ !  Neefel. 

Oels,  Samuel  Gottlieb  Ludwig,  n.  d.     72  p.     i7i"". 

First  performed  at  Oels,  Hoftheater,  May  2,  1795.  Schatz  6003 


134  LIBRARY  OF   CONGRESS 

Arcadia;  or,  The  shepherd's  wedding.  A  dramatic  pastoral.  As 
it  is  performed  at  the  Theatre-Royal  in  Drury-Lane.  The  music 
composed  by  Mr.  Stanley  ... 

London,  J.  and  R.  Tonson,  1761.     20  p.     19'^. 

One  act.     By  Robert  Lloyd,  who  is  not  mentioned. 

First  performed  October  26,  1761,  as  indicated  (Genest).  Lonoe  52 

—  Arcadia;  or,  The  shepherd's  wedding.  A  dramatic  pastoral,  as 
it  is  performed  at  the  Theatre-Royal  in  Drury-Lane.  By  Mr.  Lloyd. 
The  music  composed  by  Mr.  Stanley  .  .  . 

London,  Printed  for  J.   and  R.    Tonson;    Dublin,  Re-printed  for 
R.  Watts  [etc.]  1761.     1  p.  I.,  [5]-21  p.     17'"^. 

Botmd  with:   Thompson,  James.     Edward  and  Eleonora.     [n.  p.,  17 — ] 

L' Arcadia  in  Brenta. 

[1 17^-172   p.      {Carlo   Goldoni,  Opere   drammaticTie  giocose,   t.   ii, 


•f 


Tonno,  1757.)     m 

.  Three  acts.    Argument.  ML  49.A2G6 

First  performed,  with  music  by  Vincenzo  Legrenzio  Ciampi  at  Bassano,  fall  1747. 

L' Arcadia  in  Brenta.  Dramma  di  tre  atti  per  musica.  Rappre- 
sentato  per  la  prima  volta  in  Bassano  I'anno  ^IDCCLVIL 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efgli,  1788-95,  v.  J^S, 
[5\'61  p.     18ii''». 

PQ 

L' Arcadia  in  Brenta.  Dramma  comico  per  musica  da  rappresen- 
tarsi  nel  Regio-ducal  Teatro  di  Milano  nella  primaviera  dell'  anno 
1750  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1750.     4  V-  ^-y  ^^)  Ul  P-     ^^i""- 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Dedication,  argument,  cast. 
Bald.  GaJuppi,  the  composer,  is  not  mentioned.     Following  the  argument  is  this  note: 

"Siccome  quest'  operetta  fu  tagliata  la  prima  volta  sul  dosso  degl'  attori,  che 
I'hanno  rappresentata  a  Venezia,  cosi  dovendosi  ora  rappresentare  in  questo  teatro 
da  personaggi  diversi,  6  stata  dall'  autore  medesimo  in  qualche  parte  v^nata  per  uni- 
formarsi  al  preciso  carattere  de'  nuovi  attori." 

The  additional  page  contains  the  substitute  aria  (I,  9),  "Fabrizio  amabile,  lo  parto, 
addio." 

First  performed  at  Venice,  Teatro  di  S.  Angelo,  May  14,  1749.  Schatz  3440 

—  L' Arcadia  in  Brenta.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  in  Monaco  di  Baviera.  I'anno  1759. 

[Monaco],  Gio.  Giac.  Votter,  n.  d.     51  p.     16^*^. 

Condensation  of  Goldoni's  libretto  to  two  acts.  Neither  he  nor  the  composer, 
Oaluppi,  is  mentioned.  Schatz  3518 

L' Arcadia  in  Brenta.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo  Pastor  Arcade.  Da  rappresentarsi  nel  Real  Teatro  di  Salva- 
terra  nel  carnovale  dell'  anno  1764. 

Lishona,  Stamperia  Ameniana,  n.  d.     4  V-  ^v  ^^  V-     16*^. 

Three  acts.  By  Goldoni,  who  is'  not  mentioned.  Cast,  scenario,  and  name  of 
"Giovanni  Cordeiro  "  (Joao  Cordeiro  da  Silva)  as  composer.  Schatz  9885 


OPERA   LIBRETTOS  135 

Archelao.     Dramma  per  musica  da  cantarsi  nella  Real   Villa  di 
(^ueluz  per  celebrare  il  felicissimo  giorno  natalizio  del  serenissimo 
Signore  Don  Giuseppe,  principe  del  Brasile  li  21  agosto  1785. 
[Lishoa]  Stamperia  Reale,  n.  d.     32  p.     16^^. 

One  act  and  licenza.  Argument,  cast,  and  names  of  Graetano  Martinelli  as  author, 
Joao  Cordeiro  da  Silva  as  composer.  Schatz  9887 

The  Archers,  or  Mountaineers  of  Switzerland;    an  opera,  in  three 
acts,  as  performed  by  the  Old  American  Company,  in  New  York;  to 
which  is  subjoined  a  brief  historical  account  of  Switzerland  .  .  . 
New  York,  T.  &  J.  Swords,  1796.     viii,  [9]-94  p.     22^'^. 

Prologue,  cast,  and  preface  by  the  author,  William  Dunlap,  dated  New  York, 
April  10,  1796,  which  reads,  in  part: 

"In  the  summer  of  the  year  1794,  a  dramatic  performance,  published  in  London, 
was  left  with  me,  called  Helvetic  Liberty.  I  was  requested  to  adapt  it  to  our  stage. 
After  several  attempts,  1  gave  it  up,  as  incorrigible,  hntr,  pleased  with  the  subject,  I 
recurred  to  the  historj'  of  Switzerland,  and  composed  the  piece  now  presented  to  the 
public  ..."  , 

The  composer,  Benjamin  Caxr,  is  not  mentioned. 

First  performed  at  New  York,  April  18,  1796.  ML  50.6.A72 

Second  copy.    PR  1241.D7    v.  14 

L'Archetiello,  commedia  per  musica  da  rappresentarsi  nel  camovale 
di  quest'  anno  1778  nel  Real  Conservatorio  della  Piet&,  de'  Turchini. 
Napoli,  Vincenzo  Mazzola-Vocola,  1778.     72  p.     15'^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Angelo  Tarchi  as  the  composer.  Schatz  10223 

Archidaxnia.     A.  T.  of  Basse's  La  Spartana  generosa. 

Archidamia.  Festa  teatrale  per  musica,  da  rappresentarsi  nel- 
r  Imperial  corte  festeggiandosi  il  glorioso  e  felicissimo  nome  deUa 
Sac.  Ces.  Catt.  e  Real  Maesta  di  Ehsabetta  Cristina  .  .  .  I'anno 
MDCCXXVII.  La  poesia  e  del  Sig.  abate  Giovan  Claudio  Pas- 
quini  ...     La  musica  h  del  Sig.  Giorgio  Renter  il  giovine. 

Vienna  d' Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.      Unpaged.     IS^*^. 

One  act.     Argument. 

First  performed,  as  indicated,  November  22,  1727.  Schatz  8695 

L'Arcifanfano.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  rua  Dos  Condes  .  .  . 
Lishona,  Pietro  Ferreira,  n.  d.     3  p.  I.,  106,  [1]  p.     l^Y'^. 

Three  acts.     By  Goldoni,  who  is  not  mentioned.    Dedication  to  David  Perez 
signed  by  the  composer,  Giuseppe  Scolari. 
"  First  performed  1768,  as  indicated.  Schatz  9801 

Arcifanfano,  re  de'  matti. 

[215]-260  p.  16^*^^.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  i,  Torino,  1757.) 

Three  acts.  ML  49.A2G6 

—  Arcifanfano  re  dei  matti.  Dranmia  di  tre  atti  per  musica. 
Rappresentato  per  la  prima  volta  in  Roma  I'anno  MDCXJLVIII.  [!] 

Carlo  Goldcmi,  Opere  teatrali,  Venezia,  Zatta  dbfigli,  1788-95,  t.  Jfi^ 
[171]-217  p.    18*^.  PQ 


136  LIBRARY  OF   CONGRESS 

Arcifanfano,  re  dei  matti.  Dramma  comico  per  musica  di  Polis- 
seno  Fegejo  Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  Giusti- 
niani  di  S.  Mois^  nell'  autunno  dell'  anno  1750. 

Venezia,  Modesto  Fenzo,  1750.     46  p.     l^Y"^- 

Three  acta.  By  Goldoni.  The  composer,  Baldassare  Galuppi,  is  not  mentioned. 
Scenario  and  cast. 

First  performed  at  Venice,  same  theatre,  carnival  1750.  Schatz  3442 

—  Arcifanfano,  re  dei  matti.  Dramma  giocoso  per  musica  di 
PoUsseno  Fegejo,  Pastor  Arcade  da  rappresentarsi  nel  Teatro  di  S.  A. 
serenissima  il  Signor  Principe  di  Carignano  nell'  autunno  dell'  anno 
MDCCLIX.  In  quest'  ultima  impressione  dall'  autore  ricorretta  e 
migliorata. 

Torino,  Giacomo  GiiLseppe  Avondo,  n.  d.     Jfi  p.     14"^. 

Three  acts.     Cast,  scenario,  and  remark: 

"La  musica  h  la  maggior  parte  del  celebre  maestro  Sign.  Baldassare  Galuppi  detto 
Buranello,  ed  altri  celebri  autori." 

The  text  of  this  version  is  conspicuously  different  from  that  of  Venice,  1750.  Not 
even  the  first  scene  of  the  first  act  has  been  left  untouched.  Venice  haa  "Con  im 
colpo  di  terza,  e  di  quarta,"  Torino  has  "Non  teme  la  spada";  Venice  has  "II  mio 
core  poverino,"  Torino  has  "Sordidon,  che  cosa  hai  fatto,     etc.  Sceatz  3497 

L'Ardelinda.  Drama  da  rappresentarsi  nel  Teatro  di  S.  Allele 
I'autimno  dell'  anno  1732.  Del  Signor  Bortolamio  [!]  Vitturi  citta- 
dino  Veneto. 

Venezia,  Stamparia  Nova  a  S.  Moise,  n.  d.     57,  [I]  p.     12°. 

Three  acts.  Argument,  notice  to  the  reader,  cast,  scenario,  and  name  of  Tom- 
maso  Albinoni  as  composer. 

The  supplementary  page  contains  the  aria  "Da  piu  affetti  combattuta "  as  sub- 
stitute for  "  V6  che  cada  trafitto"  on  p.  25.  Pages  3-4  lacking  in  our  copy.  Pages 
5-6  contain  several  substituted  arias.  Schatz  106 

Arethuse,  ballet  represents  par  I'Academie  roj^ale  de  musique  I'an 
1701.  Les  paroles  de  M.  Danchet  &  la  musique  de  M.  Campra. 
LII.  Opera. 

n.  i.,  n.  d.  front,  167-214  p-  14'^-  (Recueil  general  des  opera, 
Paris,  1703,  t.  mi.) 

Detached  copy.     Three  acts  with  prologue. 

First  performed,  as  indicated,  July  14,  1701.  Schatz  1544 

Second  copy.     ML  48. R4 

—  Arethuse,  ballet.  Represents  par  I'AcadSmie  royale  de  musique, 
le  14  juillet  1701. 

[8S]-124  p.     17^"^.     (Antoine  Danchet,  Theatre,  t.  ii,  Paris,  1761.) 

Prologue  and  three  acta.    The  composer,  Campra,  is  not  mentioned. 

PQ  1972.D2 

L'Aretusa.    Melo-drama   da'   recitarsi  nel  Teatro   di  S.   Fantino 

Tanno  1709  ..  . 

Venezia,  Gio.  Battista  Zuccato,  1709.    4^  p.     14h^- 

Three  acts.  By  Pietro  d'Averara,  who  is  not  mentioned.  Publisher's  dedication, 
argument,  scenario,  and  notice  to  the  reader  that  this  drama  had  been  performed 
on  the  famous  stages  of  Italy,  but  that 

"I'anguetie  del  teatro  non  permettono,  che  ti  venga  rappresentato  con  quel  gran- 
dioso  apparato,  con  cui,  &  altre  volte  egli  comparve." 

Clemen te  Monari,  the  composer,  is  not  mentioned. 

First  performed  at  Milan,  Regio  Ducal  Teatro,  1703.  Schatz  6549 


OPERA  LIBRETTOS  137 

Ai^ea.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  nazionale 
di  Torino  nel  carnovale  del  1799  anno  settimo  deUa  Repubblica 
francese,  primo  della  liberta  piemontese. 

Torino,  Onorato  Derossi,  n.  d.     6^  p.     15^'^. 

Three  acts.  Giandomenico  Boggio  is  mentioned  as  author,  Gaetano  Andreozzi 
as  composer.     Argument,  cast,  scenario. 

The  ballets  by  Gaetano  Gioja,  composer  of  music  not  mentioned,  were  entitled: 
"La  disfatta  di  Abdurahamel,  tiranno  di  Trabacca,  ballo  eroico  pantomimo,"  "Nina 
pazza  per  amore,"  and  "La  volubile."  The  detailed  description  of  the  first  ballet 
on  p.  65  et  seq.  missing  in  this  copy.  Schatz  215 

Mj'Argene.  Trattenimento  per  musica.  Da  rappresentarsi  nell' 
Academia  a  il  Saloni  1'  anno  1689.  delF  abbate  Paolo  Emilio  Badi  .  .  . 

Venetia,  Gio.  Maria  Rossi,  1689.     Jfi  p.     W"^. 

Three  acts.  Ailment,  scenario,  Badi's  dedication  and  prefatory  note,  in  which 
he  says: 

"Questa  non  h  opera,  non  h  drama,  non  h  di  quel  parti,  che  richiede  I'Alcmene  per 
madri,  6  che  s'impregnino  i  monti  per  concepirlo:  h  un  trattenimento  di  delitia,  un 
passatempo  disinteressato  di  gentilezza,  una  ricreatione  ideata,  per  assicurare  nell' 
tore  calde  le  matrone  dell'  Adria  da  gl'  insulti  di  quel  Sole,  che  sdegnoso  di  vedersi 
diviso  ne'  loro  volti,  imprime  in  quelle  faccie  serene,  ma  con  rossore,  i  segni  chiaris- 
simi  della  sua  fervida  gelosia  .  .  .  Bene  non  so,  per  che  in  tre  mamattine,  che  sono 
state  assegnate  a  questo  componimento,  non  puo  il  mio  debole  ingegno  ritrovar  di 
perfetto  altro,  che  il  numero  .  .  .  Tutto  I'affanno,  che  possano  ricevere  gli  occhi  nel 
feggere,  sar^  contrapesato  dall'  udito,  che  aecolter^  armoniose  le  meraviglie  nella 
musica  del  Sig.  Antonio  CaJdara  il  quale  dalle  viscere  piii  amoroee  delle  sua  viola 
loquace  ha  filate  le  dolcezze  per  allacciare  gli  applausi  ..."  Schatz  1492 

Ai^enide.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Angelo  nell'  autunno  dell'  anno  1738  .  .  . 
Venezia,  Marino  Rossetti,  1738.     60  p.     15"^. 

Three  acts.  By  Al\Tse  Giusti  (not  mentioned).  Ai^ument,  scenario,  and  cast. 
The  composer,  Pietro  Chiarini,  is  not  mentioned.  Schatz  1853 

Ai^enide.  Dranmia  per  musica  da  rappresentarsi  nel  Teatro  S. 
Angelo  nel  carnovale  dell'  anno  1733  .  .  . 

Venezia,  Marine  Rossetti,  1733.     60  p.     IJ^Y"^. 

Three  acts.  By  Alvise  Giusti,  who  is  not  mentioned.  Dedication,  argument 
(p.  6.  "S'aggiungono  gl'infrascritti  verissimili"),  caat,  scenario,  andnameof  Galuppi 
as  composer. 

First  performed,  as  indicated,  January  15,  1733  (Piovano).  Schatz  3481 

Argeno.     Dramma   per   musica  di  Domenico  Lalli  tra   gli  Arcadi 
Ortanio:    Da  rappresentarsi  nel  famosissimo  Teatro  Grimani  di  S. 
Gio.  Grisostomo  il  carnovale  delF  anno  1728  .  .  . 
Venezia,  Marino  Rossetti,  1728.     70  p.     151"^. 

Three  acts.  Lalli 's  dedication,  dated  Venice,  January  17, 1728,  argument,  scenario, 
cast,  and  name  of  Leonardo  Leo  as  composer.  Schatz  5552 

L'Ai^ia,  dramma  musicale,  rappresentato  Jl  Insprugg  alia  Maestk 
della  serenissima  Cristina,  regina  di  Suezia,  etc. 

Insprugg,  per  Hieronymo  Agricola,  anno  1655.     6  p.  I.,  94  p*     19^*^^. 

Three  acts,  with  prologue.  .  Ai^imient,  scenario,  and  list  of  machines,  but  neither 
the  composer,  presumably  Marc'  Antonio  Cesti,  is  mentioned,  nor  the  author  Apol- 
lonio  Apolloni.     (For  further  data  see  Wotquenne's  libretto  catalogue.) 

First  performed  at  Innsbruck,  at  the  Ducal  Palace,  November  4,  1655. 

Schatz  1777 


138  LIBRARY  OF   CONGRESS 

L'Argia — Continued. 

—  L'Argia.     Drama  per  musica  da  rappresentarsi  rel  Teatro  a  San 
Salvatore  Fanno  1669  .  .  . 

Venetia,  Francesco  Nicolini,  1669.    front.,  81  p.     14'^^. 

Three  acts,  without  prologue.  By  ApoUonio  ApoUoni,  with  considerable  altera- 
tions of  the  original  libretto,  as  acknowledged  in  the  notice  to  the  reader: 

"Quest'  opera  h^  fatto  stupire  di  se  stessa  le  scene  piii  famose,  &  hora,  si  conduce  a 
farsi  freggio  del  tuo  eroico  compiacimento.  Vi  dovrai  ammirare  la  virtu  di  due  penne 
famose;  una  nella  parte  poetica,  I'altra  nell'  armonica.  Basta  che  io  ti  dinoti  esser 
ella  figlia  di  quei  genitori  de'  guali  applaudesti  alia  Dori  [text  by  Aj)olloni,  music  by 
Cesti].  Vi  sentirai  alcune  anette  udite  in  altra  occasione:  m^  perche  sik  noto,  che 
furon  prese  da  guesto  drama  vi  si  hanno  lasciate  si  per  essere  di  pochissimo  numero, 
come  anco  di  smgolare  esquisitezza.  E  stato  ancora  abbreviato,  e  fattavi  qualche 
alteratione,  ^  solo  ogettod'accomodarsi  alia  brevity,  &allecongionturedelle  parti  ..." 

Accordingly,  for  instance,  the  aria,  "Vendetta,  vendetta"  (I,  15),  was  replaced  bv 
"Amori  fuggite"  (I,  16,  of  the  Venice  ed.),  the  aria,  "Ecco  Alceo  guerrier  novello 
(II,  5),  by  "Io  pensavo  innamorarmi"  (II,  5);  and  the  original  final  scene  (III,  18), 
the  quartet,  "Alle  gioie,  a  i  diletti,"  was  dropped.  On  the  whole,  the  alterations, 
were  numerous,  but  not  radical.  The  notice  to  the  reader  is  followed  by  the  argument 
and  the  scenario.  It  is  preceded  by  the  publisher's  dedication,  dated  Venice,  January 
13,  1669.  ScHATZ  1777a 

Ai^ope.     Favola  musicale  di  N.  e  di  Gio.  Battista  Fusconi.     Con- 
sacrata  al  chiaro  merito  della  Signora  Anna  Renzi. 

Venetia,  Gio.  Pietro  Pinelli,  1649.     96  p.     14'^. 

Three  acts  and  prologue.  G.  B.  Fusconi's  dedication  is  dated  Tenice,  December, 
1645  [!1.  Argument,  cast,  and  important  notice  to  the  reader  giving  the  odd  history 
of  the  libretto,  which  according  to  Schatz  was  written  by  Pietro  Michieli  and  Giov. 
Battista  Fusconi.    The  notice  reads: 

"L'orditura  di  questa  favola  venne  a  preghiere  d'amici  piu  tosto  precipitata,  che 
tessuta  in  quatordici  sere  dalla  penna  di  quel  famosissimo  Cigno  dell'  Adria,  che 
mantiene  al  nostro  secolo  in  vita  la  poesia  italiana:  poiche  essendo  egli  allhora  di 
partenza,  e  in  aspettatione  della  discretione  de'  venti,  che  gli  aprissero  la  strada  per 
un  lungo  viaggio  maritimo  non  pot6  applicarvisi,  che  a  momenti  rubati  al  sonno. 
Partitosi  adunque  nell  sconciatura  di  quest'  opera,  me  la  lasci6  con  amplissima 
licenza  .  .  .  Operai  per  tanto  quello  che  seppi,  e  che  potei  rimettendola  insieme 
nella  fretta,  che  mi  facevano  gl'Interessati,  che  volevano  recitarlo.  Ma  delusi  da 
vari  accidenti  di  fortuna  che  ne  imped!  la  recita  i  loro  desideri,  si  compiacque  I'in- 
ventore  dell'  opera  di  rivederla,  e  di  rimutarla;  perche  a  me  ancora  tocasse  questo 
secondo  fastidio,  e  mi  reusci  la  facenda  in  guisa,  che  non  vi  resto  quasi  piii  vestigio 
alcimo  dell'  effigie  datale  dal  primo  schizzo.  Con  qual  mio  rammarico  1  altri  I'ima- 
gini  mentre  mi  con  venne  ritoccar  con  rozzo  pennello  le  linee  eccellentissime  d'un 
Apelle  .  .  .  Spero  nondimeno  che  la  diversity  pur  troppo  apparente  dello  stile 
verr^  resa  uniforme  dalla  musica  impareggiabile  (ancorche  diversa)  delli  Signori  Gio. 
Rovetta,  &  Alessandro  Leardini,  prencipi  de  musici  modemi,  e  che  I'eccellenza 
delle  piu  famose  voci  del  secolo  coprir^  i  mancamenti  della  mia  penna  ..." 

Accordingly  this  is  merely  G.  B.  Fusconi's  advance  notice,  and  though  Schatz,  etc., 
actually  enter  "Argiope"  under  the  two  composers  mentioned,  the  libretto  itself 
would  seem  to  furnish  evidence  that  their  setting,  if  at  all  composed,  was  not  per- 
formed, and  that  an  explanation  of  the  remarkable  discrepancy  between  the  date  of 
performance  (1649)  on  the  title  page  and  the  date  of  the  dedication  (1645)  may  be 
found  in  this  notice,  which  follows  the  end  of  the  text  on  p.  96: 

".4  chi  haverb,  letlo.  Gli  errori,  che  avvengono  nella  stampa,  sono  figli  d'una 
madre,  che  pur  troppo  ne  s^  esser  feconda.  Perci5  nel  medesimo  tempo,  che  (juegli 
doveano  venire  da  te  emendati  saranno  stati  ancora  compatiti.  Gli  accidenti,  cne 
mutano  I'eesere  alle  cose  in  un  istante,  havendo  privato  della  seconda  gloria  il  nostro 
dramma,  la  quale  sarebbe  stata  la  musica  del  Sig.  Rovetta,  unita  a  guella  del  Sig. 
Leardini,  ti  lasceranno  godere  dell'  armonia  d'un  soloOrfeo,  mentre  lo  te  ne  havea 
apparecchiata  quella  di  due."  Schatz  9106 


OPERA   LIBRETTOS  139 

L'Argippo.  Drama  per  musica  da  rappresentarsi  nel  Re^io  ducal 
Teatro  di  Milano  in  occasione  di^^pelebrarsi  il  giorno  natahzio  della 
Cesarea  Cattolica  Maesta  di  Elisabetta  Cristina  imperatrice,  regina 
delle  Spagne  etc  etc. 

Milano,  Giuseppe  Richino  Malatesta,  1722.     6  p.  I.,  J,.Jf.  p.     IJf.'^. 

Three  acts.  Domenico  Lalli's  "II  Gran  Mogol,"  retouched  by  Claudio  Nicola 
Stampa,  who  signs  the  preface.  Impresario's  dedication,  dated  August  27,  1722, 
cast,  scenario,  and  name  of  the  composer,  Stefano  Andrea  Fiord.  Schatz  3191 

L'A^ippo.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  San 
Cassiano  I'autunna  dell'  anno  MDCCX  vril.     Di  Domenico  Lalli  .  .  . 

Venezia,  Marino  Rossetti,  1717.     60  p.     i^J"". 

Three  acts.  Dedication  by  Lalli,  a  later  title  of  whose  "II  Gran  Mogol "  this  ia, 
argument,  cast,  scenario,  and  name  of  Giovanni  Porta  as  the  composer.    Schatz  8388 

Gli  argonauti  in  Colco  o  sia  La  conquista  del  vello  d'oro.     Dramma 
per  musica  del  Signor  A.  S.  Sografi  da  rappresentarsi  nel  nobiUssimo 
Teatro  di  San  Samuele  il  carnovale  dell'  anno  1790. 
Venezia,  Modesto  Fenzo,  1789.     62  p.     22<''^. 

Three  acts.  Author's  dedication,  cast  and  name  of  the  composer,  Giuseppe 
Gazzaniga. 

First  performed  at  Venice,  December  26,  1789.  Schatz  3657 

Ariadne,     See  Reiser's  Die  betrogene  imd  nachmals  vergoetterte  .  .  . 

Ariadne  auf  Naxos.     Ein  duodrama  mit  musick. 

GotM,  n.  pull.,  1775.     4  p.  I.,  12  p.     ISY"^- 

One  act.  The  "Vorbericht"  by  the  author,  Joseph  Jacob  Christian  Brandes  (not 
mentioned)  of  date  Gotha,  January  3,  1775,  contains  the  argument  and  the  following 
remarks,  with  name  of  Geoi^  Benda  as  composer  in  a  foot-note: 

"Die  bekannte  cantate  des  herm  von  Gerstenberg,  Ariadne  auf  Naxos,  ist  zur 
grxmdlage  dieses  duodrama  genommen  und  Adeles  daraus  woertlich  beybehalten 
worden.  Der  ausdruck  so  mannigfaltiger  leidenschaften,  die  vortreflichen  gemaehlde 
dieses  dichters  sind  ursache,  daas  der  verfasser  es  gewagt  hat,  jene  so  wohl  klingende 
poesie  in  prosa  aufzuloesen,  sie  mittelst  einiger  veraenderungen  auch  fuer  die  buehne 
brauchbar  zu  machen  und  zugleich  durch  diesen  weg  einem  unsrer  besten  meister 
in  der  musik  gelegenheit  zu  geben,  an  einem  so  reichhaltigen  stoffe  sein  grosses  talent 
zu  zeigen.  Der  umstand,  dass  dies  duodrama  zur  musikbegleitung  geschrieben  ist, 
wird  dem  leser  leicht  die  ursache  der  oeftem  absaetze  im  text  erklaeren." 

First  performed  at  Gotha,  Schlosstheater,  January  27,  1775.  Schatz  768 

—  Ariadne  auf  Naxos.     Ein  duodrama  von  Joh.  Christian  Brandes. 
Leipzig,  Dykische  huchhandlung,  1790.     1  p.  I.,  21  p.     18^'^- 
One  act.     On  p.  [1]  the  note  "Verfertigt  in  jahr  1774."     The  Vorbericht  the  same 

as  in  the  1775  ed.  ML  50.2.A737 

Ariadne  et  Bachus.     See  Marais'  Ariane  et  Bachus. 

Ariadne  und  Theseus,  ballet.     See  Piccinni's  Cato  in  Utica. 

Ariane,  tragedie  representee  pour  la  premiere  fois  par  rAcad^mie 
royale  de  musique,  le  mardy  6.  avril  1717. 
Paris,  Pierre  Rihou,  1717.     xiv,  [50]  p.     25 ^'^. 

Last  2  p.  incorrectly  numbered  7  and  5. 

Prologue  and  five  acts.  Cast.  Neither  authors  nor  composer  mentioned.  (See 
next  entry.)  ML  50.2.A739M6 


140  LIBRARY   OF   CONGRESS 

Ariane — Continued . 

—  Ariane,  tragedie  representee  par  FAcademie  royale  de  musique, 
Tan  1717.  Paroles  de  Messieurs  ^Roy  &  de  Lagrange.  Musique  de 
M.  Mouret.     XCII.  o^era. 

n.  i.,  n.  d.  p.  132-186,  1  pi.  (Recueil  general  des  opera,  t.  xii, 
Paris,  1734.)     l^-^™. 

Detached  copy.     Five  acts  and  prologue.  Schatz  6694 

Second  copy.    ML  48. R4 

Ariane  dans  I'isle  de  Naxos,  drame  lyrique,  represente  pour  la  pre- 
mere  fois,  par  FAcademie  royale  de  musique,  le  mardi  24  septembre 
1782. 
Paris,  P.  de  Lormel,  1792.     12  p.     22'''^. 

One  act.  Argument,  cast,  and  names  of  [Pierre  Louis]  Moline  as  author,  of  [Johann 
Friedrich]  Edelmaxm  as  composer.  ML  50.2.A74E3 

Ariane  et  Bachus,  tragedie.  Representee  par  FAcademie  royale 
de  musique. 

Amsterdam,  les  heritiers  d'Antoine  Schelte,  1699.    front,  52  p.     14'^'^. 

Prologue  and  five  acts.  Neither  the  author,  Saint-Jean,  nor  the  composer,  Marin 
Maxais,  is  mentioned. 

First  performed,  as  indicated,  March  8,  1696.  ML  50.2.A742M2 

—  Ariadne  et  Bachus,  tragedie  representee  par  FAcademie  royale 
de  musique  Fan  1696.  Les  pdroles  sont  de  M.  S.  Jean.  &  La  musique 
de  M.  Marais.     XXXVIII.  opera. 

n.  i.,  n.  d.  front.,  p.  291-352  {Recueil  general  des  opera,  t.  v,  Paris, 
1703).    14'"^. 

Detached  copy.    Five  acta  and  prologue.  Schatz  5920 

Second  copy.    ML  48. R4 

Ariane  et  Bacchus.     See  Mouret's  Les  amours  des  dieux. 
Arianna,  ballet.     See  Colla's  Sicotencal. 

Arianna.  Drama  per  musica,  da  rappresentarsi  nel  Regio  Teatro 
di  Torino,  Fanno  1728.  alia  presenza  delle  Loro  Sacre  Reali  Maestk,  e 
delle  Loro  Altezze  Reali. 

Torino,  Gio.  Battista  Valetta,  n.  d.     50  p.     15^"^- 

Three  acts.  By  Pietro  Pariati,  who  is  not  mentioned.  Argument,  scenario,  cast, 
and  name  of  the  composer,  "Leonardo  Feo,  mastro  di  cappella  di  Napoli." 

Schatz  3061 

L' Arianna.  Tragedia  del  Sig.  Ottavio  Rinuccini,  gentilomo  della 
camera  del  Rd  Cristianissimo.  Rappresentata  in  musica  nelle  reali 
nozze  del  sereniss.  principe  di  Mantova,  e  della  serenissima  infanta 
di  Savoia. 

Mantova,  presso  gli  heredi  di  Francesco  Osanna,  1608.     2  p.  I.,  46  p. 

IQcm 

Monteverdi,  the  composer,  is  not  mentioned. 

Wotquenne  claims  that  the  original  edition  was  published  at  Florence  in  1606. 
This  is  evidently  a  misprint  for  1608,  when  Giunti,  of  Florence,  published  Rinuc- 
cini's  text.  The  Brussels  catalogue  lists  neither  this  edition  nor  ours,  but  one  pub- 
lished at  Venice  in  the  same  year.  Schatz  claims  our  edition  to  be  the  origmal. 
This  opera  (of  which  the  music  is  lost,  except  the  famous  Lamento)  was  first  performed, 
as  indicated,  on  May  28,  1608. 

Neither  this  edition  is  divided  into  acts,  nor  the  following.  Schatz  6595 


OPERA   LIBRETTOS  141 

L'Arianna — Continued. 

—  L'Arianna  del  Sig.  Ottavio  Rinuccini.  Posta  in  musica  dal  Sig. 
Claudio  Monteverdi.  [!]  Rappresentata  in  Venetia  Fanno  1640.  Al 
molto  illustre  Signore  il  Sig.  Bortolo  Stacio. 

Venetia,  Bariletti,  I64O.     64  p.     IS^*''^. 

This  is  apparently  the  text  as  used  in  the  winter  of  1639  at  Venice  for  the  opening 
of  the  Teatro  di  San  Moise.     On  p.  5  Antonio  Bariletti  says  in  his  dedication: 

"...  Hora  dunque  che  I'Arianna,  componimento,  che  fra'  Drammatici  ha  riportati 
i  primi  vanti  da'  theatri  italiani,  ritoma  a  veder  le  scene  in  Venetia,  per  opra  del 
Signor  Claudio  Monte  Verdi  [!]  celebratissimo  Apollo  del  secolo,  e  prima  intelligenza 
del  cielo  armonico,  prendo  occasione  di  non  tenerle  i  miei  piu  lungamente  celati ;  ma 
con  offerirla  al  nome  di  V.  S.  di  manifestargli  al  mondo  per  mezzo  della  sua  nuova 
ristampa  ..." 

This  dedication  is  followed,  on  p.  8-9,  by  the  "Sonetto  del  Signor  Benedetto  Ferrari 
dalla  Tiorba:  al  Sig.  Claudio  Monteverdi  oracolo  della  musica." 

Since  the  dedication  begins  on  p.  5,  since  the  verso  of  the  title-page  is  blank  and 
unnumbered,  and  since  the  signatures  A3-A6  are  in  twos,  it  is  clear  that  either  p.  3-4 
are  missing  or  that  the  title-page  was  intended  as  p.  3,  and  was  preceded,  perhaps, 
by  a  frontispiece. 

A  line-by-line  comparison  of  the  Venice  (1640)  and  the  Mantova  (1608)  edition 
reveals  exceedingly  few  differences.     The  verbal  differences  are  indeed  entirely  neg- 
ligible, except,  perhaps,  in  Apollo's  opening  address,  where,  in  the  third  stanza — 
Di  strali  armato,  e  non  di  face,  o  d'arco 
Gran  116,  c'hai  sovra  I'alpi  e  scettro,  e  regno  " 
has  become — 

"  Di  pace  armato,  e  non  di  strali,  o  d'arco 
A  te,  c'hai  sovra  I'acque  scettro,  e  regno." 
Also,  the  "Odi  Carlo  immortal "  has  now  become  "Odi  Duce  immortal."     It  is  further 
noticeable  that  in  the  1640  version  "Uno  del  C."  [oro]  was  often  employed  instead  of 
the  chorus,  so  that,  for  instance,  the  last  three  lines  of  the  chorus,  "Miseri  peregrin 
quietar  no  ponno,"  were  now  simg  only  by  "uno  del  c." 

The  Venetian  version,  finally,  is,  toward  the  end,  slightly  condensed,  as  on  p.  42 
the  chorus  lines,  "Bell'e  il  tacer,"  etc.  and  on  p.  62  (Amore)  the  lines  "Soave  e  dolce 
nume,"  etc.,  before  Arianna's  "Gioite  al  gioir  mio,"  and  her  lines,  "Felice  il  martir 
mio,"  before  the  chorus,  have  been  dropped.  The  repeated  spelling  of  the  name  as 
Monteverdr,  not  Monteverde,  is  interesting,  since  it  strengthens  Emil  Vogel's  conten- 
tion, based  on  the  composer's  manuscripts,  that  his  name  was  Monteverdi,  and  not 
Monteverde,  as  many  Italian  and  other  writers  still  insist  on  spelling  it. 

ScHATz  6592 

Arianna.  Aziorie  scenica  per  musica,  rappresentata  nella  Regia 
elettoral  villa  di  Sant'  Uberto  per  solennizzare  il  giorno  natalizio 
deUa  Maestk  di  Augusto  III  .  .  .  I'anno  MDCCXXXVI. 

Dresda,  la  vedova  Stossel,  n.  d.      Unpaged.     18^™. 

One  act.  Argument.  Neither  the  author,  Stefano  Benedetto  Pallavicini,  nor  the 
composer,  Giovanni  Alberto  Ristori,  is  mentioned. 

First  performed,  as  indicated,  October  7,  1736.  Schatz  8816 

Arianna  abbandonata.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  San  Mois6  I'autunno  dell'  anno  MDCCXIX. 

Venezia,  Marino  Rossetti,  1719.     4^  p.     14*^^- 

Three  acts.  Argument  and  scenario,  but  without  names  of  the  composer,  Giuseppe 
Boniventi,  and  the  librettist,  conte  Angelo  Schietti.  Schatz  1189 

Arianna  abbandonata  da  Teseo,  e  soccorsa  da  Bacco.     A.  T.  of 

the  ballet  II  trignto  d 'Arianna. 

Arianna  abbandonata  da  Teseo  e  soccorsa  da  Bacco,  ballet.  See 
Rust's  L'idolo  cinese. 


142  LIBRARY  OF   CONGRESS 

Arianna  e  Teseo.  Dramma  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  camovale  dell' 
anno  MDCCLI  [vignette] 

Venezia,  In  merceria  alV  insegna  delta  scienza,  n.  d.     52  p.     15^'^. 

Three  acts.  Cast,  scenario,  name  of  Girolamo  Ab(b)o8  as  composer.  Librettist 
imknown  to  Schatz. 

First  performed  at  Rome,  Teatro  delle  Dame,  December  26,  1748.  Sjdhatz  9 

Arianna  e  Teseo.     Dramma  per  musica  da  rappresentarsi  nel  nobi- 
lissimo  Teatro  di  S.  Benedetto  il  camovale  dell   anno  1769. 
Venezia,  Modesto  Fenzo,  1769.     54,  [7]  p.     17^"^. 

Three  acts.  By  Pietro  Pariati,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Baldassare  Galuppi  as  composer.  The  additional  seven  pages  contain 
a  "Descrizione  dei  balli." 

First  performed  at  Padua,  Teatro  Nuovo,  June  12,  1763.  Schatz  3441 

Arianna  e  Teseo.     Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1764  .  .  . 
Torino,  Gaspare  Bayno,  n.  d.     viii,  48  p.     lO*^. 

Three  acts.  By  Pietro  Pariati,  who  is  not  mentioned.  Argument,  cast,  and  name 
of  Giuseppe  Pasque  as  the  composer.  On  p.  45-48  description  of  Augusto  Hubs' 
ballets,  "II  giuoco  dell'  arco,"  "Le  fontane  incantate,"  and  "Le  donne  Ateniesi,  e  i 
loro  compagni,"  music  by  Giuseppe  Antonio  Le  Messier. 

First  performed,  as  indicated,  December  26,  1763.  Schatz  7781 

Arianna  e  Teseo.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  San  Gio.  Grisostomo  nelF  autunno  mDCCXXVII. 

Venezia,  Marino  Rossetti,  1727.     60  p.     W"^. 

Three  acts.  By  Pietro  Pariati,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Nicole  Antonio  Porpora  as  the  composer. 

First  performed  at  Vienna,  Hoftheater,  October  1,  1714.  Schatz  8369 

Arianna  e  Teseo.     A.  T.  of  P.  v.  Winter's  I  sacrifizi  di  Greta. 

Arianna  in  Naxo. 

[259'\-293  p.  17'^^.  (RoUi,  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  17 44-) 

Three  acts.     Argument.    The  composer,  Nicolo  Porpora,  is  not  mentioned. 
First  performed  at  London,  Lincoln's  Inn  Fields,  December  29,  1733. 

ML  49.A2R7 

Arianna  neli'  isola  di  Nasso,  ballet.     See  Naumann's  Armida. 

Ariarate.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1789  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  67  p.     16*^^. 

Three  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Argument,  scenario, 
cast,  and  name  of  Giuseppe  Giordani  as  the  composer.  On  p.  59-67  description  of 
Giuseppe  Banti's  ballets,  "II  riconoscimento  di  Teseo  ossia  Teseo  e  Medea  (4  acts) 
and  "II  disertore  francese,"  music  for  both  by  Vittorio  Amedeo  Canavasso. 

First  performed,  as  indicated,  December  26,  1788.  Schatz  3842 

Ariarate.     Dramma  per  musica  in  due  atti  da  rappresentarsi  nel  R. 
Teatro  di  S.  Cecilia  per  la  primavera  dell'  anno  1787  .  .  . 
Palermo,  Solli,  n.  d.     48  p.     15^"^. 

Three  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Dedication,  argu- 
ment, cast,  and  name  of  Angelo  Tarchi  as  the  composer. 

First  performed  at  Milan,  Teatro  alia  Scala,  January,  1786,  Schatz  10213 


OPERA    LIBRETTOS  '   143 

Ariberto  e  Flavio,  reg^i  de  Longobardi.     Drama  per  musica  da 

rappresentarsi  nel  ristaurato  famoso  Teatro  Vendrammo  di  San  Sal- 
vatore  I'anno  MDCLXXXV.     Di  D.  Rinaldo  Cialli  .  .  . 

Venetia,  Francesco  Nicolini,  I684  [/].     69  {incl.  front),  [1]  p.     7^<=™. 

Three  act§.  Cialli's  dedication,  dated  Venice,  December  9,  1685,  areument, 
scenario,  and  notice  to  the  reader,  with  name  of  Carlo  Ambrogio  Lonati  as  the  com- 
poser. ScHATz  5680 

Aricie,  ballet  represente  par  I'Academie  royale  de  musique  Fan  1697. 
Les  paroles  sont  de  M.  Pic  &  la  musique  de  M.  la  Coste.     XLII.  opera. 
n.  i.,  n.  d.     14''"*'     pi-,  63-120  p.     (Recueil  general  des  opera,  t.  vij 
Paris,  1703.) 

Detached  copy.     Five  entries  and  prologue. 

First  performed  at  Paris,  Acad^mie  royale  de  musique,  June  9,  1697. 

ScHATZ  5351 
Second  copy.     ML  48. R4 

Ariodante.  Drama  per  musica.  Del  dottore  Antonio  Salvi,  Fio- 
rentino,  da  rappresentarsi  nel  famosissimo  Teatro  Grimani  di  San 
Giovanni  Grisostomo  .  .  . 

Venezia,  Marino  Rossetli,  1716.     58  p.     l^Y"^. 

Three  acts.  Dedication  by  the  impresario,  argument,  cast,  scenario,  name  of  Carlo 
Francesco  Pollaaroli  as  the  composer,  and  this  notice  to  the  reader: 

"Nella  ristampa,  che  io  ho  dovuto  fare  di  questo  drama,  in  occasione  che  egli  si  dee 
rappresentare  in  questa  citta  di  Venezia,  mi  corre  I'obbligo  di  avvertirti,  che  in  esso 
tu  non  ricerchi  tutto  quell'  ordine,  e  tutti  que'  versi  con  cui  I'insigne  autore  I'ha 
composto  e  pubblicato.  Si  h  dovuto  troncarlo,  e  accrescerlo,  e  alterarlo  in  molte  parti. 
Diverso  ^'1  numero  degli  attori,  delle  scene,  delle  mutazioni,  e  cosi  dell'  altre  parti 
coetitutive  del  drama.  Ci5  tuttavolta  non  e  stato  fatto  con  animo  di  migliorarlo,  ma 
solo  ad  oggetto  di  adattarlo  al  bisogno.  L'autore  e  pregato*  a  prendere  questo  cangia- 
mento  in  buona  parte,  e  ci6  con  I'esempio,  o  sia  piu  tosto  con  I'abuso,  che  in  oggi  corre 
per  tutti  i  teatri  d'ltalia  in  simili  componimenti,  dove  ognuno  ha  I'autorita  e'l  privi- 
fegio  di  porci  mano,  e  di  cangiame  infino  i  titoli,  come  pure  in  questo  si  h  fatto." 

First  performed  fall  of  1716,  as  indicated.  Schatz  8272 

Ariodante.     Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  a  S.  Gio.  Grisostomo  I'autunno  1745  .  .  . 
{Venezia},  n.  i.,  n.  d.     1  p.l.,  4.8  p.     IS*^^. 

Three  acts.  Dedication,  scenario,  cast,  name  of  Georg  Christoph  Wagenseil  as  the 
composer,  and  notice  to  the  reader,  who  is  informed  that  in  this  version  of  Antonio 
Salvi's  text  (who  is  not  mentioned): 

"Si  6  dovuto  troncarlo,  accrescerlo,  e  alterarlo  in  molte  parte,  e  particolarmente  in 
buona  parte  dell'  arie  introdote\a  a  maggior  comodo  della  nuova  musica.  Diverso  h 
11  numero  delle  scene,  delle  mutazioni,  e  cosi  dell'  altre  parti  costitutive  del  drama. 
Ci6  tutta  volta  non  h  stato  fatto  con  animo  di  migliorarlo,  ma  solo  ad'  oggetto  di  adat- 
tarlo al  bisogno,  e  cio  con  I'esempio,  o  sia  piu  tosto  con  I'abuso,  che  in  oggi  corre  per 
tutti  teatri  d'ltalia  in  simili  componimenti,  dove  ogn'  imo  a  I'autorita  e'l  privileggio 
di  porci  mano  e  di  cangiame  infino  i  titoli."     {Camp.  p:-eceding  entry.) 

Schatz  10816 

Arion.  Tragedie  representee  pour  la  premiere  fois  par  I'Academie 
royale  de  musique,  le  mardy  10.  avril  1714.  Les  paroles  de  M. 
Fuzelier  &  la  musique  de  M.  Mattau.     LXXXIII.  opera. 

n.  i.,  n.  d.  pi.,  p.  [60]-109.  (Recueil  general  des  opera,  t.  xl,  Paris, 
1720.)     14<^'^. 

Detached  copy.    Five  acts  and  prologue.    Composed  by  Jean  Baptiste  Matho. 

Schatz  6097 
Second  copy.    ML  48. R4 

Aristeo.     Second  act  of  Gluck's  Le  feste  d' Apollo. 


144  ■  LIBRARY   OF   CONGRESS 

L'Aristeo.  Drama  per  musica.  Da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassiano  I'anno  1700  .  .  . 

Venezia,  Nicolini,  1700.     69  p.     14'"^. 

Three  acts.  By  Giulio  Ceeare  Corradi,  who  is  not  mentioned.  Impresario's  dedi- 
cation, argument,  ca.st,  scenario,  and  notice  to  the  reader,  with  the  name  of  Antonio 
Polaroli  (PoUajoli)  as  the  composer.  Schatz  8260 

Aristide. 

[285]-300  p.  16^*^.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  Hi,  Torino,  1757.) 

T^o  parts.    {See  below.)  ML  49.A2G6 

—  Aristide.     Intermezzo  di  due  parti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  35, 
[271]-287  p.     18^"^. 

PQ 

Aristide.  Drama  eroi-comico  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  S.  Samuel  daUa  Compagnia  de  Comici  Tautunno 
deir  anno  1735.     Di  Calindo  Grolo  .  .  . 

Venezia,  Alvise  Valvasense,  1735.     30  p.     14\*^- 

One  act.  By  Carlo  Goldoni.  Dedicatory  sonnet,  argument,  cast,  scenario,  and 
name  of  Lotavio  Vandini  as  composer.  The  latter  would  seem  to  be  a  fictitious  name 
for  Giacomo  Macajri,  since  Schatz  claims  that  all  the  names  in  the  libretto  are  fictitious. 
Wiel  does  not  mention  the  of)era  at  all.  Schatz  5808 

Aristo,  e  Temira  e  Orfeo,  ed  Euridice.  Drammi  per  musica  da 
rappresentarsi  nel  nobilissimo  Teatro  di  S.  Benedetto  il  camovale 
deir  anno  MDCCLX^VI  .  .  . 

Venezia,  Modesto  Fenzo,  1776.     48  p.     17 Y"^. 

Both  in  one  act,  with  argument,  cast,  and  name  of  Ferdinando  Giuseppe  Bertoni 
as  composer,  but  not  of  the  librettists.  "Aristo  e  Temira"  was  by  conte  de  Salvioli, 
"Orfeo  ed  Euridice"  (p.  23-48)  by  Ranieri  de'  Calsabigi.  Bertoni's  "Orfeo  ed 
Euridice"  was  revived  at  the  same  theatre.  {See  libretto.)  The  impresario  says  in 
his  dedication  that  "Orfeo  "  had  been  first  performed  at  Vienna,  but  this  remark  refers 
to  Calsabigi's  text,  as  composed  by  Gluck,  Vienna,  1762.  Schatz  934-935 

Aristo  e  Temira,  text  by 'conte  De  Salvioli,  music  by  Carlo  Monza. 
See  Gluck's  Orfeo  ed  Euridice  (Schatz  3934). 

Aristomene  Messenio.     Drama  per  musica  nel  giorno  natalitio 

della  Sac.  R.  M.'*  Mariana  d'Austria  .  .  .  Fanno  MDCLXX.     Posto 

in  musica  dal  Sr  Felice  Sances  .  .  . 

Vienna  d'Avstria,  Matteo  Cosmerovio,  n.  d.     78  p.     15Y^- 

Three  acts  and  licenza.     Dedication  by  the  author,  conte  Nicol6  Minato,  dated 

Vienna,  December  20,  1670,  notice  to  the  reader,  argument,  and  scenario. 

First  performed,  not  as  indicated  in  the  dedication,  but   December  22,  1670 

(Schatz).  Schatz  9367 

Aristote  amoureux;  ou  Le  philosophe  brid6,  op6ra-comique,  en 
un  acte  &  en  vaudevilles:  Repr6sent6  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi,  le  vendredi  11  aotit  1780. 

Paris,  Vente,  1780.     33,  [1]  p.     20'=^. 

Cast.  The  authors,  de  Piis  and  BarriS,  are  not  mentioned.  Arranger  of  the  music 
unknown  to  Schatz.  ML  50.2.A746 

Arkadien.     L.  T.  of  Schmittbauer's  Lindor  und  Ismene. 


OPERA  LIBRETTOS  145 

Arlequin  Atys,  parody.     See  Lully's  Atys. 

Arlequin  Bellerophon,  parody.     See  Lully's  Bellerophon. 

Arlequin  Colombine.     A.  T.  of  Colombine  Arlequin. 

Arlequin  defenseur  d'Homere.     Pi^ce  d'un  acte.     Par  Monsieur 
F***.     Representee  a  la  Foire  de  ^  Laurent  1715  .  .  . 
Le  TUdtre  de  la  foire,  Paris,  1737,  t  ii,  pi,  43  p.     17 '^. 

By  Fuzelier.  En  vaudevilles,  selected  or  composed  by  Jean  Claude  Gillier,  the 
"compositeur"  of  the  theatre  and  printed  in  the  "Table  des  airs"  at  the  end  of  the 
volume.    A  note  on  the  title  page  reads: 

"Cette  piece  a  et6  comjxeee  k  I'occasion  de  la  fameuse  querelle  qu'il  y  avoit  dana 
ce  tems  la  entre  les  auteurs  au  sujet  d'Homere." 

First  performed,  as  indicated,  July  25,  1715.  ML  48. L2  I 

Arlequin-Deucalion,  monologue  en  trois  actej.  Domi4  k  I'Op^ra- 
comique  en  1722. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  3,  ^5  p.     17 Y^- 

Composer  not  recorded  by  Parfaict,  etc. 

First  performed,  as  indicated,  February  25,  1723.  PQ  2019.P6 

Arlequin  Endymion.     See  Prologue  des  deux  pieces  .  .  . 

Arlequin  Hulla,  ou  La  femme  repudiee.  Piece  d'un  acte.  Par 
Messieurs  le  S***.  &  D'Or**.  Representee  a  la  Foire  de  S.  Laurent 
1716. 

Le  TUdtre  de  la  foire,  Paris,  1737,  t  ii,  pi,  [353]-397  p.     17 '''^. 

By  Le  Sage  &  d'Omeval.     Music  comixMed  b-"  Aubert.  according  to  Parfaict. 

ML  48.L2  II 

Arlequin   invisible.     Pi^ce   en   un   acte.    Par   Monsieur   le   S**. 
Representee  h,  la  Foire  de  S.  Laurent  1713. 
Le  TUdtre  de  la  foire,  Paris,  1737,  t.  i,  pi,  [85]-104  p.     17'^'^. 

By  Alain  Ren6  Le  Sage.  A  vikce  par  ecriteaux,  en  vaudevilles.  The  melodies  are 
printed  in  the  "Table  des  airs  at  tne  end  of  the  volume.  They  were  selected  or 
composed  and  arranged  by  the  "compositeur"  of  the  theatre,  Jean  Claude  Gillier. 

Parfaict  gives  as  title  "Arlequin  invisible  chez  le  roi  de  la  Chine."     ML  48, L2  I 

Arlequin   Mahomet,    et   Le   tombeau   de   Nostradamus.    Pi^es 
chantees  par  les  acteurs,  d'une  acte  chacune,  liees  par  un  prologue 
intitule :    La  foire  de  Guibray.     Par  M.  le  S**.     Representees  k  la 
Foire  de  S.  Laurent  1714. 
Le  TUdtre  de  la  foire,  Paris,  1737,  t.  i,  3  pi,  [105]-199  p.     17 '^. 

By  Alain  Ren<^  Le  Sage.  En  vaudevilles.  The  melodies  are  printed  in  the  "Table 
des  airs  "  at  the  end  of  the  volume.  They  were  selected  or  composed  and  arranged 
by  the  "compositeur"  of  the  theatre,  Jean  Claude  Gillier. 

First  performed,  as  indicated,  July  25,  1714.  ML  48.L2  I 

Arlequin  Persee.     Parody  of  Lully's  Pers6e. 
Arlequin  Phaeton,  parody.     See  Lully's  Phaeton. 

Arlequin,  roi  des  Ogres,  ou  Les  bottes  de  sept  Ueues.  See  Le 
diable  d'argent. 

Arlequin  Roland.     Parody  of  Lully's  Roland. 
72251°— VOL  1—14 10 


146  LIBRARY   OF   CONGRESS 

Arlequin,  roy  de  Serendib.  Pi^ce  en  trois  actes.  Par  M.  le  S*** 
representee  a  la  Foire  cle  Saint  Germain  1713. 

Le  Thedtre  de  h  foire,  Paris,  1737,  t.  i,  pi,  p.  17-63.     17"». 

By  Alain  Ren^  Le  Sage.    A  pikce  par  Scrkeatix,  en  vaudevilles.     The  melodies  are 
printed  in  the  "Table  des  aire"  at  the  end  of  the  volume.     They  were  selected  or 
composed  and  arranged  by  the  "compositeur"  of  the  theatre,  Jean  Claude  Gillier. 
*^  ML48.L2I 

Arlequin,  sultane  favorite.  Pi^e  en  trois  actes.  Par  Monsieur 
le  T**.     Representee  h  la  Foire  de  S.  Germain  1715. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  i,  pi.,  [202]-285  p.     17 '''^. 

By  Le  Tellier.  En  vaudevilles.  The  melodies  are  printed  in  the  "Table  des  aire" 
at  the  end  of  the  volume.  They  were  selected  or  composed  and  arranged  by  the 
"compositeur"  of  the  theatre,  Jean  Claude  Gillier. 

Firet  performed,  as  indicated,  February  3,  1719  (Parfaict).  ML  48. L2  I 

Arlequin  Thetis.     Pi^e  en  im  acte.     Par  Monsieur  le  S**.     Repre- 
sentee a  la  Foire  de  S.  Laurent  1713. 
Le  Theatre  de  U  foire,  Paris,  1737,  t  i,  pi,  [65]-83  p.     17^"^. 

By  Alain  Ren^  Le  Sage.  A  -pii:ce  par  ecriteaux,  en  vaudevilles.  The  melodies  are 
printed  in  the  "Table  des  aire  at  the  end  of  the  volume.  They  were  selected  or 
composed  and  arranged  by  the  "comiwsiteur"  of  the  theatre,  Jean  Claude  Gillier. 

ML  48.L2  I 

Arlequin  traitant.  Pik;e  en  trois  actes.  Par  M.  D'or  **.  Rep- 
resentee k  la  Foire  de  Saint  Germain  1716  .  .  . 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ii,  pi,  [133]-225  p.     17^"^. 

By  d'Omeval.  The  aire,  selected  or  composed  and  arranged  by  Jean  Claude 
Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs."  A  note  on  the 
t.-p.  reads: 

"Cette  pitee  fut  faite  ^  I'occasion  de  la  deroute  des  Traitans,  caus^  par  la  Chambre 
de  justice  qui  fut  ^tablie  dans  ce  tems-li." 

Firet  performed,  as  indicated,  March,  1716.  ML  48. L2  II 

L'Armida.  Dram  ma  per  musica  del  tenente  de  Gamerra  .  .  . 
Aprile  N.  4.  1771. 

Milano,  Giuseppe  Galeazzi,  n.  d.     4^  p.     15^^. 

Three  acts.  Author's  dedication,  prefatory  poem,  argument.  Composer  not  men- 
tioned and  imknown  to  Schatz.  On  p.  44-48,  " Osservazioni  sull'  opera  in  musica," 
which  are  noteworthy,  and  which  culminate  in  Gamerra's  contention  that,  contrary 
to  current  notions,  "dovrebbe  essere  al  poeta  di  precisa  necessity  la  total  nozion  della 
musica  ..."  Schatz  11309 

Armida.  Cantata  a  guattro  voci  per  il  benefizio  di  Gaetano  Neri, 
da  rappresentarsi  nel  Kegio  Teatro  di  S.  Carlo  della  Principessa,  la 
sera  aei  16  novembre  1798. 

Lishoa,  Simone  Taddeo  Ferreira,  1798.     35  p.     14'''^. 

One  act.  Portuguese  text  faces  Italian.  Cast  and  name  of  Angelo  Talassi  as 
author.  The  composer  is  not  mentioned.  Under  date  of  November  16,  1798,  Schatz 
records  a  performance  of  Talassi's  text  at  Lissabon,  with  music  by  Sacchini,  but 
Sacchini's  "Armida"  (1772)  had  three  acts.  The  text  waa  by  Giovanni  de  Gamerra, 
and  Sacchini  died  1786.  ML  50.2.A75 

Second  copy.  Schatz  9247 

Armida.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1770  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  72  p.     16^*^^. 

Three  acts.  By  Jacopo  Durandi.  Argument,  cast,  scenario,  and  name  of  Pasquale 
Anfossi  as  composer,  but  not  of  librettist. 

The  ballets,  invented  by  Augusto  Huss,  the  music  by  Giuseppe  Antonio  Le  Messier, 
were  entitled,  "Amore  custode  del-Giardino  di  Armida,"  "Accampamento,  o  sia  la 
Lotteria  militare,"  and  "Di  Furie."  Schatz  226 


OPEKA    LIBRETTOS  147 

Armida.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniani  di  San  Moise  nella  fiera  dell'  Ascensione  dell'  anno  1777. 
[Venezia],  n.  puU.,  n.  d.     39  p.     W"^. 

Two  acts.  By  Giannambrogio  Migliavacca.  Impresario's  dedication,  with  name 
of  author,  argument,  scenario,  cast,  and  name  of  Gennaro  Astaxitta  as  composer, 

SCHATZ  3G7 

Armida.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  il  carnovale  delF  anno  1747. 

Venezia,  Modesto  Fenzo,  17^7.     48  p.     16'"". 

Three  acts.  Scenario,  cast,  and  name  of  Ferdinando  Giuseppe  Bertoni  as  com- 
poser, but  not  of  librettist,  Bartolomeo  Vitturi.  Schatz  925 

Armida,  ballet.     See  Casali's  Antigona.* 

L'Armida  del  Ferrari. 

n.  i.,  n.  d.     75  p.     15^"^. 

According  to  Schatz,  lacks  a  front.  Dedication  signed  by  the  author-composer, 
Benedetto  Ferrari,  argument,  "Prologo.  La  fortuna.  Poesia  d'Incerto.,"  charac- 
ters, and  three  sonnets  addressed  to  the  author. 

First  performed  at  Venice,  Teatro  de'  S.  S.  Gio.  e  Paolo,  carnival,  1639. 

Schatz  3065 

—  Ij'Armida  di  Benedetto  Ferrari  dalla  tiorba.  Rappresentata  in 
musica  in  Venetia.     Posta  in  musica  dall'  istesso  autore. 

n.  i.,  n.  d.     13'^'^.     [109]-163  p.     (B.  Ferrari,  Poesie  drammatiche, 

Milano,  1644-) 

Detached  copy.  Three  acts  and  prologue.  Three  sonnets  by  conte  Giuseppe 
Theodoli,  Michel  Angelo  Botti,  Giuliano  Bezzi  to  the  author,  argument. 

Schatz  11699 

Armida.  Dramma  per  musica  da  rappresentarsi  nel  nobil  Teatro 
a  Torre  Argentina  nel  carnevale  dell'  anno  1773  ... 

Roma,  Lorenzo  Capponi  e  Gio.  Bartolomicchi,  n.  d.     61,  [1]  p.     16*^^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of 
Giuseppe  Gazzaniga  as  composer.     The  author  (unknown  to  Schatz)  is  not  mentioned. 

ML  50.2.A75G2 

Armida.  Dranmia  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Berlino  per  il  felicissimo  giorno  natalizio  della  Sacra  Real  Maestk 
di  Sofia  Dorotea  Regina  madre  .  .  . 

Berlino,  Haude  e  Spener,  1751.     89,  [5]  p.     16'^'^. 

Three  acts.     Leopoldo  de  Villati  is  mentioned  as  author,  Carl  Heinrich  Graim  as 
the  composer.     Argument  and  scenario.     German  title  page  and  text  face  Italian. 
First  performed,  as  indicated,  March  27,  1751.  Schatz  4089 

Armida.  Dramma  per  musica  del  Signor  awocato  Giacomo  Duranti 
Torinese  da  rappresentarsi  in  Verona  nel  Teatro  dell'  illustrissima 
Accademia  Filarmonica  nel  carnovale  1771. 

Veronu,  Dionisio  Ramanzini,  n.  d.     52,  [5]  p.     17^''^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  name  of  Vincenzo  Man- 
fredini  as  composer.  With  the  opera  was  performed,  composer  of  the  music  not 
mentioned,  Jean  Favier's  ballet  "Zefiro  e  Flora." 

First  performed  at  Bologna,  Teatro  Comunale,  May  1770.  Schatz  5893 


148  LIBRARY   OF   CONGRESS 

Armida.  Dramma  por  inusica  da  rappresentarsi  nel  Teatro  grande 
alia  Scala  il  camovale  dell'  anno  1780  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     61  p.     lO*^^. 

Three  acts.  Dedication,  cast,  scenario,  and  name  of  Giuseppe  Misliweczek  as 
composer  ("La  musica  nuova").  A  note  on  p.  [11]  says  of  the  text  by  Giannambrogio 
Migliavacca,  who  is  not  mentioned: 

"I.a  poesia  6  una  vereione  dell'  Armida  di  Quinault,  di  cui  si  sono  esattamente 
seguite  le  tracce  a  differenza  della  semplice  libera  imitazione,  che,  per  I'angustia  del 
tempo,  in  Vienna,  anni  sono,  ne  fu  gi^  prodotta  dal  traduttore.  Per  maggior  brevity 
per6  sono  stati  ommessi  alcuni  versi  del  dramma  francese,  e  sostituiti  o  aggiunti  altri 
coUa  scena,  prima  e  terza  dell'  atto  secondo,  nell'  italiano,  per  accomodarsi  all'  uso 
nostro." 

The  ballet  music  was  composed  by  Gaspero  Angiolini. 

First  performed,  as  indicated,  December  26,  1779.  ML  48.A5    v.  9 

Armida.  Dramma  per  mftsica  da  rappresentarsi  nel  nobilissimo 
Nuovo  Teatro  di  Padova  nella  fiera  delr  anno  MDCCLXXIII. 

Venezia,  Modesto  Fenzo,  1773.     48  p.     17'"^. 

Three  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  note:  "  La  musica  tutta  nuova  del  .  .  .  Giovanni 
Amadeo  Neumann  Sassone"  (Johann  Gottlieb  Naumajin). 

With  the  opera  was  performed  Gaspero  Angiolini's  ballet  "Arianna  nell'  isola  di 
Nasso,"  the  composer  of  the  music  not  being  mentioned. 

First  performed  in  June,  1773,  as  indicated.  Schatz  7039 

—  Armide.  Ein  singspiel  in  drey  aufzuegen.  Nach  einem  italie- 
nischen  Texte,  aus  Tasso's  Goffredo  entlehnt,  von  Bock.  Die  kom- 
position  ist  von  herm  kapellmeister  Naumann. 

n.  i.,  n.  d.  p.  [79]-146  (Komische  opem  der  Italiener,  ih.  ii,  no.  2, 
Leipzig^  1782).     16^"^. 

Detached  copy.  First  performed  at  Leipzig,  Theater  b.  Rannstadter  Thore,  July 
6,  1780.  ScHATZ  7040 

Armida.     Dramma  del  Signer  Coltellini  da  rappresentarsi  nel  Gran 
Teatro  Reale  di  Berlino  nel  febbraio  1797.     (Jon  musica  del  Signor 
Vicenzo  Righini  .  .  . 
Berlino,  Haude  e  Spener,  n.  d.     71,  [1]  p.     16 Y^. 

Two  acts.  Argument  and  cast.  German  title  "Armide"  and  text  face  Italian. 
On  last  imnumb.  p.  title  of  "La  figlia  dell'  aria  o  sia  L'innalzamento  di  Semiramide, 
ballo  tragico-pantomimo  in  cinque  atti  composto  dal  Sim.  Onorato  Viean6  e  rimesso 
Bulle  scene  dal  Sign.  Salvatore  V igan6.  La  musica  h  delli  Sign.  Giulio  e  Salvatore 
Vi^n6." 

First  performed  at  Berlin,  Kgl.  Opem-Theater,  February  21,  1797;  at  Vienna, 
private  tneatre  of  prince  A.  Auersperg,  July  23,  1782,  and  at  Aschaffenburg,  Sep- 
tember 1788.  ScHATZ  8778 

Armida.     Dramma  per  musica  da  rappresentarsi  nel   Regio-ducal 
Teatro  di  Milano  nel  carnovale  dell'  anno  1772  .  .  . 
Milano,  Gio.  Battista  Bianchi,  n.  d.     70  p.     15*^^. 

Three  acts.  Dedication,  argument,  cast,  name  of  Antonio  Sacchlni  as  the  com- 
poser, and  this  "Protesta": 

"Neir  atto  I.  alia  scena  3.  I'aria  Rinaldo  col  recitativo,  che  la  precede,  e  tutta  la 
scena  12.  col  duetto,  non  meno  che  nell'  atto  II.  alia  scena  4.  if  recitativo  avanti 
I'aria  cantabile,  e  I'ultimo  recitativo  della  scena  9.  quando  Armida  h  svenuta  con 
tutta  la  scena  10.  che  segue  col  rondeau,  come  pure  nell'  atto  III.  alia  scena  9.  il 
minuetto  col  suo  recitativo  sono  que'  pochi,  e  soli  cambiamenti,  che  in  tutta  I'opera 
il  rispettoeo  poeta  ha  fatti,  cosi  richiedendo  le  convenienze  degli  attori,  e  le  circostanze 
della  scena,  dichiarandoei  per6  di  professare  la  piii  perfetta  stima  in  riguardo  al  valente 
autore  di  questo  drammo. 

The  autnor  was  Giovanni  de  Gamerra,  who  is  not  mentioned.  Schatz  9205 


OPEBA   LIBRETTOS  149 

Armida — Continued. 

—  Armida.  Dramma  per  musica  da  rappresentarsi  nel  R.  Due. 
Teatro  nella  citta  della  Piacenza  nella  primavera  dell'  anno 
MDCCLXXXVI. 

Piacenza,  Salvoni,  n.  d.     1^7  y.     17'^'^. 

Three  acts.  Argument,  cast,  and  name  of  Antonio  Sacchini  as  composer.  The 
author,  Giovanni  de  Gamerra,  is  not  mentioned.  With  the  opera  were  performed, 
composers  of  the  music  not  mentioned,  Domenico  Rossi's  ballets  "La  vittoria  di 
Tamerlano  contro  Bajazette  ossia  La  Rossana"  and  "La  contadina  in  corte." 

First  performed  May  27,  1786,  as  indicated.  Schatz  11745 

—  Renaud  .  .  Tra^edie-lyrique  en  trois  actes,  repr^ent^e,  pour  la 
premiere  fois,  par  rAcademie-royale  de  musique,  le  mardi  25  f^vrier 
1783. 

Paris,  P.  de  Lormel,  1783.     55  p.     22^'"'. 

Three  acta.  Cast,  names  of  Jean  Joseph  Leboeuf  as  author  and  of  Sacchini  as  the 
composer  and  "avertissement,"  in  which  the  author  says  that  he  baaed  the  text  on 
Pellegrin,  but 

"je  n'ai  ni  pu,  ni  dii  suiA^e  le  plan  trac6  par  Pellegrin;  mais  j'avoue  que  je  m'en 
suis  rapproche  avec  plaisir,  autant  qu'il  m  a  ete  possible.  Je  ne  dissimulerai  pas 
mdme,  que  trouvant  qu'il  avoit  heureusement  traduit  plusieurs  morceaux  du  Taase, 
&  d^sesperant  de  les  traduire  mieux,  je  ne  me  suis  point  fait  scrupule  de  me  les  appro- 
prier,  &  de  me  servir  quelquefois  des  vers  de  I'auteur  fran(;-ais." 

The  published  score  has  the  same  date  as  this  libretto,  but  according  to  CI.  &  L. 
and  Schatz  the  first  performance  was  on  February  28.  As  the  L.  of  C.  does  not  possess 
the  score  of  Sacchini's  "Armida,"  I  do  not  know  to  what  extent  the  score  of 
"  Renaud  "  is  based  on  that  of  "Armida."  Leboeuf  is  said  by  Lajarte  to  have  had 
Framery's  assistance  in  adapting  the  French  version  to  the  Italian  score. 

Schatz  9206 

—  Renaud.  Tragedie-lyrique,  en  trois  actes:  representee  pour  la 
premiere  fois  sur  le  Theatre  de  TOp^ra,  le  25  i6vrier  1783.  Le 
poeme  est  de  M.  Le  Boeuf.     La  musique  est  de  M.  Sacchini. 

BnixeUes,  n.  publ,  1783.     21  p.     21^"^. 

ML  50.2.R38  S2 

—  Renaud,  tragMie  Ijrrique  en  trois  actes,  representee,  pour  la 
premiere  fois,  par  I'Academie  royale  de  musique,  le  vendredi  28 
revrier  1783.  Le  poeme  est  de  M.  Le  Boeuf.  La  musique  est  de 
M.  Sacchini. 

Paris,  P.  de  Lormel,  1786.     34  p.     21''"'. 

Text  is  the  same  as  in  the  1783  ed.  ML  50.2.R38  S3 

Armida.     Eine  oper,  von  vSalieri. 
n.  i.,  n.  d.     [l]-40  p.     15^"^- 

Three  acts.  By  Marco  Coltellini,  who  is  not  mentioned.  In  this  libretto  the 
German  translation  does  not  face  the  Italian,  but  follows  it  in  segments,  which  must 
have  been  very  confusing  for  the  reader.  Comp.  Cramer's  Tr.  in  his  "Magazin  der 
Musik,"1783.     (ML4.M2) 

First  performed  at  Vienna,  Burgtheater,  June  2,  1771.  Schatz  9274 

—  Armida.  Eine  tragische  oper  von  Carlo  [ !]  Cotellini  [ !]  und 
Antonio  Salieri.     Herausgegeben  von  C.  S.  Cramer. 

Lueneburg,  J  oh.  Fried.  WiTh.  Lewke,  1786.     62  p.     15^"^. 

Three  acts.     "  Vorrede  "  with  the  argument.  Schatz  9275 


150  LIBRARY   OF   CONGRESS 

Armida.     Azione  teatrale  per  miisica.     [vignette.] 

Vienna,  Ghelen,  1760.     Unpaged.     Vignettes.     22\*^. 

One  act.  Awertimento  that  this  is  a  modified  Italian  version  of  Quinault'e 
"Annide,"  and  the  author  reap,  translator's  Giannambrogio  Migliavaeca's  dedication 
to  conte  Giacomo  Durazzo,  "supremo  direttore  della  musica  delle  Maesti  Loro  I.  I. 
R.  R.,"  in  which  he  sap: 

"A  Pariei  vi  nacque  la  vc^lia  d'imitare  in  versi  toscani,  e  di  far  eseguire  con  musica 
italiana  TArmida  ai  Quinault.  Ritomato  in  seno  dell'  inclita  vostra  patria,  ne 
cominciaste,  fra  le  delizie  di  Pegli,  voi  medesimo  il  lavoro,  in  compagnia  d'illustre 
amico  .  .  .  Portatovi  in  appresso  a  questa  Augustissima  Corte,  vi  degnaste  ecci- 
tarmi  a  proseguire,  ed  a  condurre  I'opera  al  suo  termine,  e  se  nel  restarmene  il  desi- 
derio,  non  mi  fosse  allora  il  tempo  mancato  di  secondare  i  vostri  impulsi,  avrei,  mercfe 
vostra,  io  forse  avuto  il  vantaggio,  di  essere  il  primo  a  produrre  fra  noi  codesta  nuova 
specie  di  spettacolo,  come  a  voi  la  gloria  non  pu5  negarsi,  d'essere  state  il  primo  a 
proccurarlo.  Finalmente,  dopo  tanti  anni,  voi  avete  costantemente  voluto,  che  la 
fiorte  di  mettere  al  giomo  la  da  voi  ideata  imitazione,  fosse  a  me  riservata  .  .  .  acci6 
lo  stile  riuscisse  tutto  uniforme,  voi,  con  generosity  senza  pari,  non  vi  siete  primiera- 
mente  curato,  di  sacrificare  la  stessa  egregia  fatica,  gi^  da  voi  fatta,  e  di  permettermi, 
che  ad  ordir  la  mia  io  incominciassi  da  capo  .  .  .  essendo  destinata  quest*  opera  a 
festeggiare  il  giomo  natalizio  di  S.  A.  R.  la  serenissima  arciduchessa  sposa,  principessa 
di  Parma,  sole  poche  settimane  appena  avanti  tal  giomo,  per  I'angustia  del  tempo,  h 
convenuto,  di  mano  in  mano,  che  andavo  scrivendo  la  poesia,  passarla  al  compoeitore 
della  musica,  11  che  fu  poi  causa,  che  della  gi^  seguita  edizione  di  questo  libro  io  non 
rimanessi  soddisfatto  intieramente.     Colla  presente  piii  corretta  ristampa,"  etc.,  etc. 

This  seems  to  be  the  libretto  for  Tonunaso  Traetta's  "Armida,"  first  performed  at 
Vienna,  Saturday,  January  3,  1761.  Schatz  11382 

Armida.  Azione  teatrale  da  rappresentarsi  nel  Teatro  Vendramin 
di  S.  Salvatore  nell'  occasione  della  fiera  delF  Ascensione  dell'  anno 
1767  .  .  . 

Venezia,  Modesto  Fenzo,  1767.     xlviii  p. 

One  act.  Unsigned  dedicatory  poem  by  the  author,  Giannambrogio  Migliavacca, 
argument,  cast,  and  name  of  Tommaso  Traetta  as  composer,  but  not  of  librettist,  who 
professes  to  have  based  his  "Armida"  on  Quinault's  Armide,  though  in  the  Italian 
taste.  Of  the  music  it  is  said  "sarii,  tutta  nuova;"  consequently  the  identity  with 
Traetta's  "Armida,"  first  performed  at  Vienna,  Jan.  3,  1761,  becomes  doubtful. 

First  performed  at  Venice  May  27,  1767.  Schatz  10407 

Armida  abbandonata.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  da  S.  Agostino  il  carnovale  dell'  anno  1786  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     I^J^.  p. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  Ferdi- 
nando  Giuseppe  Bertoni  as  composer.    The  librettist  is  unknown  to  Schatz. 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  December  26,  1780. 

Schatz  931 

Armida  abbandonata.  Dramma  per  musica  da  rappresentarsi  per 
seconda  nell'  autunno  MDCCXXIII  nel  Teatro  Giustiniano  di  San 
Moise. 

Venezia,  Carlo  Buonarrigo,  n.  d.     J^7  p.     IJj.Y'^. 

Three  acts.  By  Francesco  Silvani.  Notice  to  the  reader,  cast,  scenario,  and 
name  of  the  composer,  Giuseppe  Maria  Buini,  but  not  of  the  librettist. 

First  performed  at  Bologna,  Teatro  Formagliari,  Aug.  16,  1716.  Schatz  1388 

Arm.ida  abbandonata.  Dramma  per  musica  da  rappresentarsi  nel 
Real  Teatro  delF  Ajuda  in  occasione  di  festeggiarsi  il  felicissimo 
giomo  natalizio  di  Sua  Reale  Maesta  ...  D.  Marianna  Vittoria 
,  .  .  nella  prima  vera  dell'  anno  1773. 

\Li^hond\,  Stamperia  reale,  n.  d.     78  p.     16*^^. 

Three  acts.  By  Francesco  Saverio  di  Rogatis,  who  is  not  mentioned.  Argument, 
scenario,  cast,  and  name  of  Niccol6  Jommelli  as  the  composer.  The  text  seems  to  be 
practically  the  same  aa  in  the  Naples  ed.  of  1780. 

First  performed,  as  indicated,  March  31, 1773;  at  Naples,  same  theatre.  May  30,  1770. 

Schatz  4901 


OPEKA   LIBRETTOS  151 

Arinida  abbandonata — Continued. 

—  Armida  abbandonata.  Dranuna  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  S.  Carlo  nel  di  13.  agosto  1780  per  festeggiarsi  la 
nascita  di  S.  M.  la  regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1780.     71  p.     18'='^. 

Three  acts.  By  Francesco  Saverio  de  Rogatis,  who  is  not  mentioned.  Dedication, 
argument,  cast,  scenario,  and  name  of  Nicola  Jommelli  as  the  composer,  and  of 
Giuseppe  Gazzaniga  as  conductor,  who  was  probably  responsible  for  alterations,  if  any, 
in  the  score,  as  first  performed  there  May  30,  1770.  On  p.  9-17,  description  of  Carlo 
Lepicq's  ballet,  "La  Semiramide."  The  second  ballet  was  Domenico  Rossi's  "II 
disertore  francese."     The  composers  of  the  ballet  music  are  not  mentioned. 

ScHATZ  4842 

Armida  abbandonata.     Opera  seria  da  rappresentarsi  nel  Teatro 
Nuovo  di  corte  .  .  .  nel  carnavale. 
71.  L,  1785.     95  p.     16''^. 

Two  acts.  Argument,  cast,  scenario,  and  names  of  Gaetano  Sertor  as  author,  of  sig. 
Hey  as  translator,  and  of  Alessio  Prati  as  the  composer.  German  title-page,  ' '  Die  ver- 
lassene  Armide,"  and  text  face  Italian. 

First  performed  1785,  at  Mimich,  as  indicated.  •  Schatz  8450 

Armida  abbandonata.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  I'autunno  dell'  anno  1707  .  .  . 

Venezia,  Zuccato,  1707.     60  p.     IJ^Y"^. 

Three  acts.  Dedication  dated  Venice,  November  8,  1707,  cast,  scenario,  and 
notice  to  the  reader  by  the  author,  Francesco  SOvani  (not  mentioned),  who  names 
Giovanni  Maria  Buggeri  as  the  composer,  and  defends  himself  for  having  used  Tasso 
for  "un  drama  intieramente  amoroso."  Schatz  9133 

—  Armida  abbandonata.  Dranuna  per  musica  da  rappresentarsi 
nel  Teatro  di  Mantova  il  carijevale  del  MDCCXI  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     51  p.     15^*^^. 

Three  acts.  Impresario's  dedication  dated  Mantova,  January  3,  1711,  and  notice 
to  the  reader,  in  which  this  is  called  a  slightly  altered  version  of  Silvani's  text,  accom- 
modated "alia  contingenza  del  luogo,  ed  al  genio  de  virtuosi  cantanti."  Buggeri, 
the  composer,  perhaps  mentioned  on  p.  7-8,  which  are  missing.  ML  48.A5  v.  3 

Armida    al    campo.     Drama    per   musica    da   rappresentarsi   nel 
Teatro  di  Sant'  Angelo  il  carnovale  dell'  anno  1707.     M.  V.  .  .  . 
Venezia,  Zuccato,  1707.     70  [2]  p.     14^"^. 

Three  acts.  Impresario's  dedication,  dated  Venice,  January  19,  1707,  argimient, 
cast,  and  name  of  the  composer,  Giuseppe  Boniventi,  but  not  of  the  librettist,  Fran- 
cesco Silvani.  At  the  end  a  list  of  the  "opere  musicali  sin'  ora  stampate  in  Venezia 
da  Antonio  Bortoli  a  S.  Maria  Formosa  in  Calle  longa."  Schatz  1184 

Armida    al    campo.     Drama    per   musica    da    rappresentarsi    nel 
Teatro  di  S.  Bartolomeo  nel  carnevale  dell'  anno  1718  .  .  . 
Napoli,  MicheJeLuigi  Muzio,  1718.     67  p.     13^'='". 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Impresario's  dedica- 
tion, dated  Naples,  February  13,  1718,  notice  to  the  reader,  scenario,  cast,  and  name 
of  Domenico  Saxro  as  the  composer.  Schatz  9413 

Armida  al  campo  d'Egitto.  Drama  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniano  di  San  Mois^  il  carnovale  dell'  anno 
MDCCXVIII  .  .  . 

Venetia,  Marino  Rossetti,  1718.     60  p.     15^"^- 

Three  acta.  By  Giovanni  Palazzi,  who  is  not  mentioned.  Publisher's  dedication, 
argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  composer. , 

Schatz  10759 


152  LIBRARY   OF   CONGRESS 

Armlda  delusa.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Angelo.     II  camovale  dell'  anno  1720. 

Venezia,  Marino  Rossetti,  1720.     68  p.     IS""". 

Three  acta.  Argument,  notice  to  the  reader,  caat,  scenario,  and  name  of  the 
compoeer,  Giuseppe  Maria  Biiixii,  who  also  wrote  the  text  (Schatz).       Schatz  1389 

Armlda  e  Rinaldo,  ballet.     See  Cimarosa's  Giiinio  Brute. 

Armida  e  Rinaldo,  ballet.     See  Cimarosa's  II  pittor  parigiuo. 

Armlda  In  Damasco.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  I'autunno  dell'  anno  1711.  Del  dottor  Grazio 
Braccioli  ... 

Venezia,  Marino  Rossetti,  1711.     64  p.     1^"^. 

Three  acts.  Author's  dedication  dated  Venice,  October  17,  1711,  caat,  scenario, 
name  of  Giacomo  Bampini  as  the  composer,  and  notice  to  the  reader,  in  which  Brac- 
cioli as  much  as  begs  pardon  for  having  had  the  temerity  to  select  the  same  subject  as 
Francesco  Silvani,  "gentile  poeta  dramatic©  de  noetn  tempi"  of  "Armida  abban- 
donata"  and  "Armida  al  Campo."  Schatz  8595 

Armlda  reglna  dl  Damasco.  L.  T.  of  Orgiani's  Gli  amori  di 
Rinaldo  con  Armida. 

Armida  und  Rinaldo.  Ein  nach  Tasso  frey  bearbeitetes  melo- 
drama in  vier  aufzuegen,  mit  choeren  und  taenzen  vermischt.  Fuer 
das  K.  K.  Nationalhortheater. 

Wien,  Johann  Baptist  WaUishausser,  1793.     43  p.     W"^.  . 

Neither  Franz  Joseph  Marius  von  Babo,  the  author,  is  mentioned,  nor  Peter  von 
Winter,  the  composer. 

First  performed  September  7, 1793,  under  this  title,  butas  "Reinold  und  Armida," 
at  Munich,  Altes  Opemhaus,  March  30,  1780.  Sohatz  11050 

Armide,  tragMie  en  cincj  actes  donn6e  pour  la  premiere  fois  par 
I'Acad^mie  royale  de  musique,  en  1686,  1746,  1761,  1764;  et  remise 
au  Theatre,  le  mardi  23  septembre  1777. 
Paris,  Aux  depens  de  VAcademie,  chSs  P.  de  Lormel,  1777.     66  p. 

Cast.     Quinault  is  mentioned  as  the  author,  and  Gluck  as  the  composer. 

Schatz  3893 

—  Armide.  Ein  heldengedicht,  und  singspiel  in  funf  aufzuegen. 
In  musik  gesetzt  vom  ritter  Gluck.  Aufgemehrt  unter  der  direktion 
des  herrn  JBoelim. 

Koeln  am  Rhein,  Johan  Godschalk  Langen,  1786    39  p.     17'^'^. 

Schatz  3894 

—  L'opera  de  province,  nouvelle  parodie  d'Armide,  en  deux  actes 
et  en  vers.  Mel 6s  de  vaudeville;  Representee  pour  la  premiere  fois, 
k  Paris,  le  mercredi  17  d^cembre  1777;  &  a  Versailles,  devant  Leurs 
Majest^s,  le  vendredi  suivant,  par  les  Com^diens  italiens  ordinaires 
du  roi. 

Paris,  Didot  Vaine,  1778.     34  p.     19^"^. 

Cast.    The  authors,  Piis  and  Barr^,  are  not  mentioned.  ML  50.2.A76G5 


OPERA    LIBRETTOS  153 

Armide,  tragedie  en  musique.  Representee  par  rAcademie  royale 
de  musique.     Suivant  la  copie  imprimee  a  Pans. 

[A7nsterdam,  Antoine  Schelte],  1686.     57  p.  (incl.  front.)     iJ^"^. 

Prologue  and  five  acts.     Neither  Quinault  nor  Lully  mentioned. 

ML  50.2.A76  L9 

—  Armide,  tragedie  representee  par  1' Academic  royale  de  musique 
I'an  1686.  Les  paroles  sont  de  M.  Quinault,  &  la  musique  de  M.  de 
Lully,  XX.  opera. 

n.  I.,  n.  d.  14"^.  front.,  121-178  p.  {Recueil  general  des  opera, 
t.  Hi,  Paris,  1703.) . 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  February  15,  1686.  Schatz  5760 

Second  copy.    ML  48. R4 

—  Armide,  tragedie  en  musique.  Representee  par  PAcademie  royale 
de  musique,  le  15  fevrier  1686. 

Quinault,  Theatre,  Paris,  1739,  t.  v.  pi,  p.  U09]'459.     17""^. 
Prologue  and  five  acts.     Lully  is  not  mentioned.  PQ  1881.A1     1739 

—  Armide,  tragedie.  Mise  au  Theatre  de  I'Academie  royale  de 
musique  de  Lyon,  en  I'ann^e  1742. 

Lyon,  Ay-me  Del(froc7ie,  17^2.     55  p.     23^'^. 

Five  acta.  Cast.  Neither  Philippe  Quinault,  the  author,  is  mentioned  nor  Jean 
Baptiste  de  LiUly,  the  composer.  The  text  is  the  same  as  in  the  1703  ed.,  except 
that  the  fourth  act  has  two  scenes  only,  scenes  third  and  fourth  and  half  of  the  second 
having  been  dropped.  Schatz  576fta 

—  Armida.  Opera  musicale  tradotta  dal  francese,  senza  mutar  le 
note  del  famoso  Gio.  Battista  Lulli. 

Roma,  Angelo  Bemahb,  1690.     4  p.  I.,  87  p.     W"^. 

Five  acts  and  prologue.  In  a  prefatory  note  the  unknown  translator  first  apologizes 
for  having,  as  a  Frenchman,  made  this  translation  into  Italian: 

"Cantar  in  questa  lingua  alcune  arie  dell'  opere  francesi,  h  stato  caso  fortuito,  e 
bizarria  d'un  amatore  della  musica  e  della  lingua  italiana.  La  vaghezza  del  com- 
ponimento  musicale  gli  ha  fatto  poi  tentare  di  tradurre  opere  intiere:  ed  ora  il  fame 
cantare,  e  stampare  una  in  Roma,  h  stato  atto  di  compiacenza  per  questi  signori 
Francesi.  La  musica  h  parto  d'un  gran  soggetto,  nato  in  Italia,  m^  allevato  da  gio- 
vanne  in  Parigi,  ed  ^  il  famoso  Giovanni  Battista  Lulli,  omamento  di  Toscana,  e 
ristauratore  dell'  armonia  in  Francia  ..." 

He  then  interestingly  dwells  on  the  great  difficulties  of  making  exact  metric  trans- 
lations from  French  into  Italian  and  concludes  by  saying: 

"dalP  opera  di  Fetonte  [Phaeton]  in  <ju^,  egli  ha  di  man  in  mano  tradutto  per 
diporto,  e  nell'  ore  di  divertimento  dagli  studij  piii  serij,  sei  altre  opere  composte 
euccessivamente  dal  medesimo  Lulli,  sin  alia  sua  morte." 

In  the  libretto  the  original  French  text  faces  the  Italian. 

First  performed  at  Rome,  Teatro  di  Tor  di  Nona,  1690.  Schatz  4779 

—  Armide,  parodie,  par  M.  B***  Repr^ent^e  pour  la  premiere 
fois  par  les  Com^iens  italiens  ordinaires  du  roi,  le  21  mars  1725. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  Ill,  51  p.     16^"^. 

One  act.  By  Jacques  Bailly  (Parfaict).  The  airs  and  vaudeville  used  are  printed 
at  the  end  of  the  volume  in  the  "Table  des  airs"  (84  p.)  ML  48.P3 

Armide.     Tr.  of  Naumann's  Armida. 

Armide.     Tr,  of  Righini's  Armida. 


154  LIBRARY   OF   CONGRESS 

Armide.  Ein  sino^spiel  in  drey  aufzuegen.  Nach  einem  italienischen 
texte,  [by  Bertati],  aus  Tasso's  Gofl'redo  entlehnt,  von  Bock.  Die 
composition  ist  von  herrn  Rudolph  Zumsteeg. 

Stuttgart,  Drucherei  der  herzogl.   Hohen  Carlsschule,  n.  d.     62  p. 

16'^. 

Firet  performed  at  Stuttgart,  Kleines  Schauspielhaus  auf  der  Planie,  August  30, 
1786.  ScHATz  11292 

Anuinio.  Drama  per  musica  da  rappresentarsi  in  Firenze  nel  Teatro 
di  via  della  Pergola  nel  estate  dell'  anno  MDCCXXV  .  .  .  [vignette] 

Firenze,  Fahio  Benedetto  Maria  Verdi,  1725.     62  p.     l^""^. 

Three  acts.  Notice  to  the  reader,  cast  and  scenario.  Neither  the  author,  Antonio 
Salvi,  is  mentioned,  nor  the  composer.  According  to  Schatz  this  was  a  pasticcio  by 
unknown  composers.  ML  48.A5    v.  16 

L'Armiiiio.  Dranmia  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassiano  Tautimno  dell'  anno  ^IDCCXLVII. 

n.  i.,  n.  d.    67  p.     15'='". 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Galuppi  as  composer. 

First  performed  at  Venice,  as  indicated,  November  26, 1747  (fa  van) .    Schatz  3482 

Arminio.  Drama  da  rappresentarsi  nel  Regio  ducal  Teatro  di 
Milano  in  occasione  di  celebrarsi  il  giomo  natalizio  .  .  .  di  Elisabetta 
Cristina,  imperadrice,  regina  delle  Spagne  etc. 

Milano,  Giuseppe  Richino  Malatesta,  1730.     5  p.  I.,  52  p.     l^*^™. 

Three  acts.     By  Antonio  Salvi,  who  is  not  mentioned.     Impresario's  dedication, 
argument,  cast,  scenario,  and  name  of  Johann  Adolph  Hasse  as  the  composer. 
First  performed,  as  indicated,  August  28,  1730.  Schatz  4575 

Arminio.  Dramma  per  musica  da  rappresentarsi  in  Dresda  festig- 
giandosi  il  felicissimo  giomo  natalizio  di  S.  R.  M.  Au^sto  III  .  .  . 
La  poesia  e  del  Sig"?  abf  Gio.  Claudio  Pasquini,  la  musica  d  del  Sig" 
Gio  Adolfo  Hasse  .  .  . 

n.  %.,  n.  d.     8  p.l,  99,  99,  [2]  p.     17 ''■^. 

Three  acts  and  licenza.  Argument  and  scenario.  German  title  page  "Arminio 
.  .  .  Dresden,  gedruckt  .  .  .  bey  der  verw.  .  .  .  Stoesselin,  1745"  and  text  face 
Italian.  Mennicke  calls  this  Basse's  second  version  of  "Arminio,"  though  he  cor- 
rectly gives  Salvi  as  the  author  of  the  one 'text  and  Pasquini  of  the  other.  As  a 
matter  of  fact  the  two  texts  have  nothing  in  common  except  the  subject,  and  conse- 
quently the  two  operas  "Arminio"  are  two  different  operas,  not  the  one  an  altered 
version  of  the  other. 

First  performed,  as  indicated,  October  7,  1745.  Schatz  4512 

Arminio.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1781  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  48  p.     16Y^. 

Three  acts.  A  later  version  of  "Germanico  in  Germania  "  by  Niccol5  Coluzzi, 
who  is  not  mentioned.  Argument,  cast,  scenario,  and  name  of  Bemard(in)o  Ottani 
as  the  composer.  With  the  opera  were  performed  three  ballets  by  Filippo  Beretti, 
music  by  Vittorio  Amedeo  Canavasso,  the  first  of  which  was  called  "II  volubile 
assodato."  Schatz  7363 


-  OPERA    LIBRETTOS  155 

Arminio.     Dramma  per  musica,  da  rappresentarsi  sopra  il  Teatro 
di  S.  M.  B. 
London,  G.  WoodfaU,  1760.     57,  [1]  p.     19^"^. 

Three  acts.  Argument,  ca^t,  and  note,  "La  musica  e  di  varj  autori."  English 
translation  faces  Italian.  The  last  (unnumb.)  p.  contains  the  aria,  "Care  luci,  che 
regnate,"  substituted  for  "Se  al  labbro  mio"  (II,  3).  Bumey  (IV,  472)  says:  "All 
the  airs  in  Arminio  that  Mattel  sung,  were  composed  by  Perez."  This  would  apply 
to  "II  fuggir,  cara  mia  vita"  (I,  1),  "Ah,  padre  adorato''  (I,  2),  "Fuggi  dagli  occhj 
miei"  (I,  5),  "Nel  pensar  al  gran  cimento  (I,  6),  "Padre,  tiranno,  barbaro"  (II,  2), 
"Caro  sposo,  amata  speme  "  (II,  5),  "Ah  non  piu  gelar  mi  sento  "  (III,  4).  In  Walsh's 
"Favourite  songs,"  however,  1, 1,  and  II,  5,  are  printed  without  Perez'  names,  whereas 
"Se  I'amor  tuo"  (III,  4),  not  sung  by  Mattel,  but  by  Comacchini,  is  there  attributed 
to  Perez.     The  text  is  by  Antonio  Salvi,  wath  interpolations  from  Metastasio. 

First  performed  at  London,  Hay-Market,  March,  1760.  ML  50.2.A77 

L'Arminio.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  nell'  autunno  1722  .  .  . 

Venezia,  Marino  Rossetti,  1722.     60  p.     15^"^. 

Three  acts.  Impresario's  dedication  dated  Venice,  November  10,  1722,  cast, 
scenario,  name  of  Carlo  Francesco  Pollaroli  as  the  composer,  and  notice  to  the  reader, 
informing  him  that  this  is  a  somewhat  altered  version  of  the  drama  as  originally  per- 
formed at  Pratolino.  The  performances  took  place  1703  there  in  the  Teatro  di  Villa 
Medici.    The  author  of  the  text,  Antonio  Salvi,  is  not  mentioned.         Schatz  8273 

Arminio.     Drama  per  musica  da  recitarsi  nella  Sala  dell'  illmo  Sign. 
Federico  Capranica  nel  carnevale  dell'  anno  1722  .  .  . 

Roma,  Bemabb,  1722.     72  p.     15^"^. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Dedication,  cast,  scenario, 
name  of  Alessandro  Scarlatti  as  composer,  and  notice  to  the  reader,  in  which  the 
alterations  in  Salvi's  text  are  acknowledged  in  this  manner: 

"Se  poi  colla  licenza,  che  dal  modemo  uso  si  permette  a  chi  di  nuovo  f^  comparire 
in  teatro  opere  altre  volte  recitate,  si  e  mutato,  o  scemato  in  qualche  parte  per  comodo 
della  musica,  o  per  la  brevity  tanto  in  oggi  desiderata,  cio  si  6  procurato  di  fare  in 
guisa  tale,  che  non  resta  alterata  parte  alcuna  essenziale  del  drama;  onde  sicome  non 

{»otr^  alcuno  dolersi  di  non  ritrovarvi  tutta  I'antica  sua  bellezza,  cosi  si  spera,  che 
'istesso  riverito  autore  sia  per  condonare  le  piccole  accidentali  variazioni,  one  per  la 
detta  necessity  vi  si  sono  indotte." 

First  performed  at  Naples,  Teatro  San  Bartolomeo,  November  15,  1714. 

ML  50.2.A77S2 

L'Arminio.     Dramma    per    musica    da    rappresentarsi    in    questo 
Regio-ducal  Teatro  Nuovo  la  primavera  dell'  anno  MDCCLXXXV  . . . 

Mantova,  per  Verede  di  Alberto  Pazzoni,  n.  d.     51  p.     17"'^. 

Two  acts.     By  Ferdinando  Moretti,  who  is  not  mentioned.     Dedication  dated 

Mantova,  May  8,  1785,  argument,  cast,  scenario,  and  name  of  Angelo  Tarchi  as  the 

composer.     On  p.  10,  schedule  of  the  season's  performances.     With  the  opera  were 

performed,  the  composers  of  the  music  not  mentioned,  Filippo  Beretti  s  ballets, 

Giulietta  e  Romeo,  fatto  patrio  Veronese"  and  "Una  festa  villereccia." 

Schatz  10230 

L'Arminio.     Dramma    per    musica    da    rappresentarsi    nel    nobil 
Teatro  di  Torre  Argentina  il  carnevale  dell'  anno  1786. 

Roma,  Arcangelo  Casaletti,  1786.     Ifi  p.     15^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Giacomo  Tritto  as  the  composer.  With  the  opera  were  per- 
formed Onorato  Viganb's  ballets,  "Cefalo  e  Procri,''  music  by  Salvatore  Vigan6,  and 
"La  donna  di  spirito,"  composer  not  mentioned.  Schatz  10454 


166  LIBRARY   OF   CONGRESS 

L'Armoire  ou  La  piece  a  deux  acteurs.     See  the  A.  T. 

Ameris  ou  Les  Isies.  Entr^  in  Rameau's  Les  f^tes  de  I'Himen  et 
de  r Amour. 

Arrenione.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  .  .  . 

Venezia,  Gio.  BaMista  Zuccato,  1708.     58  p.     IS""^. 

Three  acts.  Dedication  dated  Venice,  November  8,  1708,  and  si^ed  with  the 
initials  of  the  author,  Francesco  Silvani,  ar^ment,  cast,  and  scenario.  The  com- 
poser, Giovanni  Maria  Huggeri,  is  not  mentioned.  Schatz  9131 

—  Arrenione.  Dramma  per  musica  da  rappresentarsi  nell'  Imperial 
Teatro  di  Mantova  la  primavera  del  MDCCXl  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     65  p.     15^"^. 

Three  acts.  By  Silvani,  who  is  not  mentioned.  Dedication  by  Christoforo  Fri- 
geri,  dated  Mantova,  April  10,  1711,  argument,  cast,  scenario.  Buggeri  is  not  men- 
tioned as  the  composer.  The  text  is  slightly  different  from  that  of  the  above  ed. 
For  instance,  the  aria  "Se  par  ch'io  serbi  in  petto"  (I,  12)  replaced  "Merope  bella." 

ML  50.2.A775R9 

Der  arrestant.     Tr.  of  Delia  Maria's  Le  prisonnier. 

Les  arrests  de  ramour.  Piece  d'un  acte.  Par.  M.  D'Or**.  Rep- 
resentee "k  la  Foire  de  Saint  Germain  1716. 

Le  Thedtre  de  la  foire,  Paris,  1737,  t.  ii,  pi,  {227]-258  p.     17'^'^. 

By  d'Omeval.  En  vaudevilles,  selected  or  composed  and  arranged  by  Jean  Claude 
Qillier,  the  "compositeur"  of  the  theatre,  and  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs."    According  to  Parfaict,  composed  by  Aubert. 

First  performed  February  3,  1716,  as  third  act  of  "Arlequin  gentilhomme  malgr6 
lui;"  under  its  own  title,  in  a  revised  form,  July  17,  1726.  ML  48. L2  I 

Arrived  at  Portsmouth.  An  operatic  drama,  in  two  acts,  per- 
formed at  the  Theatre-Royal,  Covent-Garden.  Written  by  the 
author  of  Hartford-Bridge      .  . 

London,  T.  N.  Longman,  1794.     ^  P-  1-,  43,  [1]  p.     20^"^. 

Cast  and  dedication,  dated  November  22,' 1794,  to  Sir  Alan  Gardner,  vice-sidmiral 
of  the  Blue  for  his  conduct  in  the  naval  engagement  of  June  1,  1794,  to  which  victory 
this  "temporary  drama  .  .  .  slightly  relates."  By  William  Pearce.  William 
Shield,  the  composer,  is  not  mentioned. 

First  performed  October  30,  1794.  Longe  228 

L'arrivo  d'Enea  nel  Lazio.  Componimento  dranmiatico  in  decora- 
zione  di  una  mostra  di  esercizi  cavallereschi  dall'  Instuto  de'  Nobili 
presentata  alle  Loro  Altezze  Reali  .  .  .  Pietro  Leopoldo  d'Austria 
.  .  .  e  .  .  .  Maria  Louisa  di  Borbone  .  .  .  nella  faustissima  occa- 
sione  della  Loro  venuta  in  Firenze  ed  eseguita  nel  Teatro  dell'  Acca- 
demia  degl'  Immobili  la  sera  de'  25  novembre  MDCCLXV  giorno  del 
gloriosissimo  nome  di  S.  A.  R.  il  serenissimo  Gran  Duca. 
Firenze,  Moiicke,  1765.     lix,  [ii]  p.     26*^^. 

One  act.  By  marchese  Vincenzio  Alamanni.  Ai^ument,  lists  of  founders,  mem- 
bers, etc.,  of  the  Instituto  de'  Nobili,  note  on  the  pictures  exhibited,  half-title  with 
author's  name,  list  of  characters  without  cast,  text  of  the  libretto  with  names  of  the 
participants  in  the  dances,  the  giuochi  and  abbattimenti,  name  of  Baldassare  Galuppi 
as  composer,  colophon,  list  of  errata,  cast,  and  note  that  the  terzetto  was  composed 
by  Pietro  Bizzarri  of  Florence.  Schatz  3443 

L'arrivo  d'Europa  nell'  isola  di  Greta,  ballet.  See  Bertoni's 
Ifigenia  in  Aulide. 


OPERA    LIBRETTOS  157 

L'anivo  del  Burchello  da  Padova  in  Venezia.  Farsa  per  musica 
in  due  atti,  a  cinque  voci  di  Gaetano  Fiorio  Comico  da  rappresen- 
tarsi  nel  nobil  Teatro  Grimani  di  S.  Gio.  Grisostomo  il  carnovale  dell, 
anno  1780  .  .  . 

Venezia,  Pietro  Sola,  1779.     4O  p.     18''^. 

Two  acts.  Author's  dedication,  cast,  scenario,  and  name  of  the  composer,  Luigi 
Cartiso  ("musica  nuova").  Schatz  1660 

L'arrivo  di  Venere  nell'  isola  di  Cipro,  ballet.  See  Kadicchi's 
Medonte  re  di  Epiro. 

L'arrivo  opportuno,  ballet.  See  Zingarelli's  II  mercato  di  Mon- 
fregoso. 

Arsace.     Dranuna   per   musica   da   rappresentarsi   nel   nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell  anno  1768. 
Venezia,  Modesto  Fenzo,  1768.     5^  p.     17^""^. 

Three  acts.  A  later  version  of  "  Amore  e  maesta  osia  L'Arsace  "  by  Antonio  Salvi, 
who  is  not  mentioned.  Notice  to  the  reader,  cast,  scenario,  and  name  of  Carlo 
Franchi  as  composer.  Schatz  3326 

Arsace.  Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  San  Gio.  Grisostomo  il  carnovale  dell'  anno 
MDCCXVIII.     Del  dottore  Antonio  Salvi,  Fiorentino  .  .  . 

Venezia,  Marino  Rossetti,  1718.     71  p.     Id^™'. 

Three  acts.  A  later  version  of  ' '  Amore  e  maestk  o  sia  L'Arsace ' '  by  Antonio  Salvi, 
who  is  not  mentioned.  Publisher's  dedication,  notice  to  the  reader  informing  him 
that  this  is  a  retouched  version  of  the  text  for  local  purposes,  cast,  scenario,  and  name 
of  Michel  Angelo  Gasparini  aa  the  composer.  Schatz  3599 

L'Arsace.  Dranuna  per  musica  da  rappresentarsi  nel  nobile  Teatro 
Tron  di  S.  Cassiano  nel  carnovale  dell'  anno  1737. 

Venezia,  Giuseppe  Betinelli,  n.  d.     7  p.  I.,  4^  p.     15'^^. 

Three  acts.  By  Antonio  Salvi  with  alterations  of  his  original  text  "Amore  e 
maestk  0  sia  L'Arsace,"  possibly  by  Domenico  Lalli,  who  signs  the  dedication.  Then 
the  notice  to  the  reader,  cast,  scenario,  and  name  of  Geminiano  Giacomelli  as  the 
coinposer. 

First  performed  at  Prato,  Teatro  pubblico,  1736.  .  Schatz  3810 

Arsace.     Dramma   per   musica   da   rappresentarsi  nel   nobUissimo 
Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno  1789. 
Venezia,  Modesto  Fenzo,  1788.     48  p.     16^"^. 

Three  acts.-  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Pietro  Guglielmi  as  the  composer.  On  p.  [22J-29  argument, 
cast,  and  description  of  Francesco  Clerico's  "II  ritomo  d'Agamenone,  ballo  tragico 
in  cinque  atti,"  composer  of  the  music  not  mentioned.  Gamerra's  text  was  originally 
called  "Medonte  rfe  di  Epiro." 

First  performed,  as  indicated,  December  26,  1788.  Schatz  4297 

Arsace.     Dramma   per   musica   da   rappresentarsi  nel  nobilissimo 
Nuovo  Teatro  di  Padova  la  fiera  dell'  anno  1775. 
Venezia,  Modesto  Fenzo,  1775.     61  p.     17 Y"^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  The  original  title 
of  his  text  was  "Medonte,  th  d'Epiro."  Impresario's  dedication,  argument,  cast, 
scenario,  and  name  of  Michele  Mortellari  as  the  composer.  ("La  musica  tutta 
nuova.") 

On  p.  [27]-35  cast,  argument,  and  description  of  Giusepp>e  Canziani's  "Pigmalione, 
ballo  eroico  pantomimo."     The  composer  of  the  music  is  not  mentioned. 

Schatz  6685 


168  UBRAEY   OF   CONGRESS 

Arsace.     Drama  per  musica  da  rappresentarsi  in  Firenze  nel  Teatro 
di  Via  della  Pergola  nel  carnevale  dell'  anno  1732  .  .  . 
Firenze,  Domenico  Ambrogio  Verdi,  n.  d.     56  p.     l^Y^- 
Three  acts.    A  later  version  of ' '  Amore  e  maest^  o  sia  L'Arsace ' '  by  Antonio  Salvi, 
who  is  not  mentioned.     Impresario's  dedication,  argument,  cast,  scenario,  and  name 
of  Giuseppe  Maria  Orlandini  as  composer. 

First  performed  at  Turin,  Teatro  delle  Feste,  carnival  1726  (Schatz)  but  on  Feb- 
ruary 1,  1721,  there  was  performed  at  the  Haymarket,  London,  an  "Arsace"  by  Or- 
landini with  added  arias  by  Filippo  Amadei.  ML  48. A5.    v  18 

Arsace.  Dranuna  per  musica  da  rappresentarsi  nel  Real  Teatro  di 
S.  Carlo  il  di  30.  maggio  1754.  In  cui  ricorre  il  nome  del  gran  monarca 
delle  Spagne,  e  del  nostro  real  terzogenito  .  .  , 

Napoli,  Domenico  Landano,  17 5 J^.     iv,  J^7  p.     19Y'^. 

Three  acts.  A  later  version  of  "  Amore  e  maesti  o  sia  L'Arsace  by  Antonio  Salvi, 
who  is  not  mentioned.  Impresario's  dedication,  argument,  cast,  scenario,  and  name 
of  Nicol6  Sabatini  as  the  composer.  Schatz  9201 

Arsace.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Bartolomeo  I'inverno  dell'  anno  1718.     Del  dott.  Antonio  SaM  .  .  . 
Napoli,  MicheleLuigi  Muzio,  1718.     64  p.     W"". 

Three  acts.  A  later  version  of  Salvi 's  "Amore  e  maestll  o  sia  L'Arsace."  Impre- 
sario's dedication,  dated  Naples,  December  10, 1718,  scenario,  cast,  name  of  Domenico 
Sarro  as  the  composer  and  notice  to  the  reader  which  reads  in  part: 

"Questo  soggetto  6  lo  stesso,  che  gi^  espose  su  le  scene  di  Francia  il  famoso  Tomaso 
Comelio,  sotto  il  nome  del  Conte  di  Essex;  ma  dovendo  questo  servire  alia  musica, 
ed  al  Teatro  italiano,  si  b  cambiata  la  scena  in  Persia  .  .  .  conservando  per6  i  caratteri 
de'  personacgi  principali  .  .  . 

"II  fine  dell  autore  fii  di  formare  una  tragedia  in  musica  col  fine  veramente  tragico 
(novit4  non  piu  veduta,  almeno  su  le  scene  d'ltalia)  e  di  avere  il  preggio  d'essere  il 
primo  a  farti  sortir  dal  teatro  con  le  lagrime,  fr^  le  dolci  armonie  della  musica,  lo  che  h 
facile,  che  ottenga  se  attendi  alia  forza  del  soggetto,  e  se  riguardi  alia  periezione  de' 
rappresentanti. 

"  Vi  d  stato  in  altro  teatro  in  qualche  parte  variato  il  fine,  per  non  renderlo  totalmente 
funesto;  come  ancora  in  questo  con  non  poca  pena  di  ch6  1  ha  diretto  vi  si  sono  variate 
alcune  arie,  &  accresciuti,  6  diminuiti  alcuni  recitativi,  come  altresi  vi  si  sono  dovute 

i)onere  le  parti  buffe,  m^  in  modo,  che  no  interrompino  il  dramma,  ma  solo  minorino 
a  mestizia  con  un  poco  di  allegria."  Schatz  9414 

L'Arsacide.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniano  di  S.  Moise  il  carnovale  dell'  anno  1721.  Poesia  d'Antonio 
conte  Zaniboni  .  .  . 

Venezia,  Marin  Rossetti,  1721.     48  p.     15''"*. 

Three  acts.  Author's  dedication  dated  Venice,  December  28, 1720,  argument,  cast 
and  scenario.    The  composer  Fortunate  C3h.elleri  is  not  mentioned.     Schatz  1810 

Arsene.     Nach  Favart.     Singspiel  von  A.  G.  Meissner  [vignette], 

Leipzig,  DyTcische  huchhandlung,  1778.     3  p.  I.,  73  p.     16^*^. 

Four  acts.    In  his  "  Vorbericht"  Meissner  says: 

"Die  schauspieldirektion  der  stadt,  wo  ich  fuer  jetzt  lebe,  ersuchte  mich,  die 
gesa^nge  dieser  operette  zu  verfertegen,  da  man  die,  so  in  der  bereits  1778  erschienenen 
uebersetzung  der  franzoesischen  musik  unterliegen,  nicht  nuetzen  koenne.  DJese 
bitte  .  .  .  und  der  zusatz,  dass  ein  wuerdiger  tonkuenstler  [Franz  Seydelmann] 
meine  neuen  gesaenge  su  setzen  bereit  sey,  machten,  dass  ich  versprach,  alles  zu  thun, 
was  ich  thun  koenne." 

Instead  of  utilizing  the  dialogue  in  the  "ueber  alle  maasen  steife  Frankfurter  ueber- 
setzung" ["Die  schoene  Arsene,"  by  J.  H.  Faber],  he  preferred  to  translate  Favart's 
"La  belle  Arsene"  anew.    He  ends  his  remarks  with  this: 

"Uebrigens  ist  diess  das  letzte  singspiel,  das  ich  nach  dem  franzoesischen  bearbeite; 
darauf  geb'  ich  mein  wort." 

The  Ms.  score  at  Dresden  has  the  title  "Die  schone  Arsene  "  (Cahn-Speyer). 

First  performed  at  Dresden,  Churfuerstl.  Kleines  Theater,  March  3,  1779  (Schatz); 
Leipzig,  April  15,  1779,  and  Dresden,  1781  (Cahn-Speyer).  Schatz  9841 


I 


OPEEA   LIBRETTOS  159 

Arsene — Continued. 

—  Arsene.  In  vier  akten.  Komponirt  vom  herrn  Kapellmeister 
Seydelmann  zu  Dresden. 

n.  I.,  n.d.     3  p.  I,  73  p..   17'='^. 

The  same  as  above.  Schatz'  entry  "Txtb.  m.  Recitativen,  anstatt  des  dialc^es 
fur  concert  auffiihningen"  is  incorrect,  as  the  dialogue  is  the  same  as  in  the  Leipzig 
1778  ed.  Schatz  9842 

—  Arsene.  Ein  singspiel  in  drey  akten  nach  Favart,  von  A.  G. 
Meissner.     In  musik  gesetzt  von  Franz  Seydelmann  .  .  . 

n.  i.,  n.  d.     23  p.     16^"^. 

The  t.-p.  contains  also  the  list  of  characters.  Schatz  11748 

—  Arsene.     In  vier  akten.     Nach  Favart. 

A.  G.  Meissner,  Operetten,  Leipzig,  1778.     3  p.  I.,  73  p.     17 '^. 
Forms  the  third  libretto  in  the  collection,  and  is  the  same  as  the  other  ed.  of  1778. 

ML49.A2M3 

L'Arsiade.  Drama  per  musica  da  rappresentarsi  in  Mantova  Fanno 
1700  .  .  . 

[Mantova],  Gio.  Bait.  Grana,  n.  d.    84  p-     15^™'- 

Three  acts.  By  Pietro  d'Averara,  who  is  not  mentioned.  Dedication,  argument, 
cast,  scenario.  Tne  composer,  Antonio  Francesco  Martinengo,  is  not  mentioned. 
I,  2,  has  the  aria  "Fra  tue  ritorte"  (duet);  II,  2,  has  no  aria.  ML  50.2.A778M2 

—  Arsiade,  drama  per  musica  da  rapresentarsi  nel  Regio  Teatro  di 
Torino  .  .  . 

Torino,  Gio.  Battista  Zappata,  1703.     88  p.     HY"^. 

Three  acts.  By  Pietro  d'Averara  who  is  not  mentioned.  Impresario's  dedication, 
argument,  scenario,  and  cast.  Composed  by  Antonio  Francesco  Martinengo,  who 
is  not  mentioned.  I,  2  has  the  aria  "La  luce  del  mio  foco";  II,  2  has  the  aria 
"Tacicrudel." 

First  performed  at  Milan,  Regio  ducal  Teatro,  carnival  1700.  Schatz  6032 

Arsilda,   regina  di  Ponto.     Drama  per  musica.     Da  rappresen- 
tarsi nel  Teatro  di  S.  Angelo  nell'  autunno  dell'  anno  1716  .  .  . 
Venezia,  Marino  Rossetti,  1716.     60  p.     IJ^'^^. 

Three  acts.  By  Domenico  Lalli  who  is  not  mentioned.  Argument,  cast,  scenario, 
name  of  the  "celebre  virtuoso  di  violino  il  signor  D.  Antonio  Vivaldi"  as  composer, 
and  dedication  in  which  the  author  says  that  just  as  a  man  who  has  built  himself  a 
house,  is  not  satisfied  with  the  marble  exterior  but  seeks  to  adorn  it  with  beautiful 
tapestries,  statuettes,  etc.,  he,  the  author,  needs  the  adornment  of  D.  Giacomo  Brivio, 
conte  di  Brochles  for  his  drama  (to  whom  it  is  dedicated)  "cosi  per  I'insuffienza  del 
suo  maestro  che  la  compose,  come  per  il  gusto  di  colore,  li  quali  han  volute  in  essa, 
non  gi^  quello  che  ragionevole  appariva,  mk  tutto  ci6  che  apertamente  non  si  doveva, . 
k  tale  che  per  mia  non  la  riconosco,  per  che  rossore  n'averia  in  veggendola  cosi  affatto 
cangiata  dal  mio  primo  disegno,  e  per  I'arie,  e  per  la  sua  giusta  sceneggiatura." 

Schatz  10760 

L'Arsinoe,  drama  da  rappresentarsi  nel  Teatro  del  Seren.  elettore  di 
Sassonia  I'anno  MDCXCIlI — ^Arsinoe  ... 

Dresden,  Hoff-Buchdruckerey  durch  Immanuel  Bergen,  n.  d.  Unr- 
paged.     28^'^. 

Three  acts.  Argument.  German  text  faces  Italian,  which  is  not  that  by  Stan- 
zani.    Neither  author  nor  composer  mentioned  and  both  unknown  to  Furstenau. 

ML  50.2.A779 


160  LIBRARY   OF   CONGRESS 

Arsinoe.  Drama  per  musica  di  M.  R.  da  rappresentarsi  nel  Real 
Teatro  di  S.  Carlo  nel  di  13.  di  Agosto  1795  festeggiandosi  la  nascita 
di  S.  M.  la  Regina  .  .  . 

Na'poli,  Vincenzo  Flauto,  1795.     47  p.     ;5i<="'. 

Two  acts.  Author  unknown  to  Schatz.  Dedication  signed  by  Andrea  di  Bene- 
detto, and  dated  Naples,  August  13,  1795,  cast,  scenario,  notice  to  the  reader  and 
name  of  Gaetano  Andreozzi  as  composer.  With  the  opera  were  performed  the  ballets, 
"La  costanza  premiata  o  sia  11  genio  tutelare,  ballo  eroicopantomimo  composto,  e 
diretto  dal  Signer  Gaetano  Gioja'"  (detailed  description  on  p.  9-16)  and  "La  semplice 
burlata. ' '    The  composers  of  the  music  are  not  mentioned.  Schatz  206 

L'Arsinoe.  Drama  per  musica  da  rappresentarsi  nel  Teatro  For- 
magliari  I'anno  MDCLXXVII  .  .  . 

Bologna,  per  Verede  del  Benacci,  n.  d.     6  p.  I.,  69,  [1]  p.     IS^*^. 

Three  acts.  By  Tommaso  Stanzani,  who  dates  his  dedication  Bologna,  December 
26,  1676.  Printer's  notice  to  the  reader  naming  Petronio  Franceschini  as  com- 
poser, argument  and  scenario.  Schatz  3317 

—  Arsinoe.  Drama  in  musica  recitata  nel  Theatro  Grande  d'ln- 
sprugg,  avanti  la  Maestli  della  regina  di  Polonia  .  .  .  li  12.  gennaro, 
Tanno  MDCLXXXVI. 

[Insprugg],  Giacomo  Christoforo  Wagner,  n.  d.     59  p.     IS^'^. 

Three  acts.  Argument  and  scenario.  Neither  author  nor  composer  mentioned, 
but  the  text  is  clearly  an  altered  version  of  Tommaso  Stanzani's  "Arsinoe"  as  com- 
posed for  Bologna  by  rranceschini.  For  instance,  Stanzani's  first  scene  "0  r^ina 
del  ombre"  is  now  second  and  is  preceded  by  the  scene  "Or  che  mi  chiama  al  trono" 
with  the  arias  "Bella  dea,  che  al  sol  nascente"  and  "Aurette  cortesi."  Whether 
these  and  the  other  alterations  were  by  Francesco  Santurini,  who  modified  Stanzani's 
text  for  Venice,  1677,  is  unknown  to  me.  ML  50.2.A779F7 

Arsinoe.     A.  T.  of  Reiser's  La  grandezza  d'animo. 

Arsinoe  e  Breno.     Altered  version  of  Pietro  Guglielmi's  Debora  e 

SLsara. 

Arsinoe,  queen  of  Cjrprus.     An  opera,  after  the  Italian  manner: 
All  sung.     As  it  is  perform'd  at  the  Theatre  Royal  in  Drury-Lane, 
by  Her  Majesty's  servants. 
London,  Jacob  Tonson,  1705.     2  p.  I.,  48  p.     22'^'^. 

Three  acts.    Cast  and  preface,  signed  by  Thomas  Clayton,  who  says: 

"The  design  of  this  entertainment  being  to  introduce  the  Italian  manner  of 
musick  on  the  English  stage,  which  has  not  been  before  attempted;  I  was  oblig'd  to 
have  an  Italian  opera  translated:  In  which  the  words,  however  mean  in  several 
places,  suited  much  better  with  that  manner  of  musick,  than  others  more  poetical 
would  do. 

"The  stile  of  this  musick  is  to  express  the  passions,  which  is  the  soul  of  musick: 
And  though  the  voices  are  not  equal  to  the  Italian,  yet  I  have  engag'd  the  best  that 
were  to  be  found  in  England,  and  I  have  not  been  wanting,  to  the  utmost  of  my 
diligence,  in  the  instructing  of  them. 

"The  musick  being  recitative,  may  not,  at  first,  meet  with  that  general  accepta- 
tion, as  is  to  be  hop'd  for  from  the  audience's  being  better  acquainted  with  it:  But 
if  this  attempt  shall,  by  pleasing  the  nobility  and  gentry,  be  a  means  of  bringing 
this  manner  of  musick  to  be  us'd  in  my  native  country,  I  shall  think  all  my  study 
and  pains  very  well  employ 'd." 

According  to  Hawkins  (IV,  136)  "Clayton  had  brought  with  him  a  collection  of 
Italian  airs  .  .  .  these  he  mangled  and  sophisticated,  and  adapting  them  to  the 
words  of  an  English  drama,  entitled  Arsinoe  Queen  of  Cyprus,  called  it  an  opera, 
composed  by  himself."  Bumey,  on  the  other  hand  (IV,  199),  quotes  Clayton's 
words  from  the  preface  of  the  printed  book  that  he  "waa  obliged  to  have  an  Italian 
opera  translated"  and  Burney  names  that  written  by  Tomaso  Stanzani  in  1676  and 


OPERA  LIBEETTOS  161 

Arsinoe,  queen  of  Cyprus — Continued. 

first  performed  at  Bologna  with  Petronio  Franceschini's  music.  Mr.  Huak  in  Grove's 
Dictionary  sides  with  Hawkins  and  claims  that  Clayton  used  "an  English  piece, 
written  by  Peter  Motteux,  called  "Arsinoe,  Queen  of  Cyprus."  The  Diet,  of  National 
Biography  goes  still  further  and  attributes  to  Motteux  an  opera  libretto  of  the  same 
title,  printed  in  1707  [!]  As  a  matter  of  fact,  a  comparison  between  the  English 
libretto,  printed  in  1705  anonymously,  the  preface  signed  by  Clayton,  and  Stanzani's 
libretto  (both  in  L.  C.)  proves  that  the  English  libretto  is  a  free  translation  of  the  latter. 
Motteux'  name  is  not  mentioned.  Consequently,  if  he  was  connected  at  all  with 
"Arsinoe,"  it  can  have  been  only  as  translator,  not  as  author. 

The  title  page  of  the  score  published  by  Walsh  reads:  "Songs  in  the  new  opera, 
call'd  Arsinoe,  Queen  of  Cyprus,  compos' d  by  Mr.  Tho.  Clayton." 

Until  Hawkins'  supposition  (shared  bv  Buraey)  is  proved  that  Clayton  simply 
utilized  a  collection  or  Italian  airs  which  ne  brought  with  him  from  Italy,  it  will  be 
fairer  to  consider  Clayton  the  actual  composer. 

First  performed  at  London,  Drury-Lane,  Jan.  16,  1705.  ML  50.2. A78 

— Arsinoe,  queen  of  Cyprus.     An  opera,  after  the  Italian  manner. 
As  it  is  perform'd  at  the  Theatre  Royal  in  Drury-Lane,  by  Her 
Majesty's  servants. 
London,  Jacob  Tonson,  1707.     2  p.  I.,  4O  p.    21^'^'^. 

Same  cast,  preface  and  text  as  in  the  1705  edition.  Longk  106 

Second  copy.     Longe  177 

Arsinoe  vendicata.  Drama  per  musica.  Da  rappresentarsi  nel 
Teatro  di  S.  Angelo  il  carnevale  del  1712.  Del  dottor  Grazio  Brac- 
cioli  .  .  . 

Venezia,  Marino  RosseUi,  1712.     56  p.     i5p". 

Three  acts.  Author's  dedication  dated  Venice,  February  1,  1712,  argument,  cast, 
scenario  and  name  of  Gio.  Maria  Bugieri  (Ruggeri)  as  the  composer. 

SCHATZ  9134 

Artabene  re  di  Persia.  L.  T.  of  Vivaldi's  La  costanza  trionfante 
degl'  amori  e  degl'  odii. 

Artamene.  Dramma  per  musica  di  Bartolomeo  Vitturi  da  rappre- 
sentarsi nel  Teatro  di  S.  Angelo  il  carnovale  dell'  anno  1740  .  .  . 

Venezia,  Marino  RosseUi,  n.  d.     60  p.     IJ^Y^- 

Three  acts.  Dedication,  argument,  scenario,  cast  and  notice  to  the  reader  in 
which  the  author  calls  this  "uno  de  miei  drammi  intieramente  nuovo."  The  com- 
poser, Tommaso  Albinoni,  is  not  mentioned. 

First  performed  as  indicated  December  26,  1740.  Schatz  87 

Artanaganamenone.  Tra^ichissimissimo  dramma  per  musica  da 
rappresentarsi  nel  Teatro  Giustininan  a  San  Moise.  In  occasione 
deila  fiera  delF  Ascensione.     L'anno  MDCCXXXI. 

Venezia,  Carlo  Buonarrigo  n.  d.     Jj8  p.     14'^"^- 

Three  acts.  Attributed  by  Schatz  and  Wiel  to  the  composer,  Giuseppe  Maria 
Bulni,  who  is  not  mentioned.     Argument,  scenario  and  notice  to  the  reader. 

First  performed  at  Bologna,  Teatro  Marsigli  Rossi,  carnival  1728,  as  "Malmosor." 

ScH.\TZ  1397 

L'Artaserse.     Tragedia    drammatica    per    musica    fedelmente,    ed 
eroicamente  tradotta  e  ridotta  dall'  antico  stato  alio  stato  presente 
da  P.  Quintiliano  Settimio  da  Sarmacanda,  dottore  a  due  doppj. 
Pelciii,  l'anno  che  corre.     48  p.     16^^^. 

Three  acts.  Argument  and  dedication,  from  which  it  appears  that  the  initials  of 
the  author's  real  name  are  G.  B.  G.    The  piece  is  a  camevalesque  parody. 

ML  50.2.A8 

72251°— VOL  1—14 11 


162  LIBRARY   OF  CONGRESS 

L'Artaserse. 

74  p.  W*^"*.  (Pietro  Meiastado,  Opere  drammaiiche,  Venezia,  Giu- 
seppe BeUineUi,  1733-37,  v.  1.) 

Three  act?.    Argument.    No  composer  mentioned.  ML  49.A2M4 

— Artaserse. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1765,  v.  J,  110  p.     W^. 
Three  acts.    Ar^ment.  ML  49.A25kI42 

—  Artaserse.  Rappresentato  con  musica  del  Vinci  la  prima  volta 
in  Roma,  il  carnevale  dell'  anno  1730,  nel  Teatro  detto  delle  Dame. 

pi.,  112  p.  26'"^.  (Pietro  Metastasio,  Opere,  Parigi,  vedova  Heris- 
sant,  1780,  t.  I.) 

Three  acts.    Argument.  ML  49.A2M44 

Artaserse. 

Apostolo  Zeno,  Poesie  drammaticTie,  Venezia,  1744)  i-  ^j  P-  [107]' 
204  p.     W^"". 

Three  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  At  the  end  of  vol.  X  in  the  "Catalogo"  date  and  place  of  first  ed. 
are  given  as  Venice,  1705.  ML  49.A2Z3 

—  Artaserse.    Publicato  per  la  prima  volta  in  Vienna  1705. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ix,  p.  94. 

21^. 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Artaserse.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Livorno  I'anno  1706  .  .  . 

Livorno,  Jacopo  Valjisi,  1706.     4  P-  ^^  ^4  P-     14Y'^- 
Three  acts.     Dedication,  argument,  scenario.    Authors  (Zeno  and  Pariati)  and 
composer  not  mentioned,  and  latter  unknown  to  Schatz.  Schatz  11383 

Artaserse.  Dramma  per  musica  dell'  abate  Pietro  Metastasio  da 
rappresentarsi  nel  Teatro  di  Cagliari  festeggiandosi  le  reali  nozze  di 
Vittorio  Amadeo  duca  di  Savoia,  e  di  Maria  Antonia,  infante  di 
Spagna  ... 

Cagliari,  Bonaria,  1750.     59  p.     15'^'^. 

Three  acts.  Impresario's  dedication,  ai^ument,  scenario,  cast.  Composer  not 
mentioned  and  unknown  to  Schatz.  Schatz  11310 

Artaserse.  Dramma  per  musica  del  sig.  ab.  Pietro  Metastasio  .  .  . 
Da  rappresentarsi  in  Pisa  nel  Teatro  del  Pubblico  la  primavera  deU' 
anno  1770  .  .  . 

Pisa,  Pompeo  PoUonj  e  comp.,  1770.     56  p.     15^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  note,  "La 
musica  ^  di  diversi  eccellenti  autori."  ML  48. A5    v.  30 

Artaserse.     Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 

Torino  nel  carnovale  del  1741  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  ejigliuolo,  n.  d.     74,  [1]  P-     14'^^- 
Three  acts.     By  Metastasio,  who  is  not  mentioned.    Argument,  scenario,  cast,  and 

name  of  Giuseppe  Arena  as  composer.    Contemporary  ms.  note  on  t.-p.:    "Opera 

eeconda  dopo  1  appertura  del  nuovo  teatro,"  Schatz  308 


OPERA   LIBRETTOS  163 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  carnevale  del  MDCCLXl  ,  .  . 

Torino,  Giacomo  Giuseppe  Avondo,  n.  d.     viii,  72  p.     W^^. 

Three  acts.  By  Metastasio.  Argument,  caet,  scenario,  and  name  of  Johann  Chris- 
tian Bach  as  composer.  The  music  of  the  ballets  was  composed  by  Giuseppe  Antonio 
Le  Messier.  The  ballets  were  invented  by  Vincenzo  Saunier,  and  the  first  was  called 
"La  morte,  ed  il  rinascimento  del  pastore  Adone." 

First  performed,  as  indicated,  December  26,  1760.  Schatz  532 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Interinale  di  Milano  il  carnovale  dell'  anno  1777  ... 
Milano,  Gio.  Batista  Bianclii,  n.  d.  60  p.  l^Y^- 
Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  Ferd. 
Gius.  Bertoni  as  composer,  but  not  of  librettist,  Metastasio.  On  a  fly-leaf  Megabise's 
added  aria  (I,  6),  "Sogna'l  guerrier  le  schiere."  This  is  Bertoni's  first  setting  of  the 
text. 

First  performed  at  Forli,  Teatro  della  CittS,  spring  of  1775.  Schatz  905 

—  Artaserse ;  a  new  serious  opera ;  as  performed  at  the  King's 
Theatre  in  the  Hay-Market.  The  music  entirely  new,  by  Signor 
Ferdinando  Bertoiii.     The  translation  by  Mistress  Rigaud. 

Lcmdon,  G.  Bigg,  1779.     63  p.     19'='^. 

Three  acts.  Argument,  cast,  Italian  and  English  text.  Schatz  lists  this  with  Ber- 
toni's first  setting  of  Metastasio's  "Artaserse,"  but  the  librettos  are  so  different  from 
each  other  in  the  third  act,  where  Metastasio  has  been  tampered  with  very  consider- 
ably, that  the  same  music  can  hardly  have  been  used  throughout  for  both.  Therefore, 
at  least  part  of  the  opera  must  have  been  newly  composed,  or  it  was  "entirely  new," 
as  the  t.-p.  states.  In  that  case  this  would  be  the  second  setting  of  the  text  by 
Bertoni. 

First  performed  at  London,  as  indicated,  in  1779.  Schatz  906 

—  Artaserse.  Dramma  per  musica  da  rappresentarsi  in  Grenova 
nel  Teatro  da  S.  Agostino  il  carnovale  del  1788  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     55  p.     13^^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  composer,  B  ertoni.  Practically 
the  same  text  as  that  of  the  Milan  1777  ed.,  therefore,  especially  in  the  third  act,  very 
unlike  the  London  1779  ed.  Schatz  lists  this  1788  Genoa  ed.  as  Bertoni's  second  set- 
ting of  the  text.  This  can  be  correct  only  if  it  was  not  a  revival  of  the  setting  of  1775 
and  if  the  music  for  London,  1779  was  not  "entirely  new."  Unless  Schatz  had 
evidence  to  the  contrary,  just  as  likely  as  not  Bertoni  composed  the  text  only  once, 
but  made  additions  and  changes  to  suit  the  circumstances.  Schatz  907 

Artaserse.     Drama  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  MDCCLXXVI. 
Venezia,  Modesto  Fenzo,  1776.     1  p.l,  80  p.     H^""^- 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  the  composer, 
Giovanni  Battista  Borghi,  but  not  of  the  librettist.  On  p.  25-38,  cast,  argument,  and 
detailed  description  of  "Adele  di  Ponthieu,  ballo  tragico  in  cinque  atti  di  Mons. 
Noverre  dato  in  Venezia  dal  signor  Franchi,"  p.  55-68  of  "La  prima  et^  dell'  inno- 
cenza  o  sia  La  Rosaja  di  Salency,  ballo  pantomime."  The  composers  of  these  ballets 
are  not  mentioned. 

First  performed  December  26,  1775,  as  indicated.  Schatz  1227 

Artaserse.  Dramma  per  musica  del  Sig.  abate  Pietro  Metastasio 
da  rappresentarsi  in  Verona  nel  Teatro  dell'  illustrissima  Accademia 
Filarmonica  nel  carnovale  dell'  anno  1770. 

Verona,  Dionisio  Ramanzini,  n.  d.     58  p.     17*^^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  the 
composer,  Antonio  Boroni.  "II  Ratto  della  sposa,"  by  Giuseppe  Anelli,  was  one 
of  the  ballets  performed  with  the  opera.  The  composer  of  the  ballet  is  not  men- 
tioned. 

First  performed  at  Prague,  Kgl.  Theater  i.  d.  Kotzen,  1767.  Schatz  1250 


164  LIBRARY   OF  CONGRESS 

Artaserse.  Dramma  per  rausica  da  rappresentarsi  nel  Teatro  Obizzi 
in  Padova  nclla  prima  vera  dell'  anno  1738  ... 

Pad<yva,  Giovambatista  Conzatti,  1738.     4  p.  l,  64  p.     17^'='^. 

Three  acts.  By  Metastasio.  Dedication  dated  Padova,  May  20,  1738,  argument, 
ecenario,  and  name  of  the  composer,  Giuseppe  Ferdinando  Brivio.       Schatz  1325 

L'Artaserse.  Dramma  per  musica  da  rappresentarsi  in  Firenze  nella 
prima  vera  del  1780  nel  nuovo  Regio  Teatro  degl'  Intrepidi  detto  della 
Falla  a  corda  .  .  . 

n.  pi.,  Ant.  Giuseppe  Pagani,  n.  d.     44  P-     17 \'^^. 

Three  acta.  By  Metastasio.  Argument,  cast,  and  name  of  the  composer,  Luigi 
Caruso  ("la  musica  6  tutta  nuova  ).  On  p.  6-10  cast  and  detailed  description  of 
Antonio  Pi  trot's  four-act  "Enea  e  Lavinia,  ballo  eroico-pantomimo,"  music  by 
Francesco  Plombanti.  Schatz  1656 

Artaserse.  Dramma  per  musica  da  cantarsi  in  Verona  nel  Teatro 
dell  Accademia  Filarmonica  nel  camovale  1741  .  .  . 

Verona,  Dionigi  Ramanzini,  n.  d.     54  p- 

Three  acts.  By  Metastasio.  Dedication,  argument,  scenario,  cast,  and  name  of 
the  composer,  Pietro  Chiarini.  Schatz  1854 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  camovale  del  1785  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     64  p.     18^'^'^. 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser, Domenico  Nicola  Cimarosa.  On  p.  56-64  argument,  cast,  and  description  of 
Paolino  Franchi's  "La  Tusnelda  o  sia  La  disfatta  di  Vario,  ballo  eroico  in  cinque 
atti."  His  other  two  ballets  were  called  "Gli  Sposi  delusi  dalle  astuzie  di  Crespino" 
and  "Gioconda."    The  music  was  composed  by  Vittorio  Amedeo  Canavasso. 

First  performed  at  Turin,  as  indicated,  December  26,  1784.  Schatz  1905 

L'Artaserse.     Dranmia  per  musica,  da  rappresentarsi  nel  Nuovo  pri- 
vilegiato  Imperial  Teatro  m  Vienna  nel  carnevale  I'anno  MD<X!XIj1X. 
[Vienna],  Giov.  Pietro  V.  Ghelen,  n.  d.     60  p.     W^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Baldassare  Qaluppi  as  composer.  Schatz  3444 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ducale 
di  Stutgart  nel  camovale  dell'  anno  1751  ..  .  La  poesia  ^  del  Sig- 
nore  abbate  Pietro  Metastasio  ...     La  musica  e  del  Signore  Graun 

Stutgart,  Giovanne  Georgio  Cotta,  n.  d.     83  p.     19^. 

Three  acts.  Argument  and  scenario.  German  title-page  "Artaxerxes"  and  text 
face  Italian. 

First  performed,  as  indicated,  in  January,  1751,  previously  at  Stuttgart,  Lust- 
haussaal,  August  30,  1750;  at  Berlin,  Kgl.  Opemtheater,  December  2,  1743. 

Schatz  4090 

Artaserse.  Dramma  per  musica  da  rappresentarsi  in  Bologna  nel 
Teatro  Zagnoni  il  carnevale  dell'  anno  1789  .  .  . 


cm 


Bologna,  Sassi,  n.  d.     56  p.     17 

Two  acts!    By  Metastasio,  who  is  not  mentioned.     Impresario's  dedication,  argu- 
ment, cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the  composer. 
First  performed  at  Rome,  Teatro  di  Torre  Argentina,  January  29,  1777. 

Schatz  4298 


'  OPERA   LIBEETTOS  165 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nell'  carnevale  dell'  anno 
MDCCXXX  ... 

Veneda,  Carlo  Buonarigo,  n.  d.     1  p.  I.,  69,  [1]  p.     15'^'^. 

Three  acts.  Dedication  in  which  this  is  called  the  "ultimo  camesalescho  diver- 
timento" of  the  season,  argument,  scenario,  cast,  names  of  Metastasio  as  the  author 
and  of  Joh.  Adolph  Hasse  as  the  composer,  and  note: 

"Si  awerte,  che  siccome  per  accommodarsi  alle  circoetanze  del  teatro  fii  di  bisogno, 
abbreviare  tutto  quelle,  che  con  virgole  segnato  si  vede  cod  d'aliena  penna  h  tutto 
cio  ch'e  con  stellette  contrasegnato." 

To  the  omitted  parts  "con  virgole"  belong  about  one-half  of  the  first  scene  begin- 
ning with  "Cresceste  insieme  di  fama  e  di  virtu,"  "Tutto  si  versi,"  etc.  (I,  3),  "Inu- 
tile accortezza,"  etc.  (I,  9),  "Mio  ben,  mia  vita,"  etc.  (I,  14),  "Le  tue  richieste.  Ah 
voglia,"  etc.  (II,  1),  "Basta  mostrarti,"  etc.  (II,  2),  "Perche  tarda  e  mai  la  morte," 
(opening  of  III,  1),  and  other  parts  of  scenes  to  the  end.  To  the  starred  parts,  as  of 
"d'aliena  penna"  belong  the  arias  "Lascia  cadermi  in  volto"  (II,  2),  "Per  questo 
dolce  amplesso  (II,  11),  the  entire  scene  II,  15,  "Eccomi  al  fine  in  liberta," 
and  the  whole  scene  III,  2  "Ch'io  parta?  E  in  faccia  al  mondo,  "  also  the  aria  "Pensa, 
che  I'amor  mio  "  (III,  1).  Schatz  4576 

—  Artaserse,  dramma  per  musica  rappresentato  alia  Regia  elettorale 
corte  di  Dresda,  nell'  anno  MDCCXL. 

n.  i.,n.  d.     (double)  95  p.     15^"^. 

Three  acts.  Argument,  scenario,  cast,  and  names  of  Metastasio  as  author,  of 
Johann  Adolph  Basse  as  the  composer.  German  title  page  "Artaxerxes  .  .  .  Dres- 
den .  .  .  bey  der  verwitt.  .  .  .  Stoesselin"  and  text  face  Italian,  which  follows  the 
Venetian  ed.  of  1730  closely,  including  the  there  starred  parts,  but  excluding  all 
those  con  virgole,  dropping  the  aria  "Non  conosco  in  tal  momento"  (II,  14)  and  adding 
"Deh  respirar  lasciatemi"  (I,  11  at  end)  which  is  by  Metastasio  and  in  fact  forms 

Sart  of     Artaserse"  as  published  in  the  1733  edition  of  his  works.    Schatz  and 
[ennicke  call  the  1740  Dresden  "Artaserse"  Basse's  second  version. 
First  performed,  as  indicated,  Dresden,  September  9,  1740.  Schatz  4513 

—  Artaserse.  Dramma  per  musica  da  rappresentarsi  in  Ferrara  nel 
Teatro  Bonacossi  da  S.  Stefano  il  carnevale  dell'  anno  1765  .  .  . 

Ferrara,  Bernardino  PomateUi,  n.  d.     63  p.     Id*^^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  name  of  Johann  Adolph 
Hasse  as  the  composer.  The  text  differs  both  from  Dresden,  1740,  and  from  Venice, 
1730.  For  instance,  these  two  editions  do  not  have  at  end  of  I,  3,  the  aria  "Su  le 
sponde  del  torbido  Lete"  and  their  scene  I,  7,  "Voi  della  Persia,  voi"  with  the  aria 
'^Bramar  di  perdere"  has  been  dropped.  However,  since  this  "Artarserse"  (Hasse's 
third  version,  according  to  Schatz,  in  which  view  Mennicke  concurs  with  a  reser- 
vation) was  first  performed  at  Naples,  Teatro  di  San  Carlo,  January  20,  1760  (accord- 
ing to  Schatz.  At  Warsaw,  August  3,  1760,  according  to  Mennicke),  it  is  impossible 
to  tell  from  the  Ferrara,  1765  ed.  just  what  the  Naples  1760  ed.  contained. 

Schatz  4590 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ducale 
di  Stugart  festeggiandosi  il  felicissimo  giorno  natalizio  di  Sua  Altezza 
Serenissinxa  Elisabetta  Sofia  Federica  duchessa  regnante  di  Wirtem- 
berg  e  Tech  ...  La  poesia  e  del  Signore  abbate  Pietro  Metastasio 
...     La  musica  d  del  celebre  Signore  Nicold  Jommelli  .  .  . 

Stwtgart,  CoUa,  1756.     I43  p.     18<^. 

Three  acts.  Argument,  cast,  and  scenario.  German  title  page  "Artaxerxes" 
and  text  face  Italian. 

First  performed,  as  indicated,  August  30,  1756;  at  Borne,  Teatro  di  Torre  Argen- 
tina, February  4, 1749.  Schatz  4843 


166  LIBRARY  OF  CONGRESS 

Artaserse.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gri- 
inani  di  San  Benedetto  il  carnovale  dell'  anno  1762. 
Venezia,  Paolo  Colombani,  17.62.     59  p.     15*^^. 

Three  acts.  By  Metaataaio,  who  ia  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giovanni  Francesco  de  Majo  as  composer. 

First  performed,  as  indicated,  January  30,  1762.  Schatz  5861 

Artaserse.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nel  carnovale  dell  anno  MDCCLXXII. 
Venezia,  Modesto  Fenzo,  n.  d.     4^  p.     17"^. 

Three  acts.  By  Meta-satsio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Vincenzo  Manfredini  as  composer. 

First  performed  in  January,  1772,  as  indicated.  Schatz  589"^ 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  della  Fenice  I'autunno 'dell'  anno  1795. 

Venezia,  Stamperia  Valvasense,  n.  d.     72  p.     18'"". 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Cast  and  name  of  Giuseppe 
Nicolini  as  the  composer.  On  p.  [23]-36  preface,  cast,  ar^ment,  and  description  of 
Lauchlin  Duque^ny  s  "Ahtor  ed  Erma,  ballo  eroico  in  cinque  atti,"  music  ("tutta 
nuova  ed  espressamente  scritta")  by  Vittorio  Trento. 

First  performed,  as  indicated,  November  17,  1795.  Schatz  7140 

Artaserse.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Bartolomeo  nell'  estk  dell'  anno  1708  ... 

Napoli,  Michele  Luigi  Mutio,  1708.     5  p.  I.,  50  p.     IJ^""^. 

Three  acts.  Impresario's  dedication  dated  Naples,  June  7,  1708,  notice  to  the 
reader,  argument,  cast,  scenario,  and  note: 

"La  musica  ^  del  Sig.  Gioseppe  Maria  Orlandini.  Le  scene  buffe,  e  tuttle  le 
arie  con  il  presente  signo  *  sono  del  Sig.  Francesco  Manciui  .  .  .  come  anche  molte 
altre  accomodazioni." 

The  starred  arias  or  parts  of  arias  are:  "Vinse  Marte  pugnando  col  brando"  (I,  2), 
"Basti  a  lei,  che  per  suo  vanto"  (I,  6),  "Grida  vendetta  Amor"  (I,  17),  "Un'alma 
fedele  ti  chiama  al  rigore"  (II,  4),  "Scherza  Tape  sii  del  fiore"  (II,  10),  "La  smarrita 
Tortorella"  (II,  11),  "II  Dio  d'amore"  (II,  12),  "Sento  nel  petto  mio"  (II,  15), 
"Combattono  a  vicenda"  (II,  20),  "Spesso  in  im  core"  (III,  9),  "La  signorina  mia" 
(III,  16),  "S5  che  non  h6  fortuna"  (III,  18). 

Schatz  attributes  the  text  to  Zeno  and  Pariati,  with  alterations  and  additions  by 
Andrea  del  P5,  but  the  notice  to  the  reader  says: 

"L'Artaserse  di  Giulio  Agosti  Reggiano,  dopo  esser  comparso  sopra  molts  scene 
d'ltalia,  viene  avanti  i  lumi  dell'  erudita  Partenope  in  qualche  parte  diverso  dalla  sua 
prima  impressione,  essendo  stato  di  bisogno  toglierne  il  meno  necessario  per  adattarsi 
alia  stagione,  nella  quale  si  rappresenta,  ed  aggiungervi  il  ridicolo  per  conformarsi 
all'  U80  della  cittjl,  nella  quale  ^  recitato  .  .  . 

"  Le  scene  buffe,  e  alcune  arie  col  segno  §  sono  dell'  A.  P.  .  .  ." 

The  arias  or  parts  of  arias  with  the  sign  §  are: 

"Che  del  cor.  son  dolce  amore"  (II,  5),  "Fugge,  e  vola  ad  altro  fior"  (II,  10), 
"Sarai  content©"  (II,  13),  "Tutta  rigore"  (II,  15),  "Un  avanzo  di  piet^"  (II,  19), 
"Sdegno,  pietade,  e  amor"  (II,  20).  Comparison  with  Wotquenne's  "Zeno,  Metas- 
tasio and  Goldoni "  list  proves  that  many  of  the  arias  actually  belong  to  Zeno  and 
Pariati's  "Artaserse,"  but  just  as  many  do  not,  not  to  mention  those  with  the  sign  §. 

It  would  seem,  therefore,  that  this  opera  was  a  pasticcio  both  in  text  and  music. 

Schatz  7328 

Artaserse.     Dramma  per  musica  da  rappresentarsi  nel  famoso  Teatro 
di  S.  Salvatore  ia  fiera  deU'  Ascensione  dell'  anno  1742  .  .  . 
Venezia,  Marino  Rossetti,  n.  d.     J^6  p.     iJ^Y"^. 

Three  acts.  Metastasio  is  mentioned  as  the  author  and  (by  a  contemporary  hand) 
Giuseppe  Antonio  Faganelli  as  the  composer.  Impresario's  dedication,  dated 
Venice,  May  1,  1742,  argument,  cast,  and  scenario. 

First  performed,  as  indicated,  May  2,  1742;  at  Brunswick,  in  February,  1737. 

Schatz  7572 


OPERA   LIBRETTOS  167 

Artaserse.     Dramma  per  musica  da  rappresentarsi  (nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo)  nel  carnevale  dell'  anno  1750. 
Venezia,  In  Merceria,  n.  d.     60  p.     15*^^. 

The  words  in  parenthesis  are  printed  on  a  mounted  slip.  Originally  the  title  page 
contained  the  name  of  the  same  theater.  This  was  then  crossed  out  and  substituted 
in  ms.  by  Teatro  di  S.  Benedetto  before  Teatro  Grimani  was  printed  again  as  above. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Antonio  Gaetano  Pampani  as  the  composer.  Schatz  7754 

Artaserse.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Nobile 
di  S.  Benedeto  il  carnevale  dell'  anno  MDCCLXVI. 
Venezia,  Giorgio  Fossati,  n.  d.     63  p.     17 i''^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Giuseppe  Ponzo  as  the  composer.  Schatz  8355 

Artaserse.     Dramma  per  musica  da  rappresentarsi  in  Perugia  nel 
NuoYO  Teatro  Civico  del  Verzaro  Tautunno  dell'  anno  MDCCLXXXI 

Perugia,  Mario  Riginaldi,  n.  d.     64  p-     18*^"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast  and  name  of 
Giacomo  Rust  as  composer.    ("La  musica  e  nuova.")  ML  50.2.A8R8 

—  Artaserse.     Dramma  per  musica  da  rappresentarsi  nel .  Regio 
Teatro  di  via  della  Pergola  nel  carnevale  del  AlDCCLXXXIII  .  .  . 

Firenze,  Giovanni  Risaliti,  1783.     48  p.     17''"'. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  and  name 
of  Giacomo  Bust  as  the  composer.  On  p.  19-23  description  of  Antonio  Muzzarelli's 
ballet  "La  guerra  del  MDCLXXXIII  fra  i  Turchi  e  gli  Austriaci,"  on  p.  39^1  of  his 
ballet  "Assedio  e  libsrazione  di  Vienna,"  the  composers  of  the  music  not  being 
mentioned.  Schatz  9165 

Artaserse.     Drama  per  musica  da  rappresentarsi  nel  nobil  Teatro 
a  Torre  Argentina  il  carnevale  dell'  anno  1768  .  .  . 
Roma,  Ottavio  PuccineUi,  n.  d.     60  p.     15^^. 

Three  acts.  Impresario's  dedication  ("comparisce  di  nuovo  eu  le  nostre  scene 
I'Artaserse  "),  argument,  scenario,  cast  and  names  of  Metastasio  as  author,  of  Sacchini 
as  composer.  In  a  note,  Metastasio's  text  is  called  "in  qualche  parte  .  .  .  alterata" 
because  of  the  "dura  necessita  di  averlo  dovuto  accomodare  al  teatro  presente." 
But  it  is  not  clear  why  it  was  necessary,  for  instance,  to  contract  Metastasio's  scenes 
I,  5,  and  I,  6,  into  one  dropping  both  arias  "Per  piet^,  bell'  idol  mio"  and  "Sogna  il 
guerrier." 

First  performed  in  January,  1768,  as  indicated.  ML  50.2.A8S2 

Artaserse,  drama  da  rappresentarsi  in  musica. 

Copenhagen,  Ernesto  Enrico  Berling,  n.  d.     95  p.     19Y^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Cast,  scenario,  ailment,  and 
name  of  Paolo  Scalabrini  as  the  composer  "^  risserva  di  alcune  arie,  di  diversi  aut- 
tori."     Italian  and  German  texts. 

First  performed  at  Copenhagen,  Theater  paa  Kongens  Nytorv,  November  28,  1752; 
at  Hamburg,  Theater  beim  Giinsemarkt,  November  13,  1743.  Schatz  9515 

Artaserse.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Ratisbona  ... 

[Ratishona],  Nella  Stamperia  Breitfeldian^,  n.  d.    2  p.  I.,  143  p. 

Three  acts.  By  Metastasio,  with  acknowledged  alterations.  Argument,  names 
of  the  author  and  of  the  composer,  Theodor,  freiherr  von  Schacht,  and  his  dedication 
(preceding  the  title  page),  in  which  he  says: 

"Encourage  par  I'acceuil  gracieux  qu'elle  [Altesse  Serenissime,  the  prince  of 
Thum  und  Taxis]  k  daign^  faire  aux  differentes  pieces  de  musique  que  j  ai  ajout6 


168  LIBRARY   OF  CONGRESS 

Artaserse — Continued . 

aux  operettes  qu'on  k  represent^  ici  pendant  quatre  annees  et  persuade  du  grand 
effet  que  font  eur  Votre  Altesse  Sereniseime  les  comedies  et  tragedies  allemandes 
qu'on  represente  ici  avec  toutes  les  regies  du  costume,  ainsi  qu'avec  toute  I'exacti- 
tude,  j'ai  086  faire  cet  essai  par  cette  magnifique  tragedie  du  celebre  Metastase." 

German  title  "Artaxerxes"  and  text  face  Italian. 

First  performed  at  Ratisbon,  carnival,  1785.  Schatz  9562 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramin  di  S.  Salvatore  nella  fiera  dell'  Ascensione  dell'  anno  1758. 

Venezia,  Modesto  Fenzo,  1768.     S7  p.     IS^"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast, 
and  name  of  Giuseppe  Scolaxi  as  the  composer.  Schatz  9787 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S°  Gio.  Grisostomo  nel  carnevale  1744  .  .  . 

[Venezia],  n.  puhl.,  n.  d.     1  p.  I.,  59  p.     15*^^. 

Three  acts.  By  Metastasio,  who  ie  not  mentioned.  Arg"i:'" ;  :,  cast,  scenario,  and 
name  of  Domingo  Terradellas  as  the  composer.  Schatz  10283 

Artaserse.  Drama  per  musica  di  Pietro  Metastasio  Romano  fra  gli 
Arcadi  Artino  Corasio.  Da  rappresentarsi  nel  Teatro  detto  delle 
Dame  nel  Carnevale  dell'  anno  1730  .  .  . 

Roma,  Zempel  e  de  Mey,  n.  d.     79  p.     IS*^^. 

Three  acts.  Impresario's  dedication,  scenario,  argument,  cast,  and  name  of 
Leonardo  Vinci  as  composer. 

This  fact  obviously  was  unknown  to  Mr.  Edward  J.  Dent  when  he  wrote  his  "Notes 
on  Leonardo  Vinci'  (Musical  Antiquary,  July  1913,  p.  199).  Otherwise  this  dis- 
tinguished English  scholar  hardly  would  have  written: 

"From  the  Diario  ordinario  di  Roma  quoted  by  F.  Piovano  [Sammelbande  d. 
I.  M.  G.  1906/7,  V.  8,  p.  76]  it  would  seem  that  Artaserse  was  not  produced  with  Vinci's 
music  until  after  the  composer's  death.  An  Artaserse  was  produced  at  the  Teatro 
delle  Dame  (Teatro  d'Alibert)  in  February,  1730,  but  it  was  possibly  by  another 
composer.  Vinci  died  suddenly  on  Sunday,  May  28,  1730.  His  Artaserse  was  de- 
scribed as  new  in  June,  1731,  when  produced  at  the  same  theatre." 

As  a  matter  of  fact,  the  Diario,  as  quoted  by  Piovano,  says  under  date  of  June  16, 
1731: 

"Taltro  dramma  che  deve  andare  in  scena  nel  medesimo  teatro  [delle  Dame] 
intitolato  Artaserse,  composto  dal  Signor  abbate  Pietro  Metastasio,  e  posto  in  musica 
dal  fu  [!]  Signor  Maestro  di  Cappella  Leonardo  Vinci." 

and  under  June  23,  1731,  the  Diario  says,  referring  to  this  revival  on  June  19, 
1731:  ^'gih  recitato  nel  medesimo  teatro  Vanno  1730."  These  words  make  it  absolutely 
clear  that  the  Diario  referred  to  Vinci's  "Artaserse"  as  second  opera  of  the  season, 
when  on  February  11,  1730,  it  wrote,  without  mentioning  the  composer: 

"Sabbato  sera  [=February  4,  1730],  nel  Teatro  detto  delle  Dame,  ando  in  scena 
il  secondo  dramma  intitolato  Artaserse y 

These  quotations,  together  with  the  fact  that  Vinci's  name  appears  in  the  1730 
libretto,  leave  no  doubt,  I  think,  that  Vinci's  "Artaserse"  was  actually  performed 
for  the  first  time  at  Rome,  Teatro  delle  Dame,  February  4,  1730.         Schatz  10743 

—  Artaserse,  dramma  per  musica,  rappresentato  nel  Nuovo  Real 
Teatro  privilegiato.     L'anno  MDCCXL  VI.     In  Dresda. 

n.  i.,  n.  d.    95,  95  p.     W"^. 

Three  acts.  Ailment,  scenario,  cast,  and  names  of  Metastasio  as  author,  of 
Leonardo  Vinci  as  composer.  German  title  "Artaxerxes"  and  text  face  Italian, 
which  is  practically  the  same  as  in  the  Rome,  1730  ed.,  though,  for  instance,  "Per 
piet^,  bell'  idol  mio"  has  been  dropped  from  I,  5.  Schatz  10744 


OPERA  LIBRETTOS  169 

Artaserse.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  Tanno  MDCCV  .  .  . 

Venezia,  Marino  Rossetti,  1706.     72  p.     15 Y"^. 

Three  acts.  By  Apostolo  Zeno  and  Pietro  Pariati,  who  are  not  mentioned.  Dedi- 
cation dated  Venice,  January  8,  1705,  argument,  cast,  scenario,  name  of  Antonio 
Giannettini  (Zannettini)  as  composer,  and  notice  to  the  reader  informing  him  that 
this  is  an  operatic  version  of  Giulio  Agosti's  L'Artaserse,  1700,  which  accounts  for  the 
liberties  taken  with  his  drama.  Schatz  11141 

Artaserse.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  carnevale  dell'  anno  1794  .  .  . 

Milano,  Gio.  Batista  BiancM,  n.  d.     68  p.     16^"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication 
dated  Milan,  December  26, 1793,  argument,  cast,  scenario,  and  name  of  Nicola  Antonio 
Zin^arelli  as  composer.  The  descriptions  of  the  ballets  "Elfrida,  hallo  eroico  pan- 
tomimo"  and  "II  feudatorio  pentito,  hallo  comico  pantomimo"  announced  to  be 
"in  fine"  are  not  there.  The  ballets  were  by  GaetMio  Gioja,  the  composers  of  the 
music  not  being  mentioned. 

First  performed  at  Trieste,  Teatro  di  S.  Pietro,  March  19,  1789.       Schatz  11240 

Artaserse  Longimano.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo.     Nel  carnovale  dell'  anno  1737  .  .  . 
Venezia,  Marino  Rossetti,  1737.     68  p.     W"^. 

Three  acts.  Impresario's  dedication,  notice  to  the  reader  with  apologies  to  Metaa- 
tasio  for  the  liberties  taken  with  his  "Temistocle."  Argument,  scenario,  cast,  and 
name  of  Antonio  Gaetano  Pampino  (Pampani?)  as  the  composer.         Schatz  7753 

Artaserse  re  di  Persia.  L.  T.  of  Lotti's  II  tradimento  traditore  di 
se  stesso. 

L'Artaxerse  ovvero  L'Ormonda  costante.  Drama  per  musica  nel 
famoso  Teatro  Grimano  I'anno  MDCLXIX.  Di  Aurelio  Aureli. 
Opera  decimaquinta  .  .  . 

Venetia,  Francesco  NicoUni,  1669.    front.,  65,  [i]  p.     14"^. 

Three  acts.  Author's  dedication  dated  Venice,  December  28,  1668,  argument, 
scenario.  The  composer.  Carlo  Grossi,  is  not  mentioned.  On  the  additional  page 
is  a  list  of  "Drammi  per  musica  composti  da  Aurelio  Aureli,"  and  opposite,  on  a  blank 
page,  Schatz  has  written  the  years  of  first  performance  and  composers,  as  follows: 

L'Erginda.     1652.     Gaspare  Sartorio. 

L'Erismena.     1655.     Francesco  Cavalli. 

La  Rodope  e  Damira.    1657.    P.  A.  Ziani. 

II  Medoro.     1658.     Francesco  Luzzo. 

La  costanza  di  Rosmonda.     1659.     G.  B.  Rovettini. 

La  virtu  guerriera  rappresentata  in  Vienna.     1659.    Without  music. 

L'Antigona  delusa  da  Alceste.     1660.    P.  A.  Ziani. 

II  Pirro.     1661.    Antonio  Sartorio. 

Gli  scherzi  di  Fortuna.     1662.    P.  A.  Ziani. 

Le  fatiche  d'Ercole  per  Deianira.     1662.     P.  A.  Ziani. 

Gl'amori  d'ApoUo  e  Leucotoe.     1663.    G.  B.  Rovettini. 

La  Rosilena.     1664.    G.  B.  Rovettini. 

II  Perseo.     1665.    A.  Mattioli. 

L'Eliogabalo.     1668.    T.  Orgiani. 

L'Artaserse.    1668.    Carlo  Grossi. 

In  the  dedication  to  the  brothers  Grimani,  Aureli,  referring  to  his  "Eliogabalo," 
performed  during  the  previous  carnival  at  their  theatre,  says  it  was  his  intention  to 
rest  this  year,  but  at  the  instance  of  the  Grimani  brothers  he  changed  his  mind,  and 
wrote  "L'Artaxerse,"  "anco  tril  la  perdita  funesta  del  padre,  e  d  un  unico  figlio." 
He  then  continues: 

"So,  che  questa  inusitata  stravaganza  di  due  titoli,  dester^  stupore  non  meno,  che 
curiosity  ne'  lettori  di  sapeme  la  causa:  Mh  basta  k  me  che  VV.  SS.  Illustrissime  la 
sappino.  Spero,  che  non  si  sdegneranno  di  recevere  quello,  ch'EUe  medesime  si  sono 
contentate  di  scegliere."  Schatz  4216 


170  LIBRARY  OF  CONGRESS 

Artaxerxes.  An  English  opera.  As  it  is  performed  at  the  Theatre- 
Royal  in  Co  vent-Garden.  The  musick  composed  by  Tho.  Aug.  Ame, 
Mus.  Doc. 

LoTidon,  J.  and  R.  Tonson,  1763.     47,  [1]  p.     ^O*"". 

Three  acts.    Cast,  argument,  and  same  preface  as  in  next  entry. 

First  performed  at  Covent  Garden,  February  2,  1762.  ML  50.2.A81A7 

—  Artaxerxes.  An  English  opera.  As  it  is  performed  at  the 
Theatres  Royal  in  Drury  Lane,  and  Covent  Garden.  The  musick 
composed  by  Tho.  Aug.  Arne,  Mus.  Doc.     A  new  edition. 

London,  T.  Lowndes  and  J.  Condell,  n.  d.  4-7  p.  20 Y''"  • 
Three  acts.  Casts,  argument,  and  preface,  in  which  Ame  (not  mentioned)  submits 
his  translation  of  Metastasio's  "Artaserse  "  as  "this  first  attempt  of  the  kind."  "As  the 
narrative  part  of  this  drama  may  seem  too  barren  of  forcible  epithets,  which  in  reading 
or  speaking  dignify  the  style,  he  quotes  Drj'den'sand  Lord  Lansdown's  sentiments 
on  tne  subject  of  opera  librettos.  He  further  quotes  Metastasio's  own  recipe  for  the 
poetry  of  an  opera,  and  finally  comments  on 

^'the  necessity  of  sometimes  departing  from  the  author,  on  account  of  the  different 
idioms  of  our  language;  and  of  leaving  out  many  beauties  in  the  narrative  part  of  the 
drama,  for  the  sake  of  brevity."  Longe  308 

—  Artaxerxes,  an  English  opera.  As  it  is  performed  at  the  Theatre 
Royal,  Covent-Garden.  Corrected  from  the  prompt-book,  by  James 
Wild,  prompter. 

London,  ScatcTierd  and  Whitaker,  1792.     31,  [1]  p.     18'"^. 

Last  (unnumb.)  page  contains  announcement  of  "The  Miser."  Three  acts.  Cast. 
Ame  is  not  mentioned.  Longe  218 

Artaxerxes.  Ein  musicaUsches  schau-spiel,  welches  aus  hoechstem 
befeld  .  .  .  auf  den  churfuerstlichen  neuen  Theater  in  der  came- 
valszeit  anno  1763  ist  aufgefuehret  worden.  Die  poesie  ist  von  .  .  . 
Peter  Metastasio  .  .  .  Die  music  ist  von  .  .  .  Andreas  von 
Bernasconi  ... 

Muenchen,  Frantz  Joseph  ThuiUe,  n.  d.  IS  p.  p.  {double),  70  p., 
[8\  p.     15'^'^. 

German  translation  faces  Italian  of  Metastasio's  "Artaserse."  Cast,  argument,  and 
scenario.  Schatz  863 

Artaxerxes.     Tr.  of  Grann's  Artaserse. 

Artaxerxes.     Tr.  of  Hasse's  Artaserse  (second  setting). 

Artaxerxes.     Tr.  of  Jommelli's  Artaserse. 

Artaxerxes.     Ein  musicaUsches  schau-spiel,  aufgefuehret   auf   der 
hiesigen  Hof-Schaubuehne  naechst  der  Kaiserl.  Burg,  zur  fassnachts- 
zeit,  im  jahr  1763.     In  das  teutsche  gebracht  von  J.  A.  E.  v.  G. 
Wien,  mit  von  Ghelischen  schriften,  n.  d.     Unpaged.     16'^'^. 

Three  acts.  Joh.  Anton  edler  van  Ghelen's  transl.  of  Metastasio's  "Artaserse." 
Argument,  cast,  and  name  of  Giuseppe  Scarlatti  as  the  composer.  On  the  last  2 
p.:  " Beschreibung  der  taenze,"  by  Gaspero  Angiolini;  music  by  Joseph  Starzer. 

First  performed  at  Lucca  September,  1747.  Schatz  9541 

Artaxerxes.     Tr.  of  Vinci's  Artaserse. 

L'arte  in  gaira  con  I'arte.     Drama  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassiano.     L'anno  1702.     Poesia  di  Francesco 
Silvani,  servitore  di  S.  A.  Sereniss.  di  Mantoua. 
Venezia,  Marino  Rossetti,  n.  d.     81  p.     iJ^Y'^- 

Three  acts.  Argument,  scenario,  notice  to  the  reader.  The  composer,  Tommaso 
Albinoni,  is  not  mentioned.  Schatz  88 


OPERA  LIBRETTOS  171 

Artemisia.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  rAscensione  dell'  anno  1782. 

Venezia,  Modesto  Fenzo,  1782.     50  p.     1?''"'. 

Three  acts.  By  "Sig.  conte  N.  N."  Argument,  cast,  scenario,  and  name  of  the 
composer,  Giuseppe  Calegaxi.  On  p.  23-27  the  argument  of  the  ballets  "II  Suffi  e 
lo  ecniavo"  and  II  diavolo  a  quatro,  ossia  La  doppia  metamorfosi "  byGaspero  Angio- 
lini,  who  also  composed  the  music.  Schatz  1510 

Artemisia.  Drama  per  musica  nel  Teatro  a  SS.  Gio.  e  Paolo  per 
I'anno  MDCLVI  .  .  . 

Venetia,  Andrea  Giuliani,  1656.     6  p.  I.  {incl.  front.),  72  p.     l^Y"^- 

Three  acts,  with  prologue.  Dedication,  signed  with  Niccol6  Minato's  initials  as 
author  and  dated  January  10,  1656,  ai^ument,  and  scenario.  The  composer,  Pietro 
Francesco  CavaUi,  is  not  mentioned.  The  "Ariette  aggionte"  (8  p.)  of  the  Brussela 
copy  not  in  ours.  Schatz  1730 

Artemisia.  Dramma  per  musica,  da  rappresentarsi  nel  Teatro  della 
Regia  elettoral  corte  di  Dresda,  nel  carnevale  dell'  anno  MDCJCLV. 
La  poesia  e  del  Sigr  Giannambrogio  Migliavacca  ...  La  musica  d 
del  Sigi"  Gio.  Adolf o  Hasse  .  .  . 

Dresda,  la  vedova  Stossel,  e  .  .  .  Giov.  Carlo  Krause,  n.  d.  7  p.  I., 
(double)  80  p.     20'=^. 

Three  acts.  Argument,  cast,  scenario.  German  title  page  "Artemisia"  and  text 
face  Italian. 

First  performed,  as  indicated,  February  6,  1754.  Schatz  4514 

Artemisia,  [vignette]  In  einem  musicalischen  schau-spiele  auf 
dem  grossen  Hamburgischen  Theatro  vorgestellet  im  jahr  1715. 

Hamburg,  Friderich  Conrad  Greflinger,  n.  d.      Unpaged.     19'^^. 

Three  acts.  Scenario  and  Vorbericht  (argument)  at  end  of  which  this  is  called 
the  sixty-fourth  opera  by  Reinhard  Keiser.    Author  unknown  to  Schatz. 

Schatz  5077 

Artem.isia  regina  di  Caria.  Dramma  serio  per  musica  dell'  avv. 
D.  Marcello  Marchesini  da  rappresentarsi  nel. Real  Teatro  di  S.  Carlo 
in  occasione  delle  faustissime  nozze  .  .  .  di  Francesco  Borbone  .  .  . 
e  di  Maria  Clementina  .  .  . 

Napoli,  Stamperia  Flautina,  1797.     64  p.     15^"^- 

Two  acts.  Dedication  dated  June,  1797,  argument,  scenario,  cast,  and  name  of 
the  composer,  Domenico  Nicola  Cimarosa.  On  p.  56-64  argument,  description,  and 
cast  of  Gaspare  Ronzi's  "Le  nozze  di  Peleo  e  Teti,  ballo  pantomimo"  in  five  acts. 
As  second  ballet  was  performed  his  "Giannina,  e  Bemadone  ossia  II  geloso  sincerato, 
ballo  buffo  in  tre  atti.       The  composers  of  the  music  are  not  mentioned. 

This  first  setting  of  the  text  by  Cimarosa,  as  Schatz  calls  it,  was  first  performed  on 
June  25,  1797,  aa  indicated.  Schatz  1990 

Artemisia  regina  di  Caria.  Dramma  per  musica  da  cahtarsi  nel 
Real  Palazzo  dell'  Ajuda  per  celebrare  il  felicissimo  giorno  natalizio 
di  Sua  Maestk  fedelissima  I'augusta  Donna  Maria  I.  regina  di  Porto- 
gallo  .  .  .  li  17.  dec.  1787. 

n.  pi.,  n.  d.,  NeUa  stamperia  reale.     SI  p.     15*^^. 

One  act.    Gaetano  Martinelli  is  mentioned  as  author,  Antonio  Leal  Moreira, 
"maestro  del  Real  Seminario  di  Lisbona,"  as  the  composer.    Argument  and  cast. 
First  performed  at  Lisbon,  as  indicated.  Schatz  6629 


172  LIBRARY   OF   CONGRESS 

L'Artenice.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  13  agosto  1784  per  festeggiarsi  la  nascita  di  S.  M. 
la  regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1784.     55  p.     IS''"'. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication,  argu- 
ment, cast,  scenario,  and  name  of  Giacomo  Tritto  as  the  composer.  On  p.  9-18  cast 
and  description  of  Domenico  Lefevre's  "Colombo  nell'  Indie,  ballo  tragico  pantomimo 
in  cinque  atti,"  music  ("tutta  nuova")  by  Antonio  Rossetti,  on  p.  19-25  description 
of  Gasparo  Angiolini's  ballet  "Lauretta,"  composer  of  the  music  not  mentioned. 

Schatz  10455 

The  artifice :  a  comic  opera.  In  two  acts.  As  it  is  performed  at  the 
Theatre  Royal  Drury  Lane.     Written  by  William  Augustus  Miles. 

London,  T.  CadeU,  1780.     4  p.  l,  54  p.     21^"^. 

Cast,  dedication  to  Sheridan,  dated  London,  April  14,  1780,  and  prefatory  adver- 
tisement in  which  Miles  reproaches  the  dramatic  writers  for  "having  exhibited  sea 
officers  on  the  stage  in  caricature."  He  says  that  the  theatres  "are  not  in  possession 
of  one  natural  marine  character"  and  trusts  that  his  own  sea  characters  "will  be 
found  similar  to  those  that  are  met  with  in  real  life." 

The  composer  Michael  Ame  is  not  mentioned. 

First  performed  April  14,  1780.  Longb  239 

Die  artige  schaefer.     Ballet.    See  Piccinni's  Das  gute  maedgchen. 

Die  artigen  zufaelle   zwischen  liebe   und  eifersucht.     Tr.  of 

Galuppi's  Li  vaghi  accidenti  fra  amore  e  gelosia. 

Gli  artigiani.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  I'autunno  dell'  anno  1795  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     17'^^. 

Two  acts.  Attributed  by  Schatz  to  Carlo  Goldoni,  who  is  not  mentioned.  Dedi- 
cation by  the  impresario,  dated  Milan,  August  12,  1795  ("il  primo  spettacolo  del 
corrente  autunno  ),  scenario,  cast,  and  name  of  Pasquale  Anfossi  as  composer. 
With  the  opera  were  performed  the  ballets,  invented  by  Gaspare  Ronzi,  (composer 
of  music  not  mentioned),  entitled  "II  re  pastore"  and  "La  fanciuUa  mal  custoaita" 
and  described  with  cast  on  p.  69-72. 

First  performed  at  Venice,  Teatro  di  S.  Moise,  carnival  1794.  Schatz  227 

L'artigiano  gentiluomo.  See  also  II  bottegaro  gentiluomo :  Orlan- 
dini  (?) 

L'artigiano  gentiluomo.     L.  T.  of  Hasse's  Larinda  e  Vanesio. 

Arvire  et  Evelina,  trag6die-lyrique  en  trois  actes;  reprfeent^e,  pour 
la  premiere  fois,  sur  le  Theatre  de  1 'Acad emie-roy ale  de  musique,  le 
mardi  29  avril  1788. 
Paris,  P.  de  Lormel,  1788.     viii,  62  p.     22^"^. 

Cast,  names  of  Nicolas  Francois  Guillard  as  author,  of  Sacchini  as  the  composer, 
and  "avertissement"  which  reads  in  part: 

" M.  William  Mason  a  traits  k  Londres  ce  sujet.  II  a  ^t6  jou^  en  1776,  sur  le  Theatre 
de  Covent  Garden,  sous  le  titre  de  Cai-actacus.  [with  music  by  Th.  Aug.  AmeJ.  Ceux 
qui  liront  I'ouvrage  anglais,  seront  pent  Stre  surpris  des  changements  considerables 
que  je  me  suis  i)ermi8.  La  conduite  de  la  pi^ce,  le  denouement,  jusqu'aux  noms 
8ont  ici  diff brents  .  .  . 

"Le  poeme  ne  faisant  gueres  que  moiti6  de  la  tslche  que  nous  avons  k  remplir,  le 
prix  que  celui  ci  a  obtenu  au  concours  me  rassure  moins  que  les  talens  du  celebre 
compositeur  qui  a  cousacr6  a  cet  ouvrage  les  demiers  eiana  d'un  g^nie  fecond  qui 
etoit  encore  dans  toute  sa  force,  lorsq'une  mort  aussi  funeste  qu'lmpr^vue  I'a  enlev6 
aux  plaisirs  du  public,  &  a  porte  le  d^sespoir  dans  I'ame  de  ses  amis." 

Sacchini  did  not  live  to  finish  the  score.  The  last  act  was  completed  by  J.  B. 
Bey,  who  successfully  selected  pieces  from  Sacchini's  works  for  the  purpose.  The 
score  was  published  with  the  title  "Evelina."  Schatz  9207 


OPERA   LIBRETTOS  173 

Arvire  et  Evelina— Continued. 

—  Arvire  eg  Evelina.  Oper  i  tre  akter.  Oversat  af  fransk  og 
underlagt  Sacchinis  musik,  af  Dr.  Frankenau. 

Ki0henhavn,  J.  F.  Morthorstes  enke,  n.  d.     56  p.     i?*^*". 

First  performed  at  Copenhagen,  Kongl.  Theater,  January  30,  1799. 

ScHATz  9208 

Arvire  og  Evelina.     Tr.  of  Sacchini's  Arvire  et  Avelina. 

L'Ascanio,  drama  per  musica  da  rappresentarsi  nel  carnovale  del 
1686  .  .  .  Posto  in  musica  dal  S.  D.  Giuseppe  Antonio  Bernabei 
.  .  .  con  I'arie  per  i  balletti  del  S.  Melchior  Dardespin  .  .  . 

Monaco,  Giovanni  Jecklino,  n.  d.     5  p.  h,  118  p.     14i'^^- 

Three  acts  and  three  ballets.  Argument,  scenario,  and  dedication  signed  by 
Ventura  Terzago.  For  this  reason  evidently  Schatz  attributes  the  libretto  to  him, 
but  Terzago  says  "toccando  a  me  la  sorte  di  presentare  alle  S.  S.  A.  A.  V.  V.  E.  E. 
I'Ascanio  del  S'.  Barone  Filippo  Renato  Sbarra  gran  maestro  di  cucina  di  sua  M'» 
I'lmp'^*  Ved*.  abbraccio  quest 'onore  con  tanto  maggior  sodisfazione,  quSto  considero 
quella  che  sono  per  ricavare  le  S.  S.  E.  E.  A.  A.  V.  V.  dalla  lettura  di  questo  bel 
poema,  che  valera  a  ristorar  la  noja  reccata  dal  mio  Servio  TuUio,  che  a  giomi  a  dietro 
passeggio  queste  scene  ..."  Schatz  824 

Ascanio.  Drama  per  musica  da  recitarsi  nel  Regio  Teatro  di 
Milano  .  .  . 

Milano,  Marc'  Antonio  Pandolfo  Malatesta,  1702.  71,  [1]  p. 
ISY"^. 

Three  acts.  Dedication  by  the  author  Pietro  d'Averara,  his  preface  to  the  reader 
with  the  names  of  [Carlo  Francesco]  PoUaxoli  as  composer  of  the  opera,  and  of  Monte- 
clair  as  composer  of  the  halli,  argument,  and  scenario. 

First  performed  1702,  as  indicated.  Schatz  8274 

Ascanio  in  Alba.  Dramma  per  musica  da  cantarsi  nella  Real 
Villa  di  Queluz  per  celebrare  il  feUcissimo  giorno  natalizio  di  S.  M. 
Fedelissima  I'augusto  D.  Pietro  III.  Rd  di  Portogallo  .  .  .  li  5 
luglio  1785. 

n.  pi.,  n.  d.,  Nella  stamperia  reale.     28  p.     l^Y^- 

Two  acts.  Argument  and  cast.  Claudio  Niccolo  Stampa  is  mentioned  as  author 
of  the  text,  altered  by   Gins.   Parini.      Antonio  Leal  Moreira  as  the  composer. 

Schatz  6633 

L'Asiatico  generoso,  ballet.    See  Galuppi's  L'Ipermestra 

L'asilio  d '  amore . 

[449]-480  p.  W"*.  (Pietro  Metdstasio,  Opere  drammatiche,  Vene- 
zia,  Giuseppe  Bettinelli,  1733-37,  v.  2.) 

One  act.  No  composer  mentioned.  On  p.  451  note:  "La  seguente  festa  teatrale 
fu  rappresentata  in  Lmtz  il  di  28.  agosto  dell'  anno  1732  festeggiandosi  il  giorno  nata- 
lizio deir  augustissima  imperadrice,  alia  presenza  della  medema."  Performed  1765 
in  a  revised  version  as  "  II  trionfo  d'amore."  ML  49.A2M40 

—  L'asilio  d'amore. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  1755,  t.  v,  {427]-463  p. 

le*^™. 

One  act.  '  ML  49.A2M42 


174  LIBRARY   OF  CONGRESS 

L'asilio  d'amore — Continued. 

—  L'asilio  d'amore.  Festa  teatrale  scritta  dall'  autore  in  Vienna 
I'anno  1732,  ed  eseguita  alia  presenza  de'  regnanti,  con  sontuosa 
magnificenza,  la  prima  volta  con  musica  del  Caldara  nella  gran 
Piazza  di  Lintz,  capitale  dell'  Austria  Superiore;  dove  trovandosi 
allora  con  tutta  la  Cesarea  Corte  I'imperator  Carlo  VI  per  riccver 
I'omaggio  di  quella  provincia,  si  festeggid  il  28  d'agosto,  giorno  di 
nascita  dell'  imperatrice  Elisabetta  .  .  . 

[336]-368  p.  26''"*.  (Pietro  Metastasio,  Opere,  t  iii,  Parigi, 
vedova  Ilerissant,  1780.) 

One  act.  ML  49.A2M44 

L'Asmiro  re  di  Corinto.  Dramma  musicale  da  rappresentarsi  nel 
famosissimo  Teatro  di  S.  S.  Gio.  e  Paolo  I'anno  MDCXCVI  .  .  . 
Composto  in  musica  dal  Sig.  D.  Pietro  Romolo  abbate  Pignatta. 

Venetia,  Nicolini,  1696.     4,  3-59  p.     14''"'. 
.     Three  acts.    Composer's  dedication  signed,  Venice,  February  15,  1696,  his  notice 
to  the  reader,  in  which  he  appears  as  the  author  of  the  text,  too,  and  scenario. 

SCHATZ  8168 

Asmodeus  der  krumme  teufel.  Ein  opera  comique  von  zwey 
aufzuegen. 

Wien,  Johann  TJiomas  edl.  von  Trattnem,  1770.     44  V-     16Y'^. 

Two  acts.  Neither  the  author,  Johann  Joseph  Felix  von  Kurz  {calUd  Bemardon), 
nor  the  composer,  Franz  Joseph  Haydn,  is  mentioned. 

First  performed  at  Vienna,  Theater  naechst  dem  Karnthnerthore,  November  24, 
1770;  previously  there,  as  "Der  neue  Krumme  teufel,"  in  1752.  Schatz  4609 

Aspard.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  delle  Dame  il  camevale  dell'  anno  1784  ,  .  . 

Roma,  Gioacchino  Puccinelli,  n.  d.     4^  V-     l^Y^- 

Three  acts.  Publisher's  dedication  dated  "Dalla  stamperia  31.  [!]  del  1784", 
argument,  scenario,  names  of  Gaetano  Sertor  as  author,  of  Francesco  Bianchi  as 
composer.  With  the  opera  were  performed  two  ballets,  "Alonzo  e  Cora,"  musica 
tutta  nuova,"  by  Antonio  Capuzzi  and  "L'assedio  di  Belgrade.  Fatto  da  Mao- 
metto  II,  soccorso  e  liberato  da  Giovanni  Unniade  govematore  dell'  Ungheria," 
music  by  Antonio  Bisoni,  "detto  il  Rossetto."  ML  50.2.A82B3 

Aspasia.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  il  camovale  dell'  anno  1790. 
Venezia,  Modesto  Fenzo,  1790.     69  p.     17""^. 

Three  acts.  Gaetano  Sertor,  the  author  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Giuseppe  Giordani  as  the  composer.  On  p.  47-59,  cast  and  description 
of  "Giulio  Villenvelt,  osia  L'assassino  di  Scozia,  ballo  pantomimo  d'invenzione  .  .  . 
del  eignor  Giuseppe  Trafieri."    The  composer  of  the  music  is  not  mentioned. 

Schatz  3833 

L'assedio  di  Belgrade,  ballet.     See  Bianchi's  Aspard. 

L'assassino  di  Scozda,  ballet.     See  Giulio  Villenvelt. 

Assedio  e  liberazione  di  Vienna,  ballet.    See  Rust's  Artaserse. 

L'assemblee.     Entree  in  Bourgeois'  Les  plaisirs  de  la  paix. 

L'assemblee  des  dieux  pour  le  mariage  d'Alcide  &  d'Hebe, 
ballet.     See  Bernasconi's  Demofoonte. 


OPEEA   LIBRETTOS  175 

Astarbea,  ballet.     See  Zingarelli's  Giulietta  e  Romeo. 

Astarbea  ossia  Pimmalione  vendicato,  ballet.  See  Anfossi's  I  matri- 
moni  per  fanatisimo. 

Astarto. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744)  t-  ^t  V-  ^^^-  19''^ - 

Three  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  " Catalogo  "  at  end  of  vol.  x,  date  and  place  of  first  ed.  are 
given  as  Venice,  1708.  ML  49.A2Z3 

—  Astarto.     Pubblicato  per  la  prima  volta  in  Venezia,  1708. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  x,  p.  97-198. 

2  J  cm 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Astarto.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
S.  Cassano  Fautunno  dell'  anno  MDCCVIII  .  .  . 

Venezia,  Marino  Rossetti,  1708.     6  p.  I.,  60  p.     15'=^. 

Three  acts.  By  Zeno  and  Pariati,  who  are  not  mentioned.  Dedication,  argument, 
cast,  scenario,  and  name  of  Tommaso  Albinoni  as  composer.  Bound  with  this  is  the 
libretto  of  his  intermezzi,  "Pimpinone"  {see  under  title),  performed  with  the  opera. 

SCHATZ  110 

—  L' Astarto.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
arciducale  di  Mantova  nel  carnovale  dell'  anno  1714  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     58  p.     16*^^. 

Three  acts.  By  Zeno  and  Pariati,  who  are  not  mentioned.  Dedication  dated 
Mantova,  February  8,  1714,  argument,  cast,  scenario,  name  of  Tommaso  Albinozd 
as  composer.  ML  50.2.A83A4. 

L'Astarto.  Drama  per  musica,  da  rappresentarsi  nel  Teatro  d'Ham- 
burgo,  I'anno  MDCCXXI. — ^Astartus  m  einer  opera,  vorgestellet  auf 
dem  hamburgischen  Theatro  im  jahr  1721. 

{Hamburg],  Caspar  JaTchel,  n.  d.     Unpaged.     18^^"^. 

Three  acts.  Originally  by  Apostolo  Zeno  and  Pietro  Pariati,  rewritten  by  Paolo 
Antonio  RoUi.  German  text  faces  Italian.  Imperfect  copy,  lacking  all  preliminary 
matter.    The  composer,  Giovanni  Battista  Bononcim,  is  not  mentioned. 

SCHATZ  120 

Astartus.     Tr.  of  G.  B.  Bononcini's  L'Astarto. 

Asteria,  favola  pastorale  per  musica,  rappresentata  alia  Real  corte 
di  Dresda  I'anno  MDCCXXXVII  nel  giorno  del  noma  della  Maesta 
del  r^  .  .  . 

n.  i.f  n.  d.     Unpaged.     18'^'^. 

Pagination  possibly  cut  off  by  binder.    At  end:  "Dresda  .  .  .  la  vedova  Stossel." 

Three  acts.  Johann  Adolph  Hasse  is  mentioned  as  the  composer  on  an  additional 
leaf,  with  the  chorus,  "Rive  d'Elba  oggi  piu  liete."  The  author,  Stefano  Benedetto 
Pallavicini,  is  not  mentioned. 

First  performed,  as  indicated,  August  3,  1737.  Schatz  4516 

i^stiage.     Drama  per  musica  nel  famoso  Teatro  Grimani  di  SS.  Gio. 
e  Paolo  I'anno  MDCLXXVII  .  .  .     • 

Venetia,  Frencesco  Nicolini,  1677.  71  p.  14^'^'^. 
Three  acts.  Dedication  by  Matteo  Noris,  who  informs  the  reader  in  a  prefatory 
note  that  he  was  engaged  to  modernize  and  partly  rewrite  ApoUonio  ApoUoni's  original 
text;  that  the  opera  was  composed  by  "Gio.  Bonaventura  Viviani,  maestro  di  capella 
di  S.  M.  C.  in  Ispruch,  and  sung  "da  i  primi  e  piu  celebri  canori  cigni  d'Europa," 
which  waa  the  customary  formula  in  absence  of  the  cast.    Argument  and  scenario. 

Schatz  10783 


176  LIBRARY  OF  CONGRESS 

Astianatte.  Drama  per  musica  da  rappresentarsi  in  Monaco  nel 
Teatro  della  corte,  nel  verno  dell'  anno  MDCXXVII  .  .  . 

[M(maco],  apvd  Mariam  Siisannam  JaecJclinin,n.  d.     67  p.     i-^J*'"*. 

Three  acts.    Argument  (both  in  Italian  and  German)  and  scenario.     Neither  the 
composer,  Marc  'Antonio  Bononcini,  nor  the  librettist,  Antonio  Salvi,  is  mentioned. 
First  performed  at  Pratolino,  Teatro  della  Villa  Medici,  1701.  Schatz  1204 

Astianatte.     O.  T.  of  Leo's  Andromaca. 

Astianatte.     Dramma   per  musica  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  Moise.  il  camovale  dell'  anno  1755. 
Venezia,  Modesto  Fenzo,  1755.     48  p.     /^i^™. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Antonio  Gaetano  Fampani  as  the  composer  Schatz  7755 

L'astratto    ovvero    II   giocator   fortunato.     Dramma   giocoso    per 
musica  del  Sig.  abbate  Giuseppe  Petrosellini  P.  A.  da  rappresentarsi 
nel  Teatro  di  San  Samuel  il  camovale  dell'  anno  1772. 
Venezia,  Modesto  Fenzo,  1772.    61^.  p.     ISY"^. 

Three  acts.    Cast,  scenario,  and  name  of  Nicol6  Piccinni  as  the  composer. 

Schatz  8066 

—  L'astratto  ovvero  II  giuocatore  fortunato.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Nuovo  Teatro  della  cittk  di  Pisa  il  car- 
nevale  dell'  anno  1773  .  .  . 

Pisa,  Francesco  Picraccini,  1773.     78  p.     17*^^. 

Three  acts.  Impresario's  dedication,  cast,  and  name  of  Piccinni  as  the  composer. 
Petrosellini  is  not  mentioned.  This  Pisa  version  deviates  noticeably  from  the  Vene- 
tian original.  For  instance,  the  latter  has  the  arias,  "Con  fiemma  io  ve  lo  dico  "  (1, 1), 
"lo  mi  sento  in  mezzo  al  core"  (I,  4),  whereas  Pisa  has  "Voglio  un  marito"  and 
"Nocchier  che  al  porto  in  seno,"  resp.  the  substitute  aria  on  p,  78,  "Fra  dubbioei 
affetti  miei . "  Schatz  8066a 

Astrea  placata. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  1755,  t.  vii,  [307]-335  p. 

IQcm 

One  act.  ML  49.A2M42 

—  Astrea  placata.  C^mponimento  drammatico,  scritto  dall'  autore 
I'anno  1739  .  .  .  ed  eseguito  con  musica  del  Predieri  la  prima  volta 
nella  Galleria  dell'  Imperial  Favorita  .  .  .  per  festeggiare  il  di  28 
d'Agosto,  giorno  di  nascita  dell'  augustissima  imperatrice  Elisabetta. 

{381]-404  p-  26^^^.  {Metastasio,  Opere,  t.  v.,  Parigi,  vedova  Heris- 
sant,  1780.)  ML  49.A2M44 

Astrea  placata ;  ovvero  La  felicita  della  terra.  Festa  teatrale  .  .  . 
all'  occasione  del  guibileo  in  .cui  compisce  il  secolo,  che  i  fortunati 
popoli  di  Danimarc  felicemente  deferirono  la  sovranita  alia  loro 
augustissima  casa  regnante  da  rappresentarsi  sul  Regio  Teatro 
Danese. 

Copenhagen,  L.  N.  Svare,  1760.      Unpaged.     16^'^. 

One  act.  Impresario's  dedication,  cast,  and  name  of  Giuseppe  Sarti  as  the  com- 
poser ("La  musica  e  tutta  nuova"),  and  of  Erasmo  Soelberg  as  the  translator  of  (not 
mentioned)  Metastasio's  text.  Danish  title,  "Astrea  tilfredsstillet;  eller  Jordens 
lyksalighed,"  and  text  face  the  Italian. 

First  performed,  as  indicated,  October  17,  1760.  Schatz  9426 


OPERA  LIBRETTOS  177 

Astrea  placata  owero  La  felicita  della  terra.  Componimento 
drammatico  da  cantarsi  il  di  V.  settembre  MDCCLIII  per  resteggiare 
il  giorno  natalizio  di  S.  A.  R.  Federico  Cristiano  elettoral  principe  di 
Sassonia. 

Dresda,  vedova  Stossel,  n.  d.     1  p.  I.,  23  p.     23"^. 

One  act.  Neither  Metastasio,  the  author,  nor  Johann  Georg  Schiirer,  the  composer, 
is  mentioned. 

First  performed  at  Dresden,  Churfiirstl.  Kleines  Theater,  October  7,  1746. 

ScHATZ  9730 

Astrea  tilfredsstillet  eller  Jordens  lyksalighed.  Tr.  of  Sarti's 
Astrea  placata. 

Astree.     Tragedie  par  Monsieur  de  La  Fontaine,  representee  par 

I'Academie  royale  de  musique.     Suivant  la  copie  imprimee  h  Pans. 

[Amsterdam,  Antoine  Schelte],  1692.     4^  p.  (incl.  front.)     IS^''^. 

Prologue  and  three  acts.    The  composer,  Colasse,  is  not  mentioned. 

ML  50.2.A86  C6 

—  Astree,  tragedie  representee  par  I'Academie  royale  de  musique 
I'an  1691,  Les  paroles  de  M.  de  la  Fontaine  &  la  musique  de  M. 
CoUasse.     XXVIII.  opera. 

n.  i.,  n.  d.  front.,  p.  155-206.  14*^^.  (Recueil  general  des  opera, 
Paris,  1703,  t.  4.) 

Detached  copy.    Three  acta  with  prologue. 

First  performed,  as  indicated,  Nov.  28,  1691.  Schatz  2097 

Second  copy.     ML  48. R4 

L'astrologa.  Commedia  per  musica  da  rappresentarsi  nel  Real 
Teatro  del  Fondo  di  Separazione  per  terza  opera  del  corrento  anno 

1782. 

Napoli,  n.  pull.,  1782.     66  p.     15'"^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  the  composer,  Francesco 
Bianchi.    The  author  is  not  mentioned  and  is  unknown  to  Schatz.         Schatz  988 

L'astrologa.     Dramma  giocoso  per  musica  dell'  abate  Pietro  Chiari 
da  rappresentarsi  nel  Teatro  di  S.  A.  Serenissima  il  Signor  principe  di 
Carignano  nell'  autunno  dell'  anno  MDCCLXII. 
Torino,  Gaspare  Bayno,  n.  d.     56  p.     15'^'^. 

Three  acts.    Cast,  scenario,  and  name  of  Niccol6  Piccinni  as  the  composer. 
First  performed  at  Venice,  Teatro  di  S.  Mois^,  carnival  1762.  Schatz  8147 

Gli  astrologi  imaginari.     O.  T.  of  Paisiello's  I  filosofi  imaginari. 

L'astrologo.     L.  T.  of  Gasparini's  Parpagnacco. 

L'astuta  in  amore.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  grande  alia  Scala  I'autunno  1796  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     63,  [1]  p.     17^^. 

Three  acts.  Censor's  date  "Le  V  fructidor  an  4.'"<"'  (Aug.  18,  1796).  Caat, 
Bcenario,  and  name  of  Valentino  Fioravanti  as  composer.  The  author,  Giuseppe 
Palomba,  is  not  mentioned.  On  p.  61-63  argument  and  dedication  and  on  tne 
unnumb.  p.  cast  of  Filippo  Beretti's  ballet  "Lucrezia  ossia  L'espulsione  del  th  da 
Roma."  His  second  ballet  was  called  "La  calzolaja."  The  composers  of  the  music 
are  not  mentioned. 

First  performed  at  Naples,  Teatro  Nuovo  sopra  Toledo,  1795.        ML  48.A5    v.  2 

72251°— VOL  1—14 12 


178  LIBRARY   OF  CONGRESS 

L'astuta  in  amore — Continued. 

—  II  furbo  malaccorto :  Dramma  per  musica  in  due  atti  da  rappre- 
sentarsinel  Regie  Teatro  di  S.  Carlo  della  Principessa  I'autunno  dell' 
anno  1797. 

Lishona,  Simone  Taddeo  Ferreira,  1797.     163  p.     l/^Y"^. 

Caat  and  name  of  the  composer.    Portuguese  text  faces  Italian.        Schatz  3161 

L'astuzia  felice.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejlgli,  1788-95,  t.  41, 
{181]-237  p.     18^. 

First  performed,  according  to  Schatz,  with  music  by  Gaetano  Latilla  and  others  at 
Turin,  Teatro  Carignano,  spring  of  1750.  PQ 

L'astuzia  felice.     Dramma  giocoso  per  .nusica  del  Signor  dottore 
Carlo  Goldoni  ridotta  in  sei  personaggi,  e  addattata  all'uso  del  Teatro 
Giustiniani  di  S.  Mois^  I'autuimo  delT'  anno  1767. 
Venezia,  Modesto  Fenzo,  1767.     60  p.     14^"^. 

Three  acts.    Cast,  scenario,  and  name  of  Filippo  Gherardesca  as  the  composer. 

Schatz  3800 

Le  astuzie  amorose.  Drama  giocoso  per  musica  da  rappresentarsi 
nel  nobile  Teatro  di  San  Samuele  neir  autunno  dell'  anno  1775. 

Venezia,  Stamperia  Carcani,  n.  d.     63  p.     18'^'^. 

Three  acts.  By  Francesco  Cerlone,  who  is  not  mentioned.  Cast  and  name  of 
Michele  MorteUari  as  the  composer.  On  p.  30-35  argument  and  description  of 
Onorato  Viganb's  "Andromeda  e  Perseo,  ballo  eroico  pantomimo."  The  composer 
of  the  music  is  not  mentioned  nor  of  Vigan6'8  second  ballet  "II  giocatore." 

Schatz  6688 

Le  astuzie  amorose.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  via  della  Pergola  nella  primavera  del  ALDCCL- 
XXVII  .  .  . 

Firenze,  Gio.  Risaliti,  1777.     55  p.     WY"^- 

Three  acts.  By  Francesco  Cerlone,  who  is  not  mentioned.  Caat  and  name  of 
Paisiello  as  the  composer. 

First  performed  at  Naples,  Teatro  Nuovo,  spring,  1775.  Schatz  7675 

L'astuzie  di  Bettina.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  in  San  Mois^  per  la  seconda  opera  del 
carnovale  1784. 


cm 


Venezia,  Modesto  Fenzo,  1784.     63,  [1]  p.     17 i 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  signed 
by  the  impresario,  Antonio  Dian,  cast,  scenario,  and  name  of  Mattia  Stabingher  as 
the  composer.  With  the  opera  were  performed  Federico  Terrades'  ballets,  com- 
posers of  the  music  not  mentioned,  "La  forza  delle  donne"  and  "II  vcglione." 

First  performed  at  Genoa,  Teatro  di  S.  Agostino,  spring  of  1780.       Schatz  10019 

Le  astuzie  in  amore.  Commedia  per  musica  di  G.  M.  D.  Da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terz'  opera  di 
quest'  anno  1790. 

Napoli,  Vincenzo  Flauto,  1790.    46  p.     15""^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Cast  and  name  of  Giacomo  Tritto  aa 
the  composer.  Schatz  10460 


OPEKA   LIBRETTOS  179 

L'astuzie  villane.  Commedia  per  musica  di  Giuseppe  Palomba  da 
rappresentarsi  nel  Teatro  de'  Fiorentini  per  second'  opera  in  quest' 
anno  1786. 

Na'poli,  n.  puhl,  1786.     60  'p.     i5<="». 

Three  acts.    Argument,  cast,  and  name  of  Pietro  Gugliehni  as  the  compc^er, 

ScHATZ  4235 

Atalanta.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1792  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  52  p.     15^'^. 

Three  acts.  By  Cesare  Olivieri.  Argument,  cast,  scenario,  and  name  of  Giuseppe 
Giordani  as  the  composer.  On  p.  47-52  cast  and  description  of  Domenico  Le  Fevre's 
ballets  "II  Pigmalione,"  "Le  sultane,"  (4  acts)  and  "Apollo  e  Dafne."  The  com- 
posers of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1791.  Schatz  3834 

Atalanta  e  Meleagro.  Festa  teatrale  che  introduce  ad  un  ballo 
allegorico  scritta  da  Antonio  de'  Filistri  ...  da  rappresentarsi  con 
musica  del  Sign.  Vicenzo  Righini  .  .  .  nel  Gran  Teatro  Reale  di 
Berlino  il  giorno  15  febbraio  1797  in  occasione  delle  felicissime  nozze 
dell'  Altezza  Reale  di  Federica  Cristina  Augusta  principessa  di  Prussia 
con  I'Altezza  Serenissima  di  Guglielmo  principe  ereditario  di  Assia- 
Cassel. 
Berlino,  Eaude  e  Spener,  n.  d.     68  p.     16'^. 

One  act,  with  ballets.  Argument  and  cast.  German  title-page,  "Athalante 
und  Meleager,"  and  text  face  Italian.  Schatz  8779 

—  Atalanta  e  Meleagro.     Festa  teatrale  scritta  con  balli  analoghi 
da  Antonio  de'  Filistri  ...  da  rappresentarsi  con  musica  del  Sign. 
Vicenzo  Righini  .  .  .  nel  gran  Teatro  Reale  di  Berlino  il  carnevale 
deir  anno  1799. 
Berlino,  Haude  e  Spener,  n.  d.     71  p.     16'^™. 

Oneact.  Argumentand  cast.  German  title-page,  "Athalante  und  Meleager,"  and 
text  face  Italian. 

First  performed,  as  indicated,  January  14,  1799.  Schatz  8780 

Atalanta  ed  Ippomene — Atalante  et  Hippomene,  ballet.  See 
Jonamelli's  Demofoonte. 

Atalo.  Dramma  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Tron  a  S.  Cassiano  il  carnovale  dell'  anno  1742. 

Venezia,  Bonifacio  Viezzeri,  1742.     ^8  p.     IJf.Y'^. 

Three  acts.  By  Francesco  Silvani,  altered  from  the  first  edition,  published  in  1713 
under  the  title  of  "La  verity  nell'  inganno,"  to  which  fact  the  argument  alludes. 
Scenario,  cast,  and  name  of  the  composer,  Chinzer,  "Giovanni  Chintzer  di  Firenze." 

Schatz  1866 

Atamo  huomo  vecchio  e  Palandra  giovine,  intermezzo.  See  Cal- 
dara's  L'inganno  tradito  dall'  amore. 

L'Atanagilda,  regina  di  Gottia.  A.  T.  of  M.  A.  Ziani's  L'inganno 
regnante. 

Ataulfo  re  de'  Goti,  owero  La  forza  della  virtil.  Dramma  da 
recitarsi  nella  Sala  de'  Sig"?  Capranica  nel  carnevale  dell'  anno 
1712  ,  .  . 

Roma',  Berndbb,  1712.     71  p.     15\'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, argument,  cast,  scenario,  and  name  of  Giuseppe  Maria  Orlandini  as  the 
composer.  Schatz  7349 


180  LIBRAKY  OF  CONGRESS 

Atenaide. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744>  i-  h  V-  [^57]- 
U8     19^. 

Three  acta  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo"  at  the  end  of  t.  x,  date  and  place  of  first  ed.  are  given  aa  Vienna,  1714,  but, 
according  to  Schatz,  first  performed  at  the  court,  Vienna,  1709,  music  of  the  first  act 
by  Andrea  Fiord,  of  the  second  by  Ant.  Caldara,  and  of  the  third  by  C.  F. 
Oasparini.  According  to  Fehr  first  performed  in  1709  at  Barcelona.  Both  agree 
that  in  1714  the  first  act  was  composed  by  M.  A.  Ziajii,  the  second  by  Ant.  Negri, 
and  the  third  by  Caldaxa.  ML  49.A2Z3 

—  Atenaide.     Pubblicata  per  la  prima  volta  in  Vienna  1714. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  iv,  p.  267- 
S52.     21'^'^. 

Three  acts  and  licenza.    Argument.    No  composer  is  mentioned.    ML  49.A2Z4 

L'Atenaide  o  vero  Gli  afFetti  generosi.  Azione  teatrale,  scritta  dall' 
autore  in  Vienna  I'anno  1762  .  .  .  e  posta  in  musica  dal  Bonno,  per 
doversi  rappresentare  privatamente  ne^l'  interni  appartamenti  del 
palazzo  cesarea  dalle  Altezze  Reali  di  cinque  arciducnesse  d'Austria 
.  .  .  Ma  non  ne  permise  la  gik  disposta  esecuzione  Finaspettata 
ultima  infermitk  della  soprannominata  arciduchessa  Isabella  di 
Borbone. 

pi.,  [5]-56  p.  26'^^.  {Metastasio,  Opere,  t.  xi,  Parigi,  vedova  Heris- 
sant,  1782.) 

Two  parts.  .  ML  49.A2M44 

Athalanta  und  Meleager.     Tr.  of  Righini's  Atalanta  e  Meleagro. 

Athalla.  Ein  trauerspiel  mit  choren.  Nach  Racine  von  Carl 
Friedrich  Cramer.     Die  musik  vom  herrn  capellmeister  Schulz. 

Kiel,  hey  dem  verfasser,  n.  d.     [xxviii],  179,  [1]  p.     15'^'^. 

On  p.  141-179,  Cramer's  "Anmerkungen,"  some  of  which  are  equally  interesting, 
as  his  ^'Vorrede,"  in  which  he  first  (and  charmingly)  gives  the  history  of  Racine  8 
"Athalie"  in  France;  then  the  history  of  Schulz'  setting  and  this  translation;  then 
his  reasons  for  taking  some  liberties  with  Racine— his  ambition  was  "mein 
original  nicht  allein  zu  erreichen,  sondem  auch,  wo  moglich  zu  ubertreffen,"  and  with 
this  in  view,  he  busied  himself  with  the  "  Flecken  im  originale,  die  abgewischt  werden 
konnten  und-mussten" — and,  finally,  Racine's  preface.  As  to  Schulz'  setting, 
Cramer  says: 

*  "Se.  Konigliche  Hoheit,  der  Prinz  Heinrich,  der  seinem  grossen  bruder  wie  an 
heldeneigenscnaften,  so  auch  an  liebe  zu  den  dichtem  Frankreichs  gleicht,  true  seit 
verschiedenen  jahren  dem  componisten,  seinem  capellmeister  [1780-1787],  auf,  fiir 
eein  Privat-Theater,  das  wahrend  seines  sommeraufenthalts  in  Reinsberg  seine 
liebste  erholimg  ausmacht,  die  chore  dieser  tragodie  in  musik  zu  setzen.  Schulz 
erfullte  diesen  befehl,  und  Athalia  (ein  vorzug,  dessen  sich  die  glanzende  hauptstadt 
Frankreichs  selber  nicht  riihmen  kann),  ward  in  Deutschland,  auf  dieser  zwar 
kleinen,  aber  ihres  geschmacks  wegen  merkwttrdigen  buhne,  zum  erstenmal  vollstdn- 
dig,  wie  es  ihre  wiirde  erforderte,  aufgefuhrt.  Die  beschaffeuheit  der  composition, 
ihr  genauer  musicalischer  vortrag  durch  eine  zureichende  und  gewahlte  capelle,  so 
wie  ihr  dramatischer,  in  der  die  hauptrollen  von  einem  manne,  welcher,  ob's  sein 
beruf  gleich  nicht  ist,  dennoch  desto  riihmlicher  die  dreyfachen  talente  eines  ein- 
eichtsvoUen  componisten,  sangers  und  schauspiilers  in  sich  vereinigt,  und  von  einer 
braven  actrize,  Madame  d'Orceville,  gemacht  wurden,  erwarben  sich  bey  mehnnaligen 
vorstellungen  den  beyfall  des  prinzen  xmd  aller  kenner,  die  es  auffiihren  sahen. 
Durch  das  gerucht  davon  gereizt,  suchte  ich,  da  ich  die  Athalie  immer  sehr  geliebt, 
und  schon  friiher  mit  Madame  Seyler  von  ihrer  verpflanzung  auf  die  deutsche  biihne 
geredet  hatte,  die  schulzische  composition  naher  kenner  su  lemen  ..." 

Cramer's  German  translation,  first  performed  at  Berlin,  Concertsaal  des  Corsi- 
caischen  Uauses,  1786,  and  at  Hamburg,  Theater  beim  Gansemarkt,  March  30,  1789. 

Schatz  9719 


OPERA  LIBRETTOS  181 

Athalia — Continued. 

—  Athalia.     Trag^die  af  Racine  i  fern  akter,  med  mellemsange  com- 

ponerede  af  hr.  capelmester  Schultz. 

Ki0henhavn,  JoMn  Frederik  Schultz,  1790.     100  p.     17^"^-. 

First  performed  at  Copenhagen,  Royal  Theatre,  March  24,  1790.        Schatz  9720 

Athaliah.     Tr.  of  Racine's  Athalie. 

Athallah.     A  tragedy.     Translated  from  the  French  of  Monsieur 
Racine.     By  Mr.  Duncombe.     The  third  edition,  revised  and  cor- 
rected. 
London,  J.  Watts,  1746.     8  p.  I.  (incl.  front.) ,  64  p.     16^"^. 

Five  acts.  William  Duncombe's  dedication  dated  November,  1722,  his  prefatory 
note,  and  Racine's  preface.    This  transl.  was  first  published  in  1724.        Longe  70 

Athalie.     O.  T.  of  Schulz'  Athalia. 

Ati  e  Sangaride.  Serenata  per  musica  da  cantarsi  nella  Real  Villa 
dj  Queluz  .  .  .  per  celebrare  il  feUcissimo  giomo  natalizio  della 
serenissima  Signora  D.  Maria  Francesca  Benedetta,  principessa  del 
Brasile  U  25  luglio  1779. 

[Lishoa],  Stamperia  Redle,  n.  d.     SO  p.     16*^^. 

One  act.  Gaetano  Martinelli  is  mentioned  as  author,  Luciano  Xavier  dos  Santos, 
as  composer.    Argument  and  cast.  Schatz  9398 

Atide.  Drama  per  musica  da  rappresentarsi  nel  nuovo  famoso 
Teatro  Formagliari  I'anno  1679  Di  Tomaso  Stanzani  .  .  . 

Bologna,  per  VJierede  di  Vittorio  Benacci,  n.  d.  6  p.  I.,  71,  [1]  p. 
14^. 

Three  acts.  Author's  dedication  dated,  Bol(^na,  June  23,  1679,  cast,  scenario, 
and  argument  with  the  names  of  the  composers,  Giuseppe  Felice  Tosi  (act  I),  Pietro 
degli  Antoni  (act  II),  and  Giacomo  Antonio  Perti  (act  III)  in  this  "garra  virtuosa." 

Schatz  10381 
Atis.     Parody  of  Lully's  Atys. 

Attalo  re  di  Bitinia.  Dramma  per  musica  da  rappresentarsi  nel 
nobil  Teatro  di  Torre  Argentina  il  carnovale  dell'  anno  1790. 

Roma,  Gioacchino  Puccinelli,  n.  d.     4^  V-     i^Y^- 

Two  acts.  By  Antonio  Salvi  (not  mentioned).  Publisher's  dedication,  argu- 
ment, scenario,  cast,  and  name  of  the  composer,  Luigi  Caxuso.  Vittorio  Trento  is 
mentioned  as  the  composer  of  the  second  ballet,  which  is  not  named  by  title. 

Schatz  1661 

Attalo  rd  di  Bitinia.  Dramma  per  musica  da  rappresentarsi  nel 
Regal  Teatro  di  S.  Carlo  a  di  20.  gennajo  1752  .  .  . 

Napoli,  Dom&nico  Lanciano,  1752.     4^  V-     ^•4*^"*- 

Three  acts.  By  Francesco  Silvani  (not  mentioned),  originally  with  the  title  "La 
verity  neir  inganno."  Impresario's  dedication  dated  Naples,  January  20,  1751 
(=1752),  argument,  cast,  and  name  of  Giuseppe  Conti  as  composer.     Schatz  2206 

Attalo  re  di  Bitinia.  Dramma  per  musica  da  rappresentarsi  in 
Ferrara  nel  Teatro  Bonacossi  da  S.  Stefano  il  camevale  dell'  anno 
1739  .  .  . 

Ferrara,  Giuseppe  Barhieri,  n.  d.     52  p.     15*^, 

Three  acts.  Impresario's  dedicatory  sonnet,  argument,  cast  and  name  of  Johann 
Adolph  Hasse  as  the  composer.  The  text  is  Francesco  Silvani's  "La  veriti  nell' 
inganno." 

First  performed  at  Naples,  Teatro  di  San  Bartolomeo,  spring  of  1728. 

Schatz  4517 


182  UBRARY   OF   CONGRESS 

Attalo  re  di  Bitinia.  Dramma  per  musica  da  rappresentarsi  nel 
Real  Teatro  dell'  Ajuda  nel  felicissimo  giorno  natalizio  di  Sua  Maestk 
Fedelissima  Taugiista  Donna  Maria  I  regina  di  Portogallo  .  .  .  li  17 
decembre  1791. 

[Lishoa],  Stamperia  reale,  n.  d.     60  p.     IS^*^^. 

Two  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Ferdinando  Robuschi  as  the  composer. 

First  performed  at  Padua,  Teatro  Nuovo,  June,  1788.  Schatz  8842 

Attalo  rd  di  Bitinia.     Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  in  S.  Benedetto  il  carnovale  dell'  anno  1783. 
Venezia,  Modesto  Fenzo,  17 83.     56  p.     17 ^'^. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Giuseppe  Sarti  as  composer.  ("La  musica  h  nuovamente  composta") 
On  p.  [23]-31  argument,  cast,  name  of  Vincenzo  Martini  as  composer  of  the  music 
("tutta  nuova")  and  description  of  Domenico  Ricciardi's  "Cristiano  II. ,  xk  di  Dani- 
marca,  ballo  eroico  in  q[uattr'  atti." 

First  performed,  as  indicated,  December  26,  1782.  Schatz  9472 

Attila,  ballet.    See  Anfossi's  Antigono,  1781. 

Attila.     Drama  per  musica,  da  rappresentarsi  nel  Teatro  Grimano  k 
SS.  Gio.  e  Paolo.     L'anno  MDCLXXII.     Di  Matteo  Noris  .  .  . 
Venetia,  Francesco  NicoUni,  1672,     6  p.  I.  (incl.  front),  67,  [1]  p. 

Three  acts.  Author's  dedication,  dated  Venice,  February  12,  1672,  argument, 
scenario,  and  notice  to  the  reader  in  which  Nqris  says: 

"Spero,  che  sia  per  dilettarti,  comparendoti  nel  Grimano  Teatro,  Reggia,  della 
Bcenica  maestk;  ed'  io  non  ribellandomi  al  genio,  h6  praticato  nel  comporlo  gU  soliti 
sforzi  d'equivoco  &  forze  di  scena,  usate  da  pochi.  H6  ecritto  per  obligo,  Tu  vieni, 
e  compatisci  per  gentilezza." 

The  composer,  Pietro  Andrea  Ziani,  is  not  mentioned.  Schatz  11213 

Attilio  Regolo. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  1755,  t.  vi,  [77\-168  p. 

•Three  acts.    Argument.  ML  49.A2M42 

—  Attilio  Regolo.  Dramma  scritto  dall'  autore  in  Vienna  .  .  .  per 
doversi  produrre  in  occasione  di  feste^giare  il  prossimo  giorno  di 
nome  dell'  augustissimo  .  .  .  Carlo  VI,  il  di  4  novembre  1740.  Ma, 
avendo  egli  cessato  di  vivere  prima  della  preparata  solennita,  rimase 
occulto  il  dranmia  per  lo  spazio  di  anni  dieci:  dopo  i  quali  mandato 
dall'  autore  a  richiesta  di  Augusto  III  r6  di  Poloma,  fu  nella  corte  di 
Dresda  ...  la  prima  volta  rappresentato  con  musica  dell'  Hasse 
.  .  .  nel  carnevaie  dell'  anno  1750. 

pi.,  [5]-^ 04  p.  26'^^.  {Metastasio,  Opere,  t.  viii,  Parigi,  vedova 
Herissant,  1781.) 

Three  acts.    Argument,  ML  49.A2M44 

—  Regulus  .  .  . 

Metastasio,  Tragedies-opera,  Vienne,  1751,  t.  v,  p.  [105]-213.     14*^^. 
Three  acts.     Richelet's  translation.    Below  the  title  the  note: 
"Cet  op^ra  est  le  dernier  qu'a  compost  I'abbe  Metastasio.     II  a  ^te  represent^ 
cette  annee  (1750)  k  la  Coiu:  de  Naples,  &  k  celle  de  Dresde."  ML  49.A2M47 


OPERA   LIBRETTOS  183 

Attilio  Regolo.  Dramma  per  musica  rappresentato  nel  Teatro  della 
Regia  elettoral  corte  di  Dresda  nel  carnovale  dell'  anno  MDCCL. 
La  poesia  e  del  Sig.  abbate  Pietro  Metastasio  ...  la  musica  e  del 
Sig.  Gio.  Adolfo  Hasse  .  .  . 

Friedrichstadt,  la  vedova  Harpeter,  n.  d.     4  V-  ^-t  ^^  V-     19'^^- 

Three  acts.    Argument,  cast,  scenario. 

First  performed,  as  indicated,  January  12,  1750.  Schatz  4518 

—  Attilio  Regolo.  Dramma  per  musica  rappresentato  nel  Teatro 
della  Regia  elettoral  corte  di  Dresda,  nel  carnovale  dell'  anno 
MDCCL  .  .  . 

Friedrichstadt,  la  vedova  Harpeter,  n.  d.     5  p.  I.,  {double)  82  p. 

Same  as  Schatz  4518,  except  that  Gepnan  title  page  "Attilius  Regulus"  and  text 
have  been  added.  Schatz  4519 

Attilio  Regolo.  Drama  per  musica  da  rappresentarsi  in  Roma  nel 
Teatro  delle  Dame  nel  corrente  carnevale  deU'  anno  MDCCLIII  .  .  . 

Roma,  MarceUo  Silvestri,  n.  d.     69  p.     l^h'^- 

Three  acta.  Impresario's  dedication,  argument,  cast,  scenario,  and  names  of 
Metastasio  as  author  ("in  qualche  piccola  parte  di  versa  dalla  prima  impressione") 
and  of  Niccol5  Jomiaelli  as  the  composer. 

First  performed,  as  indicated,  January  8,  1753.  Abert  says,  on  p.  3  of  his  Jom- 
melli  biograghy,  1751,  but  on  p.  54  he  says  1752,  both  dates  apparently  incorrect. 

Schatz  4844 
Attilius  Regulus.     Tr.  of  Hasse's  Attilio  Regolo. 

Atys,  tragedie  en  musique.  Omee  d'entrees  de  ballet,  de  machines, 
&  de  changements  de  theatre.  Representee  devant  Sa  Majeste  a 
Saint  Germain  en  Laye,  le  dixieme  jour  de  Janvier  1676. 

Paris,  Christophe  Ballard,  1676.     6  p.l,  70  p.    22'^'^. 

Prologue  and  five  acts.    Cast.     Neither  Quinault  nor  Lully  mentioned. 

First  performed  at  Saint-Germain  en  liaye  before  the  king,  as  indicated,  at  Paris 
August,  1676  (Schatz),  April,  1677  (Pruni^res).  ML  50.2.A9L8 

—  Atys.  Tragedie  en  musique  ornee  d'entrees  de  ballet,  de  machines, 
&  de  changemens  de  theatre.     Suivant  la  copie  imprimee  h,  Paris. 

[Amsterdam,  Antoine  Schelte],  1687.     79  p.  (incl.  front.)     13^"^. 
Prologue  and  five  acts.    Cast.     Neither  Quinault  nor  Lully  mentioned. 

ML  50.2.A9L9 

—  Atys,  tragedie  representee  par  I'Academie  royale  de  musique  Tan 
1676.  Les  paroles  de  M.  Quinault,  &  la  musique  de  M.  de  Lully, 
VIII.  opera. 

n.  i.,  n.  d.     14"^.    front,  371-444  V-     {R^cueil  general  ^es  opera, 
t.  i,  Paris,  1703.) 
Detached  copy.     Five  acts  and  prologue.  Schatz  5761 

Second  copy.    ML  48. R4 

—  Atys,  tragedie  representee  devant  Sa  Majesty,  a  Saint-Germain- 
en  Laye,  es  annees  1676  &  1682  et  depuis  par  L'Academie  royale  de 
musique,  en  1679,  en  1690,  en  1699,  en  1709,  en  1725.  Remise  au 
th^Htre  le  mardy  7.  Janvier  1738. 

[Paris],  Jean  Baptiste  Christophe  Ballard,  1738.  xii,  67,  [1]  p. 
24'='^. 

Prologue  and  five  acts.    Cast.    Neither  Quinault  nor  Lully  mentioned. 

ML  50.2.A9L93 


184  LIBBAEY   OF  CONGBESS 

Atys — Continued. 

—  Atys,  tragedie  en  musique.  Om^e  d'entr^es  de  ballet,  de  ma- 
chines &  de  cnangemens  de  theatre.  Repr6sent6  devant  Sa  Majesty 
h  Saint  Germain  en  Laye,  le  10  f^vrier  1676. 

QuinauU,  Theatre,  Paris,  1739,  t  iv,  pi.,  p.  [267]-33S.     17'^'^. 
Prologue  and  five  acts.    Lully  is  not  mentioned.  PQ  1881.A1    1739 

—  Atys,  tragedie  represents  devant  Sa  Majeste,  a  Saint-Germain- 
en-Laye,  es  annSs  1676  &  1682.  Et  depuis  par  I'Academie  royale 
de  musique  de  Paris,  en  1679,  en  1690,  en  1699,  en  1709,  en  1725,  & 
en  1738.  Et  par  I'Academie  royale  de  musique  de  Lyon  en  decembre 
1742. 

Lyon,  Aime  Delaroche,  1743.     79  p.     23'"^. 

Five  act«.  Cast.  Neither  the  author,  Quinault,  is  mentioned  nor  the  composer, 
Lully.  The  text  is  practically  the  same  as  that  of  1703,  except  that  the  last  scene 
has  been  cut  down  to  consist  only  of  "Que  cet  arbre  sacr6,"  etc.         Schatz  5761a 

—  Arlequin  Atys,  represents  pour  la  premiere  fois,  par  les  Com^- 
diens  italiens  ordinaires  du  roi,  le  22.  Janvier,  1726. 

Les  parodies  du  Nouveau  ihedire  italien,  Nouv.  ed.,  Paris,  1738, 
t.  Hi,  [163]-218  p.     16^"^. 

One  act.  Parody  of  "Atys"  by  Pontau  {see  t.  I).  The  airs  and  vaudeville  used 
are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs"  (84  p.).        ML  48. P3 

—  Atis,  parodie  en  un  acte;  prSMS  d'un  prologue;  represents 
sur  le  Th^Mre  de  I'Op^ra-comique,  en  f^vrier  1726. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  5,  [257]-319  p. 
17^'"". 

Prose  and  vaudevilles.  Composer  not  recorded.  Parody  of  Lully's  opera,  attrib- 
uted by  Parfaict  to  Fuzelier. 

First  performed,  as  indicated,  Feb.  19,  1720.  PQ  2019. P6 

—  La  grand -mere  amoureuse.  Parodie  d'Atys.  En  trois  actes. 
Par  M"  F***.  &  D'Or***.  Represents  k  la  Foire  de  S.  Germain 
1726. 

Le  Theatre  de  la  foire,  Paris,  1731,  t.  viii,  pi.,  Ip.l.,  65  p.     17^^. 

By  Fuzelier  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  GilUer,  the  "compositeur"  of  the  company,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed,  as  indicated,  March  18,  1726.  ML  48.L2  VIII 

Atys,  tragedie-lyrique,  en  trois  actes,  reprSentS,  pour  la  premiere 
fois,  par  I'Academie-royale  de  musique,  le  mardi  22  f6vrier  1780. 

[Paris],  Aux  depens  de  VAcademie  de  Vimprimerie  de  P.  de  Lonnel, 
1780.     60  p.     23'^'^. 

Cast.  Quinault  is  mentioned  as  the  author,  Niccolo  Piccinni  as  the  composer,  but 
the  text  is  really  more  or  less  by  Marmontel.  Schatz  8067 

—  Atys,  tragedie-lyrique  en  trois  actes,  reprSentS,  pour  la  pre- 
miere fois,  par  I'Academie  royale  de  musique,  le  mardi  22  f^vrier 
1780.     Et  remise  au  The&tre,  le  mardi  14  Janvier  1783. 

Paris,  P.  de  Lormd,  1783.     60  p.     23'^'^. 

Caat  and  name  of  Quinault  as  author,  of  Piccinni  as  composer.        Schatz  11743 


OPERA  LIBRETTOS  185 

Aucassin  et  Nicolette,  ou  Les  moeurs  du  bon  vieux  terns,  com6die 
remise  en  trois  actes  et  en  vers,  dont  una  partie  est  en  musique; 
representee,  pour  la  premiere  fois,  devant  Leurs  Majestes  a  Ver- 
sailles, le  30  decembre  1779,  par  les  Comediens  italiens  ordinaires 
du  roi,  &  a  Paris,  le  3  janv.  1780,  &  reprise  le  7  janv.  1782.  Le 
drame  est  de  M.  Sedaine.     La  musique  de  M.  Gretry. 

Paris,  Brunei,  1782.     63,  [1]  p.     19<^^, 

Cast.  ML  50.2.A92G7 

—  Aucassin  et  Nicolette,  ou  Les  moeurs  du  bon  vieux  temps,  com6die 
en  trois  actes,  en  vers,  dont  une  partie  est  en  musique:   Representee 

{)our  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi, 
e  7  Janvier  1782.     Le  drame  est  de  M.  Sedaine.     La  musique  de 
M.  Gretry. 

Paris,  Brunei,  1784.     4^  V-     -?<?i'"*- 
Cast.     On  p.  39-42,  the  air  of  the  "Ariette.    Que  de  pieces  d'or." 
The  date  of  performance  on  the  title  page  refers  only  to  the  three-act  version.    The 
original  four-act  version  was  first  performed  at  Versailles  December  30,  1779,  and  at 
Paris,  Com^die  italienne,  January  3,  1780.  Schatz  4139 

—  Gesaenge  aus  dem  singspiele:  Ferdinand  und  Nicolette,  oder 
Liebe  erhaelt  den  sieg,  in  drey  aufzuegen.  Aus  dem  franzoesischen 
uebersetzt  von  Andr^.     In  mlisik  gesetzt  von  Gretry. 

Hamburg,  J.  M.  Michaelsen,  1787.     2^  y.     16^"^. 

First  performed  at  Hamburg,  Theater  am  Gaensemarkt,  April  17,  1787. 

•  Schatz  4140 

L'audacia  fortunata.  Commedia  per  musica  da  rappresentarsi  nel 
Real  Teatro  del  Fondo  di  Separazione  per  terza  commedia  del  cor- 
rente  anno  1793. 

Na'poli,  n.  Tpubl.,  1793.     48  p.     15^"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of  the 
composer,  Valentino  Fioravanti.  Schatz  3117 

—  L'audacia  fortunata :  Dramma  giocoso  per  musica  per  celebrare 
I'augusto  nome  di  Sua  Altezza  Reale  la  serenissima  Signora  D. 
Carlotta  Gioacchina  .  .  .  per  eseguirsi  nel  Regio  Teatro  di  S.  Carlo, 
I'autunno  deH'anno  1796. 

Lishona,  Simone  Taddeo  Ferreira,  1796.     173  p.     14^"^. 

Two  acts.  Cast  and  name  of  the  composer  Fioravanti,  but  not  of  the  author, 
Portuguese  text  faces  Italian.  Schatz  3173 

Les  audiences  de  Thalie.  Piece  en  un  acte.  Representee  sur  le 
Theatre  de  I'Opera  comique  a  la  Foire  S.  Germain,  le  7  avril  1734. 

Le  Thedire  de  U foire,  Paris,  1737,  t.  ix,  2  pi.,  [S85]-427  p.    i7<^"». 

By  Carlolet,  who  has  this  to  say  in  a  prefatory  note: 

"Ce  petit  acte  est  moins  une  piece  qu  une  description  fidelle  de  I'^tat  oti  se  trouvoit 
alors  le  Th^tre  de  I'Opera  comique.  L'entrepreneur  conseill^  par  des  associ^s, 
ausquels  la  tete  ne  toumoit  pas  moins  qu'  k  lui,  se  livroit,  comme  eux,  k  I'ignorance  & 
k  la  prevention.  Les  bons  acteurs  murmuroient  hautement  de  se  voir  forces  de  repre- 
eenter  sans  cesse  de  mauvaises  pieces,  &  de  contribuer  avec  des  acteurs  aussi  pitoyables 
Que  neufs,  k  6carter  le  public  d  un  spectacle  qui  s^ut  toujours  sous  d'autres  chefs  &  sous 
a'autres  auteurs,  charmer  son  attente  &  ses  plus  chers  loisirs." 

J>argely  en  vaudevilks.  The  airs,  a  few  of  which  with  name  of  Corrette  as  com- 
poser, are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs."   ML  48.  L2X 

Auf  dem  land  kennt  man  die  rache  nicht.  A.  T.  of  Kauer's 
Der  unschuldige  betrug. 


186  LIBRARY   OF   CONGRESS 

Das  aufgeboth.  A.  T.  of  Wenzel  Muller's  Die  getreuen  Oester- 
reicher. 

Augusta's  triumph.     A.  T.  of  Daniel  Purcell's  Brutus  of  Alba. 

Les  Augustales,  divertissement,  representee  par  TAcademie  royale 
de  musique  le  [blanJc]  novembre  1744. 

Paris,  Jean  Baptisie  Christophe  Ballard,  1744.     15  p.     24'^'^. 

One  Jict.  Cast  and  name  of  Pierre  Charles  Roy  as  author,  of  Francois  Rebel  and 
Franyois  Francoeur  aa  the  composers. 

First  performed  on  November  15,  1744,  as  indicated.  .Schatz  8621 

Auguste  et  Theodore,  ou  Les  deux  pages.  Comedie  en  deux  actes, 
en  prose  et  m^l^e  de  chant.  Par  MM.  Dezdde  &  B.  D.  M.  Repre- 
sentee, pour  la  premiere  fois,  h,  Paris  par  les  Comediens  franpais 
ordinaires  du  roi,  le  6  mars  1789,  &  a  Versailles,  devant  Leurs 
Majestes,  le  12  du  m^me  mois. 
Paris,  Brunei,  1790.     vi,  7-48  p.     19'^. 

Incomplete  copy. 

DezMe's  collaborator  was  Ernest,  baron  de  Mantauffeld.  With  cast  and  "Cos- 
tumes" (p.  iii-vi).  Schatz  2525 

Auld  Robin  Gray:  a  pastoral  entertainment,  in  two  acts.     As  per- 
formed at  the  Theatre-Koyal,  Hay-Market.     Written  by  S.  Arnold, 
jun.     The  music  by  Dr.  Arnold. 
Lmdon,  Geo.  Goulding,' 1794.     55  p.     21Y'^. 

Cast  and  prefatory  note.  The  vocal  score  published  by  Preston  &  Son  says:  "The 
music  (with  a  Scotish  overture)  selected  &  composed.'"  The  ballad  airs  utilized  by 
Arnold  are  indicated  in  the  vocal  score.  "  The  shipwreck  "  is  there  headed  as  by 
"Dr.  Haydn." 

First  performed  July  29,  1794.  Longe  239 

L'Aureliano.  Drama  per  musica  di  Giacomo  dall'  Angelo  da  rap- 
presentarsi  nel  Teatro  di  S.  Moise  I'anno  1666  .  .  .  - 

Venetia,  Francesco  Nicolini,  1666.     7  p.  I.  (incl.  front.) ,  72  p.     14Y^' 
Prologue  and  three  acts.    Author's  dedication  dated  Venice,  February  25,  1666, 
argument,    "fintioni,"   and   scenario.     The   composer.    Carlo   Pallavicino,   is  not 
mentioned.  Schatz  7719 

Aurelio  and  Miranda:  a  drama.  In  five  acts.  With  music. 
First  acted  at  the  Theatre  Royal,  Drury-Lane,  on  Saturday,  Decem- 
ber 29,  1798.     Written  by  James  Boaden.     Third  edition  .  .  . 

Londm,  J.  Bell,  1799.     2  p.  1,67  p.     21 Y"^. 

Cast.     The  composer  is  not  mentioned.  Longe  266 

Auretta  e  Masullo  ossia  II  contratempo.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  da  S.  Agostino  la  primayera  del 
1792  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     60  p.     14^'^, 

Two  acta.  Impresario's  dedication  speaking  of  the  composer  as  "un  talente 
nascente,"  cast,  scenario,  and  name  of  Francesco  Gnecco  ("La  musica  sard  tutta 
nuova  ").     Schatz  also  attributes  the  text  to  him.  Schatz  3958 

Aurora.     A.  T.  of  Reiser's  Der  morgen  des  europaeischen  glueckes. 


OPERA   LIBRETTOS  «  187 

'^  L'Aurora  in  Atene.     Drama  per  musica  nel  Teatro  Grimani  di  S.  S. 
Gio.  e  Paolo.     L'anno  1678.     Del  dottor  Frisari  .  .  . 
Yenetia,  Francesco  Nicolini,  1678.     56  p.     i^*^"*- 

Three  acts.  Author's  dedication,  dated  ^'e^Lice,  February  10,  1678,  argument, 
scenario,  and  notice  to  the  reader  who  is  informed  tl\at  Antonio  Zannettuii  com- 
posed the  music  and  that  the  text  is  based  on  conte  Bemi's  "II  ratto  di  Cefalo." 
This  copy  does  not  contain  the  frontispiece  and  woodcut  in  the  Brussels  copy.  (See 
Wotquenne.)  Schatz  11146 

L'Aurora  ingannata. 

Prologue  and  four  intermedii.  Forms  part  (p.  6-10,  38-41,  77-79,  97-99,  147-150) 
of  "FiLARMiNDO.  Favok  pastoraledel  Sig.  Co.  Ridolfo  Campeggi.  In  questa  quinta 
impressione  arricchita  con  V Aurora  ingannata.  Favoletta  per  grintermedij  in 
musica    ...  In  Venetia,   MDCXXVIII.    Apresso  Gio.  Battista  Cioti."    (178  p. 

Date  slightly  mutilated.  Allacci,  without  mentioning  a  composer,  says:  "In 
alcune  delle  suddette  edizioni  si  vede  V Aurora  ingannata  dello  stesso  autore  .  .  . 
udita  in  musica  la  prima  volta  nell'  anno  1615."  Schatz  says  under  "Filarmindo" 
(not  under  "Aurora  ingannata,"  which  he  does  not  seem  to  know):  "Musik  von 
Girolamo  Giacobbi.  Bologna,  Sala  Zoppia,  1605,"  but  "Filarmondo"  was  merely 
a./avola  pastorale  with  no  music,  except  perhaps  by  the  choro.  Corradi  says  that  the 
intermezzi  of  "L'Aurora  ingannata"  were  added  in  1615.  PQ 

L'Aurora  vendicata,  ballet.  See  P.  Guglielmi's  La  pastorella 
nobile. 

L'Aurore  et  Cephale,  fourth  entree  in  Quinault's  Les  amours  des 
Deesses. 

Einem  liocli-edlen  und  hochweisen  Rath  der  Stadt  Hamburg,  wurde 
«mit  gehorsamsten  respect  und  schuldigster  danckbarkeit  wegen 
erzeigter  gnade  in  einer  action  Der  eiserne  Koenig,  nebst  vorher- 
gehender  musicalischen  serenata.  Betitult:  Die  aus  Bellonens 
reich  vertriebene  und  an  dem  Elbe-strande  frohlockende  ver- 
gnuegung.  Dedicirt  und  unterthaenig  vorgestellet  von  denen 
anwesenden  Koenigl.  pohlnischen  und  cnurfuerstl.  saeclisischen  pri- 
vilegierten  hof-comoedianten. 

Hamburg,  Philip  Liidwig  Stromer,  1719.      Unpaged.     1^'^^. 

One  act.  Dedication,  avertissement,  and  at  end  "Summarischer  innhalt  der 
action  an  sich  selbst,"  note  that  this  "haupt-action"  would  be  followed  by  "eine 
lustige  nachcomoedie "  and  note:  "Der  schau-platz  ist  in  der  Neustadt  in  der  Fuhlen 
Twiet  ueber  dem  Bremer-Schluessel."  Author  and  composer  not  mentioned  and 
unknown  to  Schatz.  Schatz  11448 

Die  aus  der  einsamkeit  in  die  welt  zurueckgekehrte  opera, 

ward  bey  neuer  eroeffnung  des  Hamburgischen  Schau-Platzes  in 
einem  vor-spiele  aufgefuehret  im  monath  octobris,  anno  1729. 

[Hamburg],  Gedruckt  mit  StromerscTien  schrifften,  n.  d.  Unpaged. 
18'"^. 

Cast.  Neither  the  author,  Christ.  Gottl.  Wendt,  is  mentioned,  nor  the  comj)oser, 
Georg  Philipp  Teleznajin. 

First  performed  as  indicated,  October  10,  1729.  Schatz  10269 

Die  aus-schweifenden.     Tr.  of  Piccinni's  La  schiava  riconosciuta* 

L'auteur  dans  son  menage,  comedie  en  un  acte,  en  prose;  m^l^ 
d'ariettes.     Paroles  du  C.  Gosse;  musique  du  C.  Bruni:  Kepr6sent6e 
pour  la  premiere  fois  sur  le  th^&tre  Feydeau,  le  8  germinal  an  sept 
[March  28,  1799]  de  la  R^publiqiie: 
Paris,  Huet  [etc.],  an  vii.     44  P-     21'=^.  ML50.2.A93BS 


188  UBRARY   OF  CONGRESS 

Arien  und  gesange  der  operette :  Der  authomat.  In  einem  auf zuge. 
Nach  dem  franzosischen  des  Cuinet  Dorbeil.  Die  musik  ist  vom 
herrn  Job.  Andr^. 

Hamburg,  J.  M.  Michaehen,  178S.     16  p.     W"^. 

Text  by  the  composer. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  1783.  Schatz  180 

—  Arien  und  gesange  der  operette :  Das  automat.  In  einem  auf- 
zuge.  Nach  dem  franzoesischen  des  Cuinet  Dorbeil.  Die  musik  ist 
vom  herrn  Job.  Andr6. 

Liibeck,  Gedruckt  mit  Greeniachen  schriften,  1784.     16  p.     W^. 
First  performed  at  Liibeck,  Theater  in  der  Backergrube,  1784.  Schatz  181 

The  author's  farce;  and  the  pleasures  of  the  town.    As  acted  at  the 
Theatre  in  the  Hay-Market.     Written  by  Scriblerus  Secundus.     The 
second  edition. 
London,  J.  Watts,  1730.     4  p.  I,  69,  [4]  p.     W"^. 

Prologue,  three  acts,  and  epilogue.  *  Cast.  The  first  and  second  acta  contain  only 
one  Bong  each,  but  the  third  act,  a  puppet-show  in  form  of  a  ballad  opera,  contains 
twenty -five,  the  airs  of  which  are  indicated.    The  text  is  by  Henry  Fielding. 

First  performed  at  the  "little"  Haymarket  Theatre,  March  1730.      ML  50.5.A82 

Das  automat.     L.  T.  of  Andre's  Der  authomat. 

Gli  avantaggi  della  concordia.    See  M.  Curzio. 

Gli  avari  in  trappola.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia,  composto  da  Caterino  Maz-* 
zol^  .  .  . 

Bresda,  n.  pull.,  1787.     135  p.    15^^. 

Two  acts.  Joseph  Schuster  is  mentioned  as  the  composer.  German  title  "Die 
geizigen  in  der  falle"  and  text  face  Italian. 

Rrst  performed,  as  indicated,  January,  1787.  Schatz  9743 

L'avaro.  Dramma  giocoso  per  musica  da  rappresentarsi  nel  Teatro 
di  via  S.  Maria  nel  carnevale  dell'  anno  1777  .  .  . 

Firenze,  nella  Stamperia  in  horgo  de'  Gred,  n.  d.     66  p.     16Y^. 

Three  acts.  By  Giovanni  Bertati.  Cast  and  name  of  Pasquale  Anfossi  as  com- 
poser, but  not  of  librettist. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  fall  of  1775.  Schatz  228 

—  L'avaro,  dramma  giocoso  per  musica;  da  rappresentarsi  nel  Regio 
Teatro.  Den  Giaerrige,  et  lystigt  «ynge-spil ;  til  at  opfores  paa  den 
kongehge  skueplads.     Oversadt  paa  dansk  af  R.  Soeloerg. 

Eiohenhavn,  H.  J.  Graae,  1776.     109  p.     16^"^. 

Three  acts.  Bertati  is  not  mentioned.  Cast  and  name  of  Anfossi  as  composer. 
Italian  and  Danish  text  on  opposite  pages. 

First  performed  at  Copenhagen,  as  indicated,  January  31, 1777.  Schatz  229 

—  L'avaro.     Dramma  giocoso   per   musica   da   rappresentarsi   nel 

Eiccolo  Teatro  elettorale  m  Dresaa,  1780. — Der  Geizige.     Ein  scherz- 
aftes  singspiel  .  .  . 
n.  L,  n.  d.     I47  p.     16^"^. 

Three  acts.  Italian  and  German  text  on  opposite  pages.  Anfossi  mentioned  as 
composer.  Schatz  230 


OPERA   LIBRETTOS  189 

L'avaro.     Dramma  giocoso  per  musica  da  rappresentarsi  in  Ferrara 
nel  Teatro  Bonacossi  il  carnovale  dell'  anno  1776  .  .  . 
Ferrara,  Bemadino  PomateUi,  n.  d.     60  p.     /-^i""'- 
Three  acta.    By  Giovanni  Bertati .    Oast,  scenario,  and  name  of  Gennaro  Astaritta 
("musica  tutta  nuova  ")  as  composer,  but  not  of  librettist.  Schatz  381 

L'avaro,  ballet.     See  Curcio's  Emira  e  Zopiro. 

L'avaro.  Intermezzi  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  I'autunno  dell'  anno  1720. 

Venezia,  Marin  Rossetti,  1720.     20  p.     14^'^. 

Three  intermezzi.  Neither  the  author,  Antonio  Salvi,  nor  the  composer.  Carlo 
Francesco  Gasparini,  is  mentioned. 

First  performed  at  Florence  in  the  same  year;  at  Venice,  between  the  acts  of 
Vivaldi's  "La  verity  in  cimento."  Schatz  3594 

L'avaro  burlato.  Operetta  comica,  da  rappresentarsi  sid  Regio 
Teatro  Danese,  I'autunno  dell'  anno  1762 — Den  beskaemmede 
guier  .  .  . 

Ki0henhavn,  Lars  Nielsen  Svare,  n.  d.     103  p.     16'^'"K 

Three  acts.  Schatz  enters  the  text  under  Bartolomeo  Vitturi's ' '  Chi  tutta  abbraccia 
nulla  stringe, "  music  by  Scolari,  but,  as  a  matter  of  fact,  from  the  third  scene  of  the 
first  act  on  the  texts  become  so  different  as  to  have  very  little  in  common. 

Cast  and  note:  "La  musica  e  la  piii  parte  del  signer  Scolari."  Schatz  9792 

L'avaro  burlato,  ballet.     See  Zingarelli's  Carolina  e  Mexicow. 
L'avaro  deluso.     L.  T.  of  Paisiello's  La  discordia  fortunata. 

L'avaro  deluso,  a  new  comic  opera;  as  performed  at  the  Kin^*s 
Theatre  in  the  Haymarket.  The  poetry  oy  Signer  Bertati,  with 
alterations  and  additions  by  Signor  AJatonio  Andrei;  the  music 
entirely  new  by  Signor  Antonio  Sacchini;  the  translation  by  Mrs. 
Rigaud. 
LoTidm,  G.  Bigg,  1778.    87  p.    19'^'". 

Thafee  acts.    Cast.    Bertati's  text  originally  had  the  title,  "Calandrano." 
First  performed  1778,  as  indicated.  Schatz  9209 

—  II  Don  Calandrano.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Firenze  nell'  autunno  dell'  anno  1781.  Nel  Regio  Teatro 
degl'  Intrepidi  detto  della  Palla  a  Corda  .  .  . 

Firenze,  Anton  Giuseppe  Pagani  e  comp.,  1781.     44  V-     i^'^™'- 
Two  acts.     By  Giovanni  Bertati,  with  alterations  by  Antonio  Andrei,  neither  of 
whom  is  mentioned.    Antonio  Sacchini's  name  is  given  as  that  of  the  composer. 

Schatz  9245 

L'aveugle  de  Palmyre,  com  ^die-pastorale,  en  deux  actes,  en  vers, 
mMee  d'ariettes.     Representee  pour  la  premiere  fois  par  les  Com6- 
diens  itahens  ordinaires  du  roi,  le  jeudi  5  mars  1767.     Par  M.  Desfon- 
taines.     La  musique  de  M.  Rodolphe  .  .  . 
Paris,  la  veuve  Duchesne,  1767.     Ip.l.,  54  p.    21'=^. 

Cast.  On  p.  50-51,  the  air  of  the  vaudeville,  "La  lumi^re  la  plus  pure."  On 
p.  53-54,  the  air  of  "L'espoir  qui  t'enflamme"  (I,  3).  The  text  is  tne  same  as  in  the 
other  1767  edition.  Schatz  11752 


190  LIBRARY   OF   CONGRESS 

L'aveugle  dc  Palmyre — Continued. 

—  L'aveugle  de  Palmyre,  comedie-pastorale,  en  deux  actes,  en 
vers,  m616e  d'ariettes.  R6pr6sent^e  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi,  le  jeudi  5  mars  1767.  Par  M. 
Desfontaines.     La  musique  de  M.  Rodolphe  .  .  . 

Paris,  la  veuve  Duchesne,  1767.    39  p.     W^"^. 

Caat.  ScHATZ  8851 

—  L'aveugle  de  Palmyre,  com^die  pastorale  en  deux  actes  et  en 
vers;  m^lee  d'ariettes.  Par  Monsieur  Desfontaines.  Nouvelle 
Edition. 

Paris,  N.  B.  Duchesne,  1776,    32  p.     19^"^. 

Brodolphe  is  not  mentioned.  ML  48M2M 

Les  aveux  indiscrets,  opera  comique  m^l6  d'arietes;   par  M,  de  la 
Ribardiere;  represents  pour  la  premiere  fois  "k  la  Foire  Samt-Germain, 
le  mercredi  7  f6vrier  1759. 
Paris,  Michel  LamheH,  175$.     36,  4  p.     W"*. 

The  4  p.  at  end  contain  six  "Airs  dee  Aveux  indiscrets,"  unaccompanied.  An 
Avertissement  on  p.  [3]  reads: 

"Cet  ouvrage  a  6te  fait  en  vers,  &  mis  en  musique  il  y  a  quatre  ans;  on  a  6t6 
oblig^,  pour  le  donner  au  public,  de  eubstituer  de  la  prose  h  la  place  du  r^citatif. 
L'auteur  de  la  musique  a  cru  devoir  le  faire  graver  en  grande  partition,  &  laisser  sub- 
sister  les  recitatifs  tels  qu'ils  avoient  4t6  faits.     II  paroitra  vers  le  25  de  ce  moia  .  .  ." 

The  composer,  Monsigny,  is  not  mentioned.  ML  50.2.A95M7 

Aviso  aos  casados.     Tr.  of  Isouard's  L'awiso  ai  maritati. 

Gl'awanzi  fortunati  del  mondo  naufragente.     See  M.  Curzio. 

Gli  awenimenti  d'Ermlnia  e  di  Clorinda  sopra  il  Tasso.  Drama 
per  musica  da  rappresentarsi  nel  famosissimo  Teatro  Grimano  di  Sr. 
Giovanni  e  Paulo  I'anno  MDCXCIII.     Di  Giulio  Cesare  Corradi  .  .  . 

Venetia,  Nicolini,  1693.     67  p.     l^Y"^. 

Three  acts.  Author's  dedication,  scenario,  and  notice  to  the  reader  which  reads 
in  part: 

*'T'invito  solo  ad  udire  la  musica  del  Sig.  Carlo  Francesco  Polarolo  [Pollaroli], 
cheper  essere  I'ultima  faticha  delle  cinque  opere,  vestite  quest'  anno,  nel  giro  di  tre 
mesi,  delle  sue  spiritosissime,  &  impareggiabili  note,  ti  far^  certamente  stupire  ..." 

ScHATZ  8275 

Gl'  awenimenti  d'Orinda.  Drama  per  musica  per  il  Teatro  Gri- 
mani  a  SS.  Gio.  e  Paolo,  rappresentato  I'anno  1659  di  Pietr'  Angelo 
Zaguri  .  .  . 

Venetia,  Giacomo  Batti,  1659.    front.,  6  p.  I.,  64  p.     l^Y^. 

Three  acts.  Impresario's  dedication,  dated  Jan.  3, 1659,  notice  to  the  reader,  argu- 
ment, but  without  name  of  the  composer,  Daniele  Castrovillaxi.         Schatz  1690 

Le  awenture  d'Ircana,  ballet.     See  Salieri's  La  fiera  di  Venezia. 

Le  awenture  del  carnovale,  ballet.     See  Rispoli's  Idalide. 

Le  awenture  di  Cleomede.     Dramma  serio-comico  per  musica  da 
rappresentarsi  nel    Real    Teatro   dell'Ajuda  nel   felicissimo  giorno 
natalizio  del  fedelissimo  monarca  D.  Giuseppe  I  .  .  .  nel  di  6.  giugno 
1772. 
Lishona,  Stamperia  reale,  n.  d.     100  p.     15*^"^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Gaetano  Martinelli  as  author, 
of  Niccol6  JommeUi  as  composer  ("nuova  composizione").  This  work  seems  to 
have  escaped  Abert.  Schatz  4889 


OPEBA   LIBKETTOS  191 

Le  awenture  di  Milord  Wilver  e  di  Miledi  sua  sposa,  ballet. 
See  Giordani's  Ines  de  Castro. 

Le  awenture  galanti.     L.  T.  of  Tritto's  Le  vicende  amorose. 

Gli  awenturieri.  Dramma  giocoso  per  musica,  da  rappresentarsi 
nel  Teatro  elettorale,  di  Caterino  Mazzolk,  poeta  dell'  elettore  di 
Sassonia. 

Bresda,  n.  pull.,  1791.     I4I  p.     IdY"^. 

Two  acts.  German  title  page  "Die  abenteurer"  and  text  face  Italian.  Paisiello 
is  mentioned  as  the  composer. 

Schatz  enters  this  opera  as  a  replica  of  Paisiello's  "II  re  Teodoro"  with  a  new 
text  by  Mazzol^.  It  is  a  fact  that  both  operas  have  a  few  arias  in  common,  as  for 
instance,  "Figlia,  il  cielo  ti  destina"  (I,  7  resp.  I,  11);  "Dov'  e  Dorina"  (I,  19)  resp. 
"Ov'  e  Lisetta"  (I,  14),  and  "Voi  semplici  amanti"  (II,  5),  but  most  of  the  arias 
are  not  identical  and  the  characters  and  the  dialogue  are  absolutely  different. 

Schatz  7654 

L'awiso  ai  maritati.  Dramma  giocoso  per  musica,  da  rappresen- 
tarsi nel  Teatro  elettorale. 

Bresda,  n.  pull.,  1795.     119  p.     15^"^. 

Three  acts.  Niccol5  Isouaxd  is  mentioned  as  composer.  German  title  page 
"Die  schule  der  ehemaenner"  and  text  face  Italian,  which  is  by  Francesco  Gonella, 
who  is  not  mentioned. 

First  performed  at  Florence,  Teatro  di  via  della  Pergola,  spring  of  1794. 

Schatz  4908 

—  Aviso  aos  casados.     Drama  jocose  em  musica  em  hum  s6  acto 
para  se  representar  no  Real  Theatro  de  S.  Carlos,  ofFerecido  ao  respec- 
tavel  publico  de  Lisboa  por  Domingos  Caporalini  no  dia  do  seu 
beneficio. 
Lisloa,  Simao  Thaddeo  Ferreira,  1796.     93  p.     16^"^. 

Notice  to  the  reader  and  name  of  Niccolo  Isouaxd  as  composer.  Italian  text  faces 
Portuguese.  Schatz  4944 

Second  copy.    MI,  48. C6  II 

Awiso  ai  maritati.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  in  S.  Samuele  il  carnavale  1798. 
Venezia,  Stamperia  Valvasense,  n.  d.     70  p.     18''"*. 

Two  acts.  Francesco  Gonella,  the  author,  is  not  mentioned.  Cast  and  name  of 
Joh.  Simon  Mayr  as  the  composer.  On  p.  [35]-44  argument,  cast,  and  description  of 
Antonio  Berti's  five  act  "La  fata  Alcinoe  ossia  Amore  ed  innocenza."  The  com- 
poser of  the  music  is  not  mentioned.  Schatz  6188 

Axur,  koenig  von  Ormus.     Tr.  of  Salieri's  Axur,  r^  d'Ormus. 

Axur,  re  d'Ormus.     Italian  version  of  Salieri's  Tarare. 

Azakia.     Ein  singspiel  in  drei  aufzuegen  von  C.  F.  Schwan.     Die 

musik  ist  von  hrn.  direktor  Cannabich. 

Mannheim,  C.  F.  Schwan,  1778.     56  p.     17""^. 

First  performed  at  Mannheim,  Churfvirstl.  deutsche  Schaubuhne,  1778. 

Schatz  1573 

Azemia,  ou  Les  sauvages,  com^die,  en  trois  actes,  en  prose,  m616e 
d'ariettes.     Reprfeent^e  h,  Fontainebleau,  devant  Leurs  Majest^s,  le 
17  octobre  1786,  &  k  Paris,  le  3  mai  1787. 
Paris,  Brunei,  1787.     1  p.l.,  viii,  72  p.    20'''^. 


192  LIBRARY   OF   CONGRESS 

Azemia — Continued. 

Cast.  The  viii  p.  contain  an  "Epitre  dedicatoire  k  Monsieur  Dalavrac"  as  com- 
poser, by  the  author,  de  la  Chabeaussi^re  (not  mentioned  by  name),  and  his  Avertisse- 
ment,  which  is  directed  against  the  criticism  of  his  work  in  the  Mercure  by  le  Vacher 
de  Chamois.    He  says: 

" C'^toit  apr^  de  mftres  &  profondes  reflexions  sur  I'art  dramatique,  &  ses  diff^rentes 
branches,  que  je  regardois  comme  permis  &  peut-dtre  n^ceasaire,  d'^tendre  les  res- 
sources  du  genre  hom6  de  Top^ra-comique,  en  admettant,  de  pr^f^^rence,  les  situa- 
tions romanesques,  lors-qu'elles  pouvoient  ee  concilier  avec  la  vraisemblance  .  .  ." 

ML  50.2.A98D2 

—  Azemia,  ou  Les  sauvages,  com6die  en  trois  actes,  en  prose,  mM^e 
d'ariettes;  representee  k  Fontainebleau,  devant  Leurs  Majest^s,  le 
17  octobre  1786,  &  k  Paris,  le  3  mai  1787.  Les  paroles  sont  de  M. 
de  la  Chabeaussidre,  la  musique  de  M.  le  chevalier  d'Alayrac. 

Toulouse,  J.  B.  Broulhiet,  1787.     43  p.     22^. 

Cast.    Without  the  dedication  and  Avertissement.  ML  50.2.A98D22 

—  Azemia,  ou  Les  sauvages,  com^die  en  trois  actes,  en  prose,  mdl^e 
d'ariettes;  representee  k  Fontainebleau  .  .  .  le  17  octobre  1786,  & 
a  Paris,  le  3  mai  1787.  Les  paroles  sont  de  M.  de  la  Chabeaussiere,  la 
musique  de  M,  le  chevalier  d'Alayrac. 

Faris,  Brunei,  1788.    4<9  p.     ^0<="*.  ML  48.M2L 

—  Die  Wilden.  Singspiel  in  drei  akten,  nach  dem  franzosischen  von 
Dr.  Schmieder.  Die  musik  ist  von  d'Alayrac.  Zuerst  aufgefuehrt 
auf  dem  Mainzer  Nationaltheater. 

Frankfurt  am  Main,  hei  Johann  Gottloh  Pech,  1 791 .    96,  [1]  p.    14h''^' 

Dedication,  cast,  and  prefatory  note: 

"Schon  durch  die  oefteren  vorstellungen  im  manuscript,  ist  dies  singspiel  in 
Deutschland  bekannt.  Fuer  den  druck  hab'ich  noch  bei  einigen  stellen  naiver 
unschuldiger  liebe  im  dialog  Shakespears  Sturm  benutzt,  bei  den  gesaengen  ist  die 
fessel  der  musik  zu  beschraenkend  .  .  ." 

First  performed,  as  indicated,  May  26,  1789.  Schatz  2371 

Azor,  re  di  Kibinga.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustimani  in  S.  Moise  I'autunno 
deir  anno  1779. 

Venezia,  n.  puhl,  n.  d.     62,  [2]  p.     18^"^. 

Two  acts.  Cast  and  name  of  Pasquale  Anfossi  as  composer.  On  p.  31-34  "pro- 
gramma  del  ballo  primo,"  without  title  of  the  ballet,  invented  by  Antonio  Marliani. 
The  second  ballet  was  entitled,  "II  tutore  in  gannato."  Schatz  265 

L'Azzardo.  Commedia  per  musica  da  rappresentarsi  nel  Real 
Teatro  del  Fondo  di  Separazione  per  terz'  opera  di  questo  corrente 
anno  1790. 

Napoli,  Vincenzo  Flauto,  n.  d.     54  p.     15^^"^. 

Three  acts.  Argument,  cast,  and  name  of  Pietro  Guglielmi  as  the  composer. 
Author  not  mentioned  and  unknown  to  Schatz.  On  p.  7-9,  cast  and  synopsis  of 
Giovanni  Battista  Giannini's  "Magia  contro  magia,  ballo  eroico  favoloso,"  music 
("tutta  nuova")  by  Pietro  Dutillieu. 

First  performed,  as  indicated,  October  9,  1790.  Schatz  4236 

I  baccanali,  ballet.     See  Bianchi's  II  disertore. 

Les  bacchanales.  Entree  in  Colin  de  Blamont's  Les  festes  grecques 
et  romaines. 


OPERA   LIBRETTOS  193 

I  bacchanal!,  ballet.     See  Farinelli's  Seldano. 

Bacchus.     Intermede  in  Bourgeois'  Les  plaisirs  de  la  paix. 

Bacchus  et  Ariane.     See  Les  amours  des  dieux. 

Bacchus  et  Ariane,  ballet  h^roique  par  M.  Gallet;  musique  de  M. 
Rochefort,  second  maitre  de  musique  de  FOrchestre,  represente  pour 
la  premiere  fois  sur  le  Theatre  de  FAcademie  royale  de  musique,  le 
dimanche  11  decembre  1791. 

Paris,  L'imprimerie  dvique,  n.  d.     24  p.     19^"^. 

One  act.     Detailed  argument,  cast,  and  prefatory  note,  in  which  Gallet  says: 

"L'administration  de  I'Opera,  jaiouse  sans  doute  de  menager  la  sante  d'un  sujet 
qui  lui  est  aussi  recommandable  k  titre  de  premier  danseur,  que  comme  compositeur, 
6toit  occupee  du  soin  de  se  procurer  une  personne  pour  partager  la  fatigue  des  ballets 
avec  celles  qui  en  sont  chargees.  Ramene  a  cette  epoque  dans  le  sein  de  ma  patrie, 
je  me  euis  ofitert. 

"  Charge,  depuis  que  j'ai  qiiitt6 1'Op^ra,  de  cet  emploi  dans  les  premiers  thMtres  de 
I'Europe,  je  n'ai  cess^  de  m'occuper  d  un  art  qui  s'est  ouvert  la  plus  vaste  carri^re,  en 
remontant  ^  son  origine,  et  joignant  la  pantomime  k  la  danse  ..." 

He  continues  by  saying  that  he  was  obliged  to  select  a  simple  subject,  like  "Bacchus 
&  Ariane,"  because  the  repertoire  of  new  works  did  not  permit  the  selection  of  one  of 
his  "grands  ballets."  ML  52.2.B1R6 

Second  copy.    ML  48.B2 

Bacchus  et  flrigone.     See  Mondonville's  Les  festes  de  Paphos. 

Bacco  ed  Arianna,  ballet.     See  Insanguine's  Motezuma. 

Bacco  ed.  Arianna.     Festa  teatrale  per  musica  da  rappresentarsi 
nel  Regio  teatro  di  Torino  nella  primavera  del  1784  .  .  . 
Torino,  Onorato  Derossi,  n.  d.    viii,  4.8  p.     20'^'^. 

Two  acts.  Argument,  cast,  scenario,  and  names  of  Cesare  Oliveri  as  the  author 
and  Angelo  Tarchi  as  the  composer.  On  p.  [41]-47  arcument,  cast,  and  description 
of  Sebastiano  Gallet's  ballet,  music  by  Vittorio  Amedeo  Canavasso,  "Annibale  in 
Torino,  ballo  eroico  pantomimo."  Schatz  10226 

Bacco  e  Arianna,  ballet.     See  Sarti's  I  due  litiganti. 

Die  baeurinn  bey  hofe.     Tr.  of  Sacchini's  La  contadina  in  corte. 

I  bagni  d'Abano. 

{161\-216  p.  16^^.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  Hi,  Torino,  1757.) 

Three  acts.  ML  49.A2G6 

—  I  bagni  d'Abano.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  44t 
[339]-394  p.    18\'^,  PQ 

I  bagni  d'Abano.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Nuovo  di  S.  Samuele  il  carnovale  delF  anno  1753  .  .  . 

Venezia,  Modesto  Fenzo,  1753,     56  p.     17'='". 

Three  acts.  By  Goldoni.  Neither  he  nor  the  composers,  Baldassare  Galuppi 
and  Ferdinando  Giuseppe  Bertoni,  are  mentioned.  Impresario's  dedication,  dated 
Venice,  February  10,  1753,  cast,  and  scenario.  Schatz,  Wotquenne,  and  Piovano 
attribute  the  music  to  the  above,  whereas  Wiel  merely  says  unaer  no.  556:  "Musica: 
Baldassare  Galuppi?  "  Schatz  3519 

72251°— VOL  1—14 13 


k 


194  LIBRABY  OF  CONGRESS 

I  bagni  d'Abano  o  sia  La  forza  delle  prime  impressioni.  Commedia 
del  Si^.  Antonio  S.  Sografi  .  ,  .  posta  in  musica  dal  Signor  maestro 
Antonio  Capuzzi  per  il  nobilissimo  Teatro  Venier  in  San  Benedetto  11 
carnovale  dell'  anno  1794. 

Venezia,  Casali,  1793.     87  p.     18'='^. 

Two  acts.    Author's  dedication,  dated  December  26,  1793,  and  scenario. 

SCHATZ  1597 

Baiazet.     Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S°  Gi6.  Grisostomo  1  autuno  1742  .  .  . 
n.  i.,  n.  d.     1  p.  I.,  54  p.     15^'^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Andrea  Bemasconi  as  com- 
poser but  not  of  author  of  libretto,  conte  Agostino  Piovene.  Originally  it  was  called 
^'Tamerlano." 

First  performed  as  Baiazet  at  Venice,  as  indicated.  Schatz  868 

Baiocco  et  Serpilla.     L.  T.  and  parody  of  II  marito  giogatore. 

Le  baiser  donne  et  rendu,  comMie  en  un  acte  et  en  prose,  m^l^e 
d'ariettes.  Representee  a  Paris,  sur  le  Th64tre  des  Amis  de  la  patrie, 
le  27  pluvidse.  Fan  4!  [Feb.  16,  1796].  Par  J.  H.  Guy.  Musique  du 
citoyen  Gresnich. 

Paris,  Barba,  1796,  Van  IV.  ix,  2-31,  [1]  p.    21'^^. 

The  ix  p.  contain  list  of  errata,  preface,  in  which  Guy  takes  issue  with  his  critics,  and 
a  "Programme  du  role  de  Nicolas."  ML  50.2.B2G7 

II  Bajazet.     L.  T.  of  Gasparini's  Tamerlano. 

Bajazet.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1754  .  .  . 

Torino,  Zappata  ed  Avondo,  n.  d.     4  V-  ^-^  ^^  V-i  Ul  ^-     16^*^^. 
Three  acts.     The  same  as  "Tamerlano"  by  conte  Agostino  Piovene,  who  is  not 
mentioned.    Argument,  cast,  scenario,  and  names  of  Niccold  Jommelli  as  the  com- 

Soser  of  the  opera,  of  Rocco  Gioanetti  of  the  three  ballets  "Le  feste  di  Flora,"  etc. 
in  the  additional  leaf  the  aria  "Va  dal  crudel  tiraima, "  which  replaced  "Digli,  che 
peni,  e  frema"  in  I,  6. 

First  performed,  as  indicated,  December  26,  1753.  Schatz  4878 

Bajazet.  Dramma  per  musica  da  rappresentarsi  in  Verona  nel 
Nuovo  Teatro  dell'  Accademia  Filarmomca  il  carnovale  dell'  anno 
1765  .  .  . 

Verona,  Dionisio  Ramanzini,  n.  d.     4^  P-     17'^'^. 

Three  acts.  Text  is  the  "Tamerlano,"  by  conte  Agostino  Piovene,  who  is  not 
mentioned.  Impresario's  dedicatory  poem,  argument,  cast,  scenario,  and  name  of 
Giuseppe  Scarlatti  as  the  composer.     ("La  musica  sar^.")  Schatz  9558 

II  Bajazette.     Dramma  per  musica  da  rappresentarsi  nel  Regio- 
ducal  Teatro  di  Parma  la  primavera  del  MDCCLXV. 
Parma,  Monti,  n.  d.     56  p.     20""^. 

Three  acts.  Dedicatory  poem  by  the  author  conte  Jacopo  Antonio  San-Vitale, 
argument,  scenario,  cast,  and  name  of  the  composer,  Ferdinando  Giuseppe  Bertoni. 

With  the  opera  were  performed  the  ballets  "Telemaco  nell'  isola  di  Calipso"  and 
"I  Tartari  generosi,"  described  on  p.  26-27,  44  without  name  of  the  composer  of  the 
music.  Schatz  936 

Le  Bal.     Entree  in  Campra's  Les  festes  venitiennes. 


OPERA  LIBRETTOS  195 

Le  bal  bourgeois,  opera-comique,  en  un  acte,  mesl6  d'ariettes,  par 
M.  Favart :  represente  pour  la  premiere  fois  sur  le  Theatre  de  I'Opera- 
comique  de  la  Foire  St.  Laurent,  le  13  mars  1738.     Imprime  en  1762. 

Paris,  Duchesne,  1762.  76,  [4]  p.  19^"^.  (Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  viii.) 

One  act.  Cast.  Prose,  vaudevilles  and  ariettes.  Some  of  the  airs  printed  in  the 
text.  According  to  Favart's  Correspondence,  he  composed  several  of  them.  His 
musical  collaborator  is  not  mentioned  by  Font. 

First  performed  as  indicated,  end  of  August,  1761,  for  the  opening  of  the  Foire  St. 
Laurent.  ML  49.A2F1 

Le  bal  champetre.     Entree  in  Duplessis'  Les  festes  nouveUes. 

Le  bal  de  Strasbourg,  divertissement  allemand,  au  sujet  de  la  con- 
valescence du  roy.    Opera  comique  ballet.    Par  Mrs.  F  .  .  .  D.  L.  G  .  . . 
&  L.  S  .  .  . 
Paris,  Praultfils,  17 U.     32,  4,  4,  4  p.     18"^. 

The  one-act  opera  is  toute  en  vaudevilles,  i.  e.,  the  dialogue  is  sung  to  popular  airs. 
The  12  p.  following  the  text  contain  the  "Airs  du  Bal  de  Strasbourg  :  "Reviens 
amour,"  "Je  vous  aimois,"  "Je  me  mats  k  peine,"  "Notre  bonheur  nous  fait,"  and 
separately  the  " P?  vaudeville " :  "Tout  ici  partage"  and  "II?  vaudeville":  "Notre 
bonheur  nous  fait."  The  authors  of  this  piece  were,  as  indicated,  Charles  Simon 
Favart,  de  La  Garde,  and  Lesueur.  Their  musical  collaborator  is  not  mentioned  by 
Font. 

First  performed  at  Paris,  Foire  Saint-Laurent,  September  13,  1744.       ML  48. P2 

—  Le  bal  de  Strasbourg,  divertissement  allemand,  au  sujet  de  la 
convalescence  du  roi,  opera  comique  ballet.  Par  Mrs.  F  .  .  .  D.  L. 
G  .  .  .  &  L.  S  .  .  . 

Paris,  Praultfils,  17 44.  32,  4  p.  19^"^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  vii.) 

Exactly  like  the  original  edition,  except  that  the  two  vaudevilles  are  not  at  end. 

ML  49.A2F1 

Le  bal  interrompu.     See  Campra's  Trois  nouvelles  entrees. 

Le  bal  interrompu.     Entree  in  Fragments  de  Monsieur  LuUy. 

Le  bal  masque,  op6ra-comique  en  un  acte  et  en  prose.     M616  d'ari- 
ettes; mises  en  musique  par  M.  d'Arcis,  kg6  de  12.  ans,  eleve  de  M. 
Gretry.     Nouvelle  Edition. 
Paris,  Didot  Vaine,  1773.     24  p.     W"^. 

Author  unknown  to  me. 

First  performed  at  Paris,  Com^die  italienne,  April  1,  1772.  ML  50.2.B21G7 

Baldassarre  punito.  Dramma  sacro  per  musica  da  rappresentarsi 
nel  Regio  Teatro  di  via  della  Pergola  la  quadragesima  del  1796  .  .  . 

Firenze,  Stamperia  Alhizziniana,  1796.     39  p.     16^^. 

Two  parts.  Cast  and  name  of  Gaetano  Maxinelli  as  composer.  Author  unknown 
to  Schatz. 

First  performed  at  Naples,  Teatro  del  Fondo  di  Separazione,  quadragesima  1792. 

ML  48.A5    v.  14 

Balders  d^d.     Et  heroisk  syngespil  i  tre  handlinger  af  Johan  Evald. 

n.  i.,  n.  d.     IO4  p.     ISY"^. 

On  p.  100-104  "Forklaring"  of  the  mythological  names  in  the  piece.  The  com- 
poser, Johann  Ernst  Haxtmann,  is  not  mentioned. 

First  performed  at  Copenhagen,  Royal  Theater,  February  7,  1778.     Schatz  4463 


196  LIBRARY   OF  CONGRESS 

Balders  d0d—  Continued. 

—  Balders  tod.  Ein  trauerspiel  mit  gesajig  von  J.  Ewald.  Aus 
dem  daenisehen.  Nach  der  musik  des  herrn  concertmeister  Hart- 
mann.     Zweyte  aufl,  mit  3  kiipf.  v.  Chodowieki. 

Kopenhagen,  Christ.  Gottloh  Proft,  1785.     112  p.     14\^. 

The  plates  are  missing.  Schatz  4464 

La  ballerina  amante.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  publ.,  1786.     I4I  p.     15^-^. 

Two  acts.  By  Giuseppe  Palomba  (not  mentioned.)  Cast  and  name  of  the  composer 
Domenico  Nicola  Cimarosa.  German  title  "Die  verliebte  taenzerin"  and  text  face 
Italian. 

First  performed  at  Dresden  in  1786:  at  Naples,  Teatro  de'  Fiorentini  in  1782. 

Schatz  1912 

Ballet  auf  das  erfreulichste  vermaehlungs-fest  in  des  Durchlauchtigen 
fuersten  und  herrn  Friedrich  Ferdinands  hertzogen  zu  Wuertemberg 
und  Teck  .  .  .  und  .  .  .  princessin  Elisabeth  .  .  .  welches  .  .  .  den 
19.  monats-tag  septembr.  des  1689tzigsten  jahres  celebriret  wurde. 

Oelss,  Heinrich  Bockshammer,  n.  d.      Unpaged.     32^^. 

Twenty -one  entries  with  arias.  Cast.  On  last  pagea  "Beschluss-Sonnet."  Neither 
author  nor  composer  mentioned  in  the  libretto.     Not  recorded  by  Sittard. 

ML  52.2.B107 

Ballet  danse  a  Ville-Neuve-Saint-George  devant  Monseigneur  le 
premier  septembre  1692.  Par  TAcademie  royale  de  musique  et  remis 
au  Theatre  de  ladite  Academie  avec  le  Carnaval,  mascarade.  Les 
paroles  sont  de  M.  Banzy,  &  la  musique  de  M.  Colasse. 

n.  %.,  n.  d.  206-228  p.  13^"^.  (Recueil  general  des  opera,  Paris, 
1703,  t.  iv.) 

Detached  copy.    A  note  on  p.  208  reads: 

"Ce  ballet  n'est  pas  compte  au  nombre  des  opera,  parce  qu'il  ne  peut  former  une 
representation  complete  &  ordinaire.  On  I'a  neanmoins  plac6  dans  ce  volume  ainsi 
qu'il  est  annonc^  au  Prologue  du  Carnaval,  mascarade  [by  Lully],  afin  de  ne  rien 
omettre  de  tout  ce  qui  s'est  represent^  sur  le  Theatre  de  I'Academie  royalle  de 
musique."  Schatz  2104 

Second  copy.    ML  48. R4 

Le  ballet  de  Flore.     See  Campra's  Les  festes  venitiennes. 

Ballet  de  la  jeunesse,  divertissement  mesl6  de  comedie  &  de 
musique.  Represents  devant  La  Majeste  k  Versailles  le  [blank] 
Janvier  1686  .  .  .     Suivant  la  copie  imprim6e  h  Paris. 

[Amsterdam  Antoine  Schelte],  1686.     24  p.  (incl.  front.)     13^'^^. 

Prologue  and  the  three  intermfedes  for  the  comedy.  The  names  of  the  performers 
in  the  text.  Neither  the  author,  Dancourt,  nor  the  composer,  Michel  Richard  de 
La  Lande,  is  mentioned. 

First  performed  January  28,  1686,  as  indicated.  ML  49.A2L9 

Ballet  des  ages.     See  Campra's  Les  ages. 

Ballet  des  Parnasses.     See  Bontempi's  II  Paride. 

Ballet  des  saisons.  Represente  par  I'Academie  royale  de  musique. 
Suivant  la  copie  imprimSe  a  Paris. 

Amsterdam,  Antoine  Schelte,  1696.     Jfi  p.     l^Y"^. 

Four  entries  and  prologue.  Neither  author  nor  composer  mentioned.  Comp. 
next  entry.  ML  52.2. B115 


OPERA   LIBRETTOS  197 

Ballet  des  saisons — Continued. 

—  Ballet  des  saisons,  represents  par  TAcademie  royale  de  musique 
Tan  1695.  Les  paroles  sont  de  M.  ricque,  &  la  musique  de  M.  Col- 
lasse.     XXXVI.  opera. 

n.  i.,  n.  d.  14'^'^.  front,  185-2S2  p.  {Recueil  general  des  opera, 
t  V,  Paris,  1703.) 

Detached  copy.  Four  entries  and  prologue.  Text  by  the  abb4  Pic.  The  second 
edition  (1700)  of  Colasse's  score  bears  this  statement  on  the  title  page:  "augmentee  de 
toute  la  musique  de  feu  Monsieur  de  Iiully  qui  manquoit  dans  la  premiere."  Which 
Lully  did  he  mean?  Louis  de  Lully  and  Jean  Baptiste  de  Lully,  the  younger,  cer- 
tainly not,  because  they  were  both  still  alive.  To  be  considered,  therefore,  is  only 
Jean  Louis  de  Lully,  who  died  1688,  about  one  year  after  his  great  father  Jean  Baptiste. 
Now,  the  son  is  not  known  to  have  collaborated  with  Colasse,  whereas  it  is  known  that 
Colasse,  as  amanuensis  of  the  elder  Lully,  saved  and  utilized  in  his  own  scores  airs 
that  had  been  discarded  by  Lully,  who,  moreover,  on  July  23,  1661,  performed  his 
own  "Ballet  des  Saisons."  Schatz  5782 

Second  copy.     ML  48. R4 

Le  ballet  des  sens,  represente  par  FAcademie  royale  de  musique, 
Tan  1732.  Paroles  de  M.  Roy.  Musique  de  M.  Mouret.  CXVl. 
opera.     Tom.  xv. 

n.  i.,  n.  d.  front.,  p.  121-204.  (Recueil  general  des  opera,  Paris, 
1739.)    i4«™. 

Detached  copy.  Prologue  and  five  entrees  entitled:  "L'odorat,"  "Le  toucher," 
"La  vue,"  "L'ouie,"  and  "Le  godt."  At  the  first  performance,  May  29,  1732  (so  the 
score.  Schatz  gives  June  5,  1732),  the  ballet  consisted  only  of  the  prologue  and  the 
first  three  entrees.  On  July  8, 1732,  "L'ouie"  replaced  "Le  toucher,"  and  August  14, 
1732,  "Le  goiit"  replaced  "La  vue"  before  the  ballet  assumed  its  final  form.  As  "Le 
triomphe  des  sens     the  score  was  published  by  Mouret's  widow. 

Schatz  6744-6746 
Second  copy.    ML  48. R4 

Le  ballet  des  XXIV  heures,  ambigu  comique  represents  devant 
Sa  Majeste  a  Chantilly,  le  5  nov.  1722.  Par  I'Academie  royale  de 
musique,  les  comediens  francois  &  italiens. 

Paris,  Jean  Pepingue  &  la  veuve  Guillaume,  1723.  2  p.  I.,  123,  [3] 
p.     16^'^'^. 

Prologue  and  four  parts,  called  "La  nuit,"  "La  matinee,"  "L'apresdinee"  and 
"La  soiree."  On  p.  6  "Monsieur  D.  L.  F  *  *"  [de  la  Font?]  is  mentioned  as 
author  of  the  prologue,  "Le  Grand,  Comedien  du  roy  "  as  author  of  "I'idee  du  ballet, 
les  paroles  qui  se  chantent,  &  les  diverses  petites  comedies  &  scenes  detachees  "  and 
[Jacques]  Aubert  as  composer  of  the  music,  which  was  practically  restricted  to  the 
ballet  entries.    Casts  and  preface: 

"Ce  ballet  a  6te  ordonn^,  invente,  compose,  apris  &  repr^sent^  en  moins  de  trois 
semaines,  &  quoique  I'execution  d^pendit  de  plus  de  deux  cens  personnes  de  differens 
talens,  ella  ^t^  des  plus  regulieres.  Cette  espece  d'ambigu-comique  a  fort  rejoui  le 
roy  &  toute  la  cour:  &  c'est  sur-tout  ce  qu'avoit  recommand^  h.  I'auteur  le  prince 
magnifique  qui  a  donn6  ce  divertissement  a  Sa  Majesty." 

The  [3]  p.  at  end  contain  the  imprimatur,  dated  November  22, 1722,  and  Le  Grand's 
privilege.  ML  52.2.B11 

Ballet  du  Dereiglement  des  passions.     De  Tlnterest,  de  I'Amour, 
&  de  la  Gloire. 
n.  i.,  n.  d.     19  p.     22^"^. 

Title  page  missing? 

Three  parts,  with  10,  9,  and  10  entries,  each  briefly  described,  with  names  of  the 
dancers.  Each  part  opens  with  a  "recit,"  and  the  whole  is  preceded  by  "Le  ballet  au 
spectateur.  Sonnet,  and  argument.  Text  by  Berthaud,  who  is  not  mentioned. 
According  to  de  La  Vallifere,  the  ballet  was  danced  before  the  King  and  Queen  of 
France  on  January  23,  1648,  and  the  text  was  printed  in  the  same  year.  Music  by 
Michel  Lambert?  ML  52.2.B17 


198  LIBRARY  OF   CONGRESS 

Ballet  du  Temps.     Danse  par  le  roy  le  dernier  jour  de  novembre 
1654.     [printer's  mark]. 
Paris,  Robert  Ballard,  165 j.     1  p.  l,  1,  4-11  [!]  p.     21^'"^. 

Perfect  copy.     Error  in  pagination. 

Two  parts  of  12,  resp.  11  entries.  The  names  of  the  dancers  are  given.  Neither  the 
author  of  the  text,  Isaac  de  Benserade,  is  mentioned,  nor  Jean  Baptiste  de  Lully,  who 
composed  some  of  the  music.  The  air  "  Bien  que  nous  courrions  "  was  composed  by 
Jean  de  Cambefort.  ML  52.2.B17 

Componimento  drammatico  che  introduce  ad  un  Ballo  cinese  rap- 
presentato  in  musica  nelF  imperial  corte  nel  came  vale  del  1735. 

[25\-36  p.  19^^.  (Pietro  Metastasio,  Opere  drammatiche,  Venezia, 
Giuseppe  BettineUi,  1733-37,  v.  4.) 

One  act.    No  composer  mentioned  for  whom  see  better  known  L.  T.  "Le  Cinesi." 

ML  49.A2M4 

II  ballo  de'  segni  celesti. 

p.  317-326.  15Y^.  (Ottavio  Tronsarelli,  Drammi  musicali,  Roma, 
Francesco  CorhelleUi,  1632.) 

One  act.    Argument.    No  composer  mentioned.  ML  49.A2T7 

Songs,  duetts,  trios,  chorusses,  etc  etc  in  the  comic  opera  of  the 
Banditti;  or.  Love's  labyrinth.  As  it  is  performed  at  the  Theatre 
Royal  in  CoventyGarden.     The  music  by  Dr.  Arnold. 

London,  T.  CadeU,  1781.     27  p.     20^-^. 

Two  acts.     Cast.    John  O'Keefe,  the  author,  is  not  mentioned. 

First  performed  November  28,  1781. 

Better  known  in  the  altered  version  as:  ML  50.2.B23A7 

—  Songs,  duets,  trios,  etc.  in  the  comic  opera  of  the  Castle  of 
Andalusia.  As  performed  at  the  Theatre-Royal,  in  Co  vent-Garden. 
The  ninth  edition. 

London,  T.  Cadell,  1783.     27  p.     21'="'. 

Three  acts.  Neither  the  author,  John  O'Keefe,  is  mentioned,  nor  the  composer 
and  compiler  of  the  music,  Samuel  Arnold.  Bland's  vocal  score  says:  "  The  selected 
airs  by  Handel,  Vento,  Giordani,  Bertoni,  Giardini,  Dr.  Ame,  and  Carolan, 
the  Irish  bard.    The  overture,  choruses,  new  airs,  etc.,  composed  by  Doctor  Arnold." 

First  performed  under  the  above  title  November  2,  1782.  Longe  91 

—  The  castle  of  Andalusia,  a  comic  opera.  In  three  acts.  As  it 
is  performed  at  the  theatres  in  London  and  Dublin.  By  John 
O'Keefe,  Esq.     With  additional  songs  by  Sig.  Tenducci. 

Dublin,  Sold  by  the  boolcseUers,  1783.     72  p.     16^"^- 

Cast.  Longe  148 

Bannian  day,  a  musical  entertainment,  in  two  acts,  performed  at 
the  Theatre  Royal,  Hay-market.     Written  by  George  Brewer. 

London,  T.  N.  Longman,  1796.     4  p.l,  35  p.     21'='^. 

Cast,  preface,  and  note  that  "The  words  (with  a  very  few  alterations)  and  the 
music  of  the  duet  at  the  end  of  the  first  act  were  borrowed  from  the  musical  piece, 
called  The  apparition;  written  by  Mr.  Cross." 

The  composer,  Samuel  Arnold,  is  not  mentioned. 

rirst  performed  June  11,  1796.  Longe  234 

The  banquet.     Tr.  of  Bertoni's  H  convito. 

The  banquet-gallery.     A.  T.  of  Kelly's  Feudal  times. 


OPERA   LIBRETTOS  199 

I  barbari  sacrifizi  distrutti,  ballet.     See  Rispoli's  Idalide. 

La  barbarie  del  case.  Tragedia  di  Domenico  Gisberti  .  .  .  dall' 
Academia  delli  Sigg.  Angustiati  rappresentata  in  Murano  nel 
MDCLXIV. 

[At  end]  Venetia,  Francesco  Valvasense,  166 j^.     166,  [l]p.     13^'=^. 

Three  acts  and  prologue.  Dedication  and  ailment  in  verse.  Pietro  Molinari 
is  mentioned  as  the  composer.  Schatz  6548 

The  barber  duellist.     A,  T.  of  Modem  honour. 

The  barber  of  Seville,  or  The  useless  precaution;  a  comedy  in  four 
acts.  With  songs,  etc.  By  the  author  of  Eugenie,  or  the  School  for 
rakes.     Addressed  to  R.  B.  Sheridan,  Esq. 

London,  Printed  for  the  author,  1776.     1  p.  I.,  iv,  [2],  70  p.     21^"^. 

In  his  dedication  the  publisher  calls  this  a  translation  of  Beaumarchais'  "Le  barbier 
de  Seville,"  and  he  mentions  his  reasons  for  publishing,  "contrary  to  usual  custom, 
a  piece  before  it  has  been  acted  in  London."  Necessary  corrections  he  leaves  to  be 
made  by  the  author  of  the  Duenna,  "aa  being  most  fit  to  correct  its  faults."  Clarence 
records  Mrs.  Griffiths  as  the  translator. 

Not  performed.  Longe  318 

Le  barbier  de  Seville.     Parody  of  Paisiello's  II  barbiere  di  Seviglia. 

II  barbier  di  Siviglia,  ballet.     See  II  Demetrio,  Livomo,  1785. 

Der  barbier  von  Sevilla  oder  Die  unniitze  vorsicht.  Tr.  of  Paisiello's 
II  barbiere  di  SevigUa. 

Der  barbier  von  Seville,  oder  Die  vergebliche  vorsicht.  Ein  lust- 
spiel  des  herrn  von  Beaumarchais,  in  vier  akten:  mit  untermischten 
gesaengen.     Aus  dem  franzoesischen. 

Leipzig,  DyTcische  Buchhandlung,  1784.     8  p.  I.,  [81]-216  p.     15^'='^ 

The  "Vorberiqht"  reads  in  part: 

"  Urspriinglich  kommen  in  diesem  stiicke  wohl  einige  gesaenge  vor;  aber  der  plan 
desselben  ist  gar  nicht  zu  einer  komischen  operette  angelegt.  Warum  es  auf  den 
meisten  deutschen  theatem  aber  als  operette  aufgefuehrt  wird,  ruehrt  daher,  well 
Herr  Seller,  fuer  dessen  theater  herr  [Gustav  Friedrich  Wilhelm]  Grossmann  das 
Btueck  zuerst  uebersetzte,  gem  eine  operette  daraxis  woUte  gemacht  haben  .  .  .  Die 
von  herrn  Grossmann  eingeschobenen  gesaenge,  welche  herr  [Friedrich  Ludwig] 
Benda  in  musik  gesezt  hat,  moegen  hier  ihren  platz  einnehmen;  desto  bequemer 
kann  man  sie  bey  der  vorstellung  uebersehen." 

They  are  printed  on  the  8  p.  1. 

First  performed  at  Dresden,  Neues  Theater  vor  dem  Schwarzen  Thore,  August, 
1776;  at  Leipzig,  September,  1776;  at  Gotha,  Hoftheater,  October  18,  1776. 

Schatz  764 

II  barbiere  di  Siviglia,  ballet.     See  Bianchi's  La  villanella  rapita. 

II  barbiere  di  Siviglia,  owero  La  precauzione  inutile,  dramma  gio- 
coso  per  musica  tradotto  liberamente  dal  francese,  da  rappresentarsi 
nel  Teatro  Imperiale  di  corte,  I'anno  1782.  La  musica  d  del  Signer 
Giovanni  PaisieUo  ... 

Pietrohurgo,  Breitkopf,  n.  d.     5  p.  I.,  75  p.     20"^. 

Four  acts.  Cast,  scenario,  "protesta  del  traduttore"  [Giuseppe  Petrosellini,  not 
mentioned]  and  Paisiello's  dedication  to  Catherine  II  in  which  he  says: 

"Le  barbier  de  Seville  [by  Beaumarchais]  ayant  6te  gout6  par  Votre  Majesty 
Imperiale,  j'ai  pens6  que  cette  mdme  pi^ce  en  opera  italien  pourroit  ne  pas  Lui 
d^plaire;  en  consequence  j'en  ai  fait  faire  un  extrait,  que  je  me  suis  appliqu^  a  rendre 
aussi  court  que  possible,  en  conservant  (autant  que  le  g6nie  de  la  poesie  italienne 
peut  le  permettre)  les  expressions  de  la  pi^e  originale  sans  y  rien  ajouter  ..." 

M  50.2.B25P2 


200  LIBRARY  OF   CONGRESS 

II  barbiere  di  Siviglia — Continued. 

—  Le  barbier  de  Seville,  op6ra  comique,  en  quatre  actes;  mis  en 
musique  sur  la  traduction  italienne  par  le  celebre  Seigneur  Paisiello. 
Et  remis  en  fran?ais,  d'apres  la  piece  de  Mr.  de  Beaumarchais,  et 

Earodi^  sur  la  musicjue,  par  Mr.  Framery  .  .  .     Represent 6  devant 
leurs  Majest^s  h  Trianon,  sur  le  Th6&tre  de  la  reine,  le  14  septembre, 
et  k  Versailles  le  28  octobre,  1784  .  .  . 

Amsterdam,  Cesar  Noel  Guerin,  1786.  front,  (a  portrait  of  Beaumar- 
chais), 111  p.     WY"^' 

Dedication  to  the  queen  and  '^Avis:  Sans  avoir ^gard  k  la  verification,  on  a  copi6 
les  paroles,  comme  elles  sont  plac^es  sous  la  musique,  pour  la  commodite  des  per- 
sonnes  qui  aiment  h.  suivre  le  cnanteur."  Schatz  7600 

—  Der  barbier  von  Sevilla  oder  Die  unniitze  vorsicht.  Ein  sing- 
spiel  in  vier  akten  nach  dem  franzoesischen  des  h'^rrn  von  Beaumar- 
cnais  von  G.  F.  W.  Grossmann.  Die  komposition  der  musik  ist  von 
herm  Paisiello. 

Koeln  am  RJiein,  Jolt.  Godschalk  Langen,  1786.     IO4  p.     15^^. 
First  performed  at  Mannheim,  Nationaltheater,  Nov.  20,  1785.  Schatz  7601 

—  L'inutile  precauzione.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno 
SlDCCLXXXVII. 

Venezia,  Modesto  Fenzo,  1787.     56  p.     IS''"'. 

Cast,  name  of  Paisiello  as  the  composer,  scenario,  and  notice  to  the  effect  that, 
though  printed  in  four  acts,  the  opera  was  really  performed  in  two  parts,  first  and 
second,  resp.  third  and  fourth  acts  together.  The  author,  Giuseppe  retrosellini,  is 
not  mentioned.  '  Schatz  7602 

—  Figaro  als  barbier  zu  Sevilla,  ein  lustspiel  mit  ^esang  in  4 
akten.     Text  nach  Beaumarchais,  musik  von  Johann  Paisiello. 

Passau,  Amhrosi,  1796.     108  p.     16^"^. 

At  end  [32]  p.  "Buecher  Anzeiger."  Schatz  7603 

Der  barbier  von  Sevilien,  oder  Die  unniitze  vorsicht;  ein  lustspiel 
in  vier  akten.  Aus  dem  franzosischen  des  herrn  von  Beaumarchais, 
und  mit  neuer  musik  von  Johann  Andre. 

Offenbach  am  Mayn,  Ulrich  Weiss,  1776.     136  p.     17*^. 

FiTBt  performed  at  Berlin,  Dobbelinsches  Theater,  October  2,  1776.    Schatz  182 

Barillotto.  Intermezzi  da  rappresentarsi  nel  Teatro  di  Sant'  Angelo 
Fautunno  dell'  anno  1712.  Poesia  del  Sig.  dott.  Francesco  Salvi  di 
Firenze.     Musica  del  Sig.  Domenico  Saro  [!]... 

Venezia,  Marino  Rossetti,  1712.     12  p.     15'^'^. 

Three  parts.     Cast.  Schatz  942 

Barilotto  e  Slapina,  intermezzi.     L.  T.  of  Salvi's  text  Barillotto. 

Le  Barnevelt  franQois.     A.  T.  of  Duni's  L'^cole  de  la  jeunesse. 

II  baron  di  Lago  Nero.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  Tron  di  San  Cassiano  nell'  autmrno  dell'  anno 
1776. 

Venezia,  Gio.  Battista  Casali,  1776.     54  p.     17 Y"^. 

Three  acts.  The  author  is  not  mentioned  and  is  unknown  to  Schatz.  Cast,  scenario, 
and  names  of  Michele  Morteliari  as  the  composer  of  the  opera  and  of  "Santo  Trento " 
of  the  ballet  music  ("tutta  nuova  ").  Schatz  6689 


OPERA  LIBRETTOS  201 

II  baron  di  Terra  Asciuta.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno 
1776. 

Venezia,  Gio.  Battista  Casali,  1776.     Jfi  p.     iZ'^™. 

One  act.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  name  of  Giacomo 
Kust  as  the  composer,  and  this  avviso: 

" .  .  .  s'e  pensato  in  luogo  d'un'  opera  buffa  di  far  rappresentare  due  operette,  come 
costumano  i  Francesi.  Una  delle  quali,  per  la  ristrettezza  del  tempo,  non  ha  potuto 
esser  pronta,  ma  lo  ear^  dopo  i  tre  primi  di  dell'  anno.  Intanto  si  supplir^  col  prime 
atto  deir  opera  passata." 

On  p.  [29]-40,  argument  and  description  of  Onorato  Vigano's  "Oreste  o  sia  La  morte 
di  Clitennestra,  ballo  tragico  pantomimo,"  without  name  of  the  composer  of  the 
music. 

First  performed  at  Venice,  December  26,  1775,  as  indicated.  Schatz  9168 

The  baron  Kinkvervankotsdorsprakingatchdern.  A  new  musi- 
cal comedy.  As  performed  at  the  Theatre  Royal  in  the  Hay-market. 
By  Miles  Peter  Andrews,  Esq. 

London,  T.  Cadell,  1781.     xi,  {5],  71,  [1]  p.     20<=^. 

Three  acts,  prologue,  and  epilogue.  Cast  and  preface,  in  which  the  author  protests 
against  the  charges  of  ' '  many  low  and  gross  indecencies  "  resulting  in  the  removal  of 
his  successful  play  from  the  stage  after  three  performances.  The  composer  of  the 
music  is  not  mentioned.  The  music,  perhaps  partly  compiled,  has  been  ascribed  to 
Dr.  Arnold.  Longe  196 

First  performed  as  indicated,  July  9,  1781. 

Der  baron  vom  Vesten  thurme.     Ein  sin^spiel  in  zween  aufzuegen. 
Ein  freye  uebersetzung  aus  dem  italienischen  von  C.[arl]  J.  F.[6rg] 
Aufgefiiehrt  auf  dem  Churhierstl.  deutschen  Theater  in  Muenchen. 
[Muenchen],  Gedruckt  hey  Franz  Joseph  ThuiUe,  1777.     Unpaged, 

Joseph  Michl  is  mentioned  as  the  composer.  The  original  Italian  title  was,  "II 
barone  di  Torre  Forte." 

First  performed  at  Munich,  Opemhaus  b.  St.  Salvator,  March  23,  1772. 

Schatz  6488 

Der  baron  von  Alton  Felss.  Tr.  of  Franchi  and  Anfossi's  II  barone 
di  Rocca  Antica. 

Der  baron  von  Starckenthurm.  Tr.  of  Piccinni's  II  barone  di 
Torreforte. 

II  barone  a  forza,  o  sia  II  trionfo  di  Bacco.  Farsetta  per  musica  da 
rappresentarsi  nel  Teatro  Pallacorda  [ !]  di  Firenze  nel  camevale  dell' 
anno  1786. 

Roma,  Michele  PuccineUi,  n.  d.     68  p.     15^^- 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Marcello  di  Capua  as  composer.  ML  50.2.B29B2 

—  II  barone  a  forza  o  sia  II  trionfo  di  Bacco.  Dramma  giocoso  per 
musica  da  rappresentarsi  in  Bologna  nel  Nuovo  publico  teatro  11 
carnevale  delF  anno  1788  ... 

Bologna,  Sassi,  n.  d.     79  p.     17'^'^. 

Two  acts.    Dedication,  cast,  scenario,  and  name  of  Marcello  di  Capua  as  com- 

eoser.    Librettist  not  mentioned  and  unknown  to  Schatz.    The  imprimatur  dated 
»ecember  16,  1787. 
First  performed  at  Bologna,  December  26,  1787.  Schatz  845 

II  barone  burlato.     L.  T.  of  Cimarosa's  II  pittor  parigino. 


202  LIBRARY   OF   CONGRESS 

II  barone  di  Moscabianca.  A.  T.  of  Caruso's  Oro  non  compra 
amore. 

II  barone  di  Rocca  Antica.  Intermezzo  per  musica  a  quattro  voci 
da  rappresentarsi  in  Lisbona  nel  Teatro  della  rua  dos  Condes  nell' 
estate  aell'  anno  1773. 

[Lishona],  Ndla  Siamperia  reale,  n.  d.     71  p.     W^*^^. 

Two  parts.  By  Giuseppe  Petrosellini,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  the  composer,  Carlo  Franchi. 

First  performed  at  Rome,  Teatro  delle  Dame,  February  4,  1771.        Schatz  3327 

—  II  barone  di  Rocca  Antica.  Azzione  comica  per  musica  da 
rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda.,  1772,  n.  publ     143  p.     WY"^- 

Two  acts.  German  title-page,  "Der  baron  von  Alten  Felss.  Eine  lustige  musical- 
ische  handlune,"  and  text  face  Italian.  Carlo  Franchi  is  named  as  the  composer 
of  the  first  and  rasquale  Anf  ossi  of  the  second  act  in  this  version.  Schatz  3330 

II  barone  di  Torre  Forte.  O.  T.  of  Michl's  Der  baron  vom  Vesten 
thurme. 

II  barone  di  Torreforte.     Azzione  comica  in  musica,  da  rappresen- 
tarsi nel  Piccolo  Theatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  pull,  Testate  del  1766.     93  p.     16^"^. 

Two  acts.  The  author  is  not  mentioned  and  unknown  to  Schatz.  Cast  and  name 
of  Niccol5  Piccinni  as  the  composer.  German  title-page,  "Der  baron  von  Starcken- 
thurm,"  and  text  face  Italian. 

First  performed  at  Rome,  Teatro  Capranica,  January  10,  1765.  Schatz  8068 

—  II  barone  di  Torreforte.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Teatro  di  via  S.  Maria  nell'  estate  aell'  anno  1768  .  ,  . 

Firenze,  Stamperia  in  Borgo  de'  Greci,  n.  d.      Unpaged.     17'^^. 
Two  acts.    Dedicatory  poem  by  the  impresario,  Antonio  Fabbrini,  cast,  and  name 
of  Niccol6  Piccinni  as  composer. 

Previously  performed  at  Florence,  Teatro  via  del  Cocomero,  spring  of  1766. 

ML  48.A5    V.  24 

II    barone    in    angustie.     Commedia    per    musica    di    Giuseppe 
Palomba  da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione 
per  quart'  opera  del  corrente  anno  1797  .  .  . 
Napoli,  n.  publ.,  1797.     43  p.     15^^. 

Two  acts.  Impresario's  dedication  dated  Naples,  February  1,  1797,  cast,  and 
name  of  Giacomo  Tritto  as  the  composer.  With  the  opera  was  performed  (composer 
of  the  music  not  mentioned)  Lauchlin  Dusquesney's  ballet,  "L'inutile  precauzione." 

Schatz  10459 

II  barone  Spazzacamino.  L.  T.  of  Portugal's  Spazzacamino 
principe. 

La  baronessa  Stramba.     See  Cimarosa's  II  credulo. 

Barsina.  Dramma  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Tron  a  S.  Cassiano.     1/autunno  dell'  anno  MDCCXLII. 

Venezia,  Milosco,  1742.     48  p.     loY"^- 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Argument,  scenario, 
cast,  and  name  of  Giuseppe  Antonio  Paganelli  as  the  composer.  Schatz  7573 

Le  baniffe  chiozzote,  ballet.  See  Robuschi's  Castrini,  padre  e 
figlio. 


OPERA   LIBRETTOS  203 

Basilic  re  Doriente  [!].  Dramma  per  musica  da  recitarsi  nel  Teatro 
a  S.  Cassano,  novamente  riaperto  a  uso  d'opere  I'anno  1696  .  .  . 

Venetia,  Nicolini,  1696.     66  p.     lo<="'. 

Three  acts.  Dedication  signed  by  the  author,  Giovanni  Battista  Neri,  and  dated 
Venice,  December  31,  1695,  argument  and  "A  chi  legge  discretamente "  with  name 
of  Francesco  Navara  as  the  composer,  source  of  the  story,  the  usual  complaint  about 
brevity  of  time,  and  the  remark: 

"Sarebbe  ben  stato  di  bisogno  il  poter  da  dovero  con  arte  magica  ingrandir  la 
capacity  del  Teatro,  che  non  sarei  io  stato  costretto  a  restringere,  e  quasi  annichilare 
le  operazioni  della  mia  scena:  oltre  il  comando  inviolabile  della  brevita,  che  con  piu 
tirannia  di  quella  ho  sofferto  dall'  angustia  del  sito,  mi  ha  \'iolentato  k  levar  molte 
scene  di  quelle  che  sono  chiamate  di  forza,  e  cangiar  la  piu  parte  de  frutti  in  pochi 
fieri  di  nulla  fragranza  ..."  Schatz  7065 

Basilic  und  Quiteria,  ein  singgedicht. 
n.  i.,  n.  d.    p.  [36o]-386.     18'="'. 

Detached  copy.  One  act.  Neither  Daniel  Schiebeler,  the  author,  is  mentioned 
nor  Georg  Philipp  Telemann,  the  composer. 

First  performed  at  Hamburg,  1735.  Schatz  10256 

II  bassa  generosc.  Intermezzo  per  musica  a  cinque  voci  da  rap- 
presentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1782.     19  p.     15^"^. 

Two  acts,  with  name  of  composer,  Marcello  di  Capua,  but  not  of  librettist,  who 
is  unknown  to  Schatz.  German  title-page  "Der  grossmuethige  bassa"  and  text  face 
Italian. 

First  performed,  as  indicated,  February  9,  1782;  at  Rome,  Teatro  Capranica, 
carnival  1780.  Schatz  830 

Der  bassa  von  Tunis,  eine  komische  operette  in  einem  aufzuge,  von 
K.  F.  H.     Die  musik  ist  von  herrn  Holly  in  Prag. 

Berlin  und  Leipzig,  n.  puhl.,  1774-     56  p.     15'^'^. 

By  Carl  Franz  Henisch. 

First  performed  at  Berlin,  Koch'sches  Theater  in  der  Behrenstrasse,  January  6, 
1774.  •  Schatz  4768 

Bassiano,  overo  II  maggior  impossibile.     Drama  per  musica  da  rap- 
presentarsi  nel  famoso  Teatro  Grimano  in  SS.  Griovanni  e  Paolo. 
L'anno  MDCLXXXII.     Di  Matteo  Noris  ... 
Venetia,  Francesco  Nicolini,  1682.     62  p.     13^"^. 

Three  acts.  Author's  dedication,  argument,  and  scenario.  The  composer.  Carlo 
Pallavicino,  is  not  mentioned.  Schatz  7720 

Bassiano  overo  II  maggior  impossibile.  Melodrama  da  rappresen- 
tarsi  nel  Teatro  di  S.  Bartolomeo  di  Matteo  Noris  .  .  . 

Napoli,  Penino  e  Mutii,  1694.     ^  V-  ^v  ^^  V-     i^h""- 

Three  acts.  Impresario's  dedication,  argument,  scenario,  and  notice  to  the  reader 
which  begins : 

"Viddero  altrove  i  teatri  rappresentar  questo  drama  [with  music  by  Carlo  Palla- 
vicino] da  qualche  tempo  con  applausi;  hora  viene  six  questo  di  Partenope.  II 
tempo  breve,  la  etaggione,  e  I'uso  Than  fatto  variare  in  qualche  parte  non  essentiale, 
ti  Bi  dice  acci6,  se  k  caao  vedessi  impresso  quelle,  che  prima  rappresentossi,  non 
giudichi,  che  ei  h  fatto  il  correttore  all'  autore,  che  tanto  celebre  e  nel  mondo.  E 
stato  poi  posto  in  musica  dal  .  .  .  Sig.  Alessandro  Scarlatti  in  cosi  breve  tempo  che 
6  parso  un  miracolo  ..." 

This  notice  followed  by  the  restituted  arias,  etc.,  "Voi  che  tanto  ne  vedete"  (II, 
10),  "El  io  pill  no  appare"  (III,  6),  and  "Questo  di  logore"  (III,  11). 

Mentioned  by  Dent? 

First  performed,  as  indicated,  in  the  spring  of  1694.  Schatz  9533 


204  LIBRARY   OF   CONGRESS 

The  Bastille :  a  musical  entertainment  of  one  act :  As  performed  at 
the  Royal  Circus,  in  Saint  George's  Fields.  Written  by  John  Dent 
.  .  .     The  second  edition. 

London,  W.  Lcmndes,  1790.     3  p.  I.  (incl  pi),  viii,  ^  p.     21'='^. 

The  plate  (a  scene  from  the  opera)  is  dated  December  15,  1789.  Author's  dedica- 
tion dated  November  31,  1789,  and  Address  narrating  the  difficulties  in  the  way  of 
the  production  of  this  piece  which  ran  for  seventy-nine  nights  consecutively  after 
having  been  "actually  got  up  and  represented  within  seven  days  after  it  had  been 
first  conceived,  and  determined  on."    Composer  not  recorded  by  Clarence  or  Schatz. 

LONGE  318 

Les  bateliers  de  Saint  Cloud,  opera  comique  de  m.  F    *     *     *. 

BruxeUes,  n.  puhl.,  1744-  44  V-  l^*^^-  {Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  vi.) 

One  act.     Prose  and  vaude\'illes.     No  music  printed  in  text  or  added. 

llrst  performed  as  "La  fete  de  Saint  Cloud"  at  Paris,  Op^ra  comique,  Foire  Saint 
Laurent,  August,  1741,  revived  under  the  above  title  and  with  alterations,  August, 
1744.  ML  49.A2F1 

—  Les  bateliers  de  Saint  Cloud,  opera-comique  en  un  acte. 
Paris,  la  veuve  Duchesne,  1766.     72  p.     19""". 

On  p.  43-74  twenty-three  "Airs  des  Basteliers  de  S.  Cloud,"  unaccompanied. 
Neither  the  author,  Favart,  is  mentioned,  nor  the  arranger  of  the  popular  airs. 

SCHATZ  11483 

Bathile.     See  Floquet's  L'union  de  I'amour  et  des  arts. 

The  battle  of  Hexham.  A  comedy.  In  tliree  acts,  as  performed 
at  the  Theatre-Royal,  Crow-street. 

Dublin,  P.  Byrne,  1790.     58  p.     17 Y"^. 

London  and  Dublin  casts.  Considerably  interspersed  with  songs,  etc.  Neither  the 
author,  George  Colman,  the  younger,  is  mentioned,  nor  Samuel  Arnold,  the  composer. 

In  Longman  and  Broderip's  vocal  score  the  glee  ".When  Arthur  first"  is  headed 
as  composed  by  Calcott  and  the  catch  "  Lurk,  lurk,  o'er  the  greeh  sword  "  as  by  Dr. 
Ame. 

First  performed  August  11,  1789.  Longe  233 

The  battle  of  the  poets ;  or.  The  contention  of  the  laurel.     As  it  is 
now  acting  at  the  New  Theatre  in  the  Hay-market;  introduced  as  an 
entire  new  act  to  the  comical  tragedy  of  Tom  Thumb.     Written  by 
Scriblerus  Tertius  .  .  . 
London,  F.  Trott  and  T.  Astley,  1731.    24  p.     17 i'"". 

Cast  and  prologue.  Interspersed  with  songs,  the  airs  of  which  are  indicated  by 
title.    By  some  attributed  to  Thomas  Cooke.  Longe  321 

First  performed,  as  indicated,  January  1,  1731  (Genest) 

Bauce  e  Palemone.  Dramma  per  musica  per  celebrare  il  felicis- 
simo  giorno  natalizio  della  serenissima  Signora  Donna  Carlotta 
Gioaccnina  .  .  .  li  25  aprile  1789. 

[Lishoa],  Stamperia  reale,  n.  d.    23  p.     15'^^. 

One  act.  Argument,  cast,  and  names  of  Joao  Cordeiro  da  Silva  as  composer,  of 
Gaetano  Martinelli  as  author.  Schatz  9883 

Bauci  e  Filemone.     First  act  of  Gluck's  Le  feste  d' Apollo. 

Das  bauern-maegdchen  am  hofe.     A.  T.  of  Killer's  Lottchen. 

Der  baum  der  Diana.     Tr.  of  Martin  y  Soler's  L'arbore  di  Diana. 


OPERA   LIBRETTOS  205 

Das  bauren-maedgen.     Tr.  of  Sacchini's  La  contadina  in  corte. 

II  Bayram  de'  Turchi,  ballet.     See  Salieri  and  Rust's  II  talismano. 

Bayes  no  poetaster.     A.  T.  of  The  two  queens  of  Brentford. 

Bays  in  petticoats.     A.  T.  of  The  rehearsal. 

Bays's  opera.  As  it  is  acted  at  the  Theatre-Royal,  by  His  Majesty's 
servants.     Written  by  Mr.  Odingsells  .  .  . 

London,  printed:  and  sold  by  J.  Roberts,  1730.     4  P-  ^-i  "^0  p.     ^0<"". 

Lacks  the  "Epilogue,"  [2]  p.  after  p.  70. 

Three  acts.  Ballad  opera.  The  tunes  (49)  not  printed — merely  indicated.  Cast 
and  preface,  which  reads,  in  part: 

"\\'hen  the  town  thought  lit  to  pass  sentence  on  this  trifling  piece,  corrected  by 
their  judgment,  I  determm'd  to  finish  the  execution,  and  bury  it  in  oblivion;  lest 
by  setting  it  in  open  light,  I  shou'd  be  thought  presumptuous  enough  to  think  of  con- 
fronting and  expostulating  with  their  resentment.  But  my  too  partial  friends,  who 
first  seduc'd  me  by  their  approbation  to  exhibit  it  to  the  publick,  over-rul'd  my 
resolution;  and  thought  it  incumbent  on  me  to  publish  it,  in  order  to  clear  up  some 
disadvantages  it  labour'd  under  in  the  representations,  which  made  it  obscure,  and 
perhaps  unmtelligible,  and  to  confute  some  insinuations  scatter'd  about,  injurious  to 
my  private  character  .  .  . 

"The  only  view  of  this  performance  was  to  expose  the  folly  and  absurdities  of  a 
prevailing  (and,  as  I  thought,  vitiated)  taste;  which  seem'd  to  prefer  farce  and 
Duffoonery,  as  well  as  the  unprofitable,  immoral  and  unnatural  representations  of 
poetical  fiction,  to  the  more  polite  and  instructive  entertainments  of  dramatick 
poetry  and  musick. 

"As  the  design  is  carried  on  in  one  continu'd  allegory,  all  persons  of  taste  (and  to 
Buch  only  I  make  my  humble  appeal,)  well  know  that  an  allegory,  to  be  rightly 
imderstood  in  all  its  parts,  requires  an  exact  attention  from  the  beginning  to  the 
end  .  .  . 

"  For  the  judicious  this  piece  was,  tho'  unhappily,  calculated;  and  therefore  not 
intended  to  entertain  by  ballad-singing;  which  was  only  accidental  to  the  design; 
or  rather  a  means  to  enliven  the  burlesque  scheme.  It  was  my  view  to  alarm  men  of 
sense  to  a  care  of  the  liberal  arts,  which  seem  to  languish,  and,  at  their  last  gasp, 
invoke  their  assistance  to  raise  them  .  .  . 

"  I  cou'd  take  notice  of  some  invidious  reflections  industriously  spread  by  a  certain 
author,  who  has  claim'd  to  himself  the  invention  of  this  scheme;  (tho'  I  doubt 
neither  of  us  have  anv  great  reason  to  boast  of  it;)  but  as  it  is  not  the  turn  of  my  ambi- 
tion to  aspire  at,  much  less  to  rival  any  man  in  the  character  of  author,  I  shall  readily 
give  him  up  any  thing  but  truth,  I  shall  therefore  only  oljserve,  that  it  was  impossible 
for  me  to  steal  any  hints  from  him,  because  this  was  wrote,  and  known  to  many  gentle- 
men above  a  year  before  he  dates  the  theft  .  .  . 

"It  has  been  urg'd,  in  a  place  where  I  cou'd  wish  scandal  and  defamation  might 
never  enter,  that  this  performance  was  aim'd  to  expose  the  celebrated  author  of  the 
Beggar's  Opera  and  his  works;  but  to  clear  me  from  this  abhorr'd  aspersion,  I  shall 
want  no  other  vindication  than  what  I  am  sure  to  find  from  the  candid  judgment  of 
that  ingenious  gentleman  ..." 

First  performed  at  Drury  Lane,  March  30,  1730.  ML  50.5.B19 

Second  copy,  complete  with  the  "Epilogue,"  [2]  p.  after  p.  70.  Longe  78 

Beau  in  the  sudds.     A.  T.  of  The  female  parson. 

The  beau  metamorphos'd.     A.  T.  of  The  happy  lovers. 

Den  bedragne  formynder  eller  De  under  masken  sluttede  gifter- 
maale.     Tr.  of  G.  M.  Rutini's  I  matrimoni  in  maschera. 

Die  befreyte  sklavinn.     Tr.  of  Schuster's  La  schiava  hberata. 


206  UBRARY   OF   CONGRESS 

The  beggar's  opera.  As  it  is  acted  at  the  Theatre-Royal  in  Lin- 
cohis-Iim-Fields.  Written  by  Mr.  Gay  ...  To  which  is  added,  the 
musick  engrav'd  on  copper-plates. 

London,  J.  Watts,  1728.     58,  [2]  p.,  16  p.  (mmic).     20'^^. 

Three  acts  with  introduction.  Cast.  At  end  of  text  [2]  p.  of  a  list  of  "Books 
lately  publish'd,"  the  heading  of  the  second  page  reading  "Books  printed  for  J. 
Tonson  and  J.  Watts.  Feb.  10,  1727."  In  third  act  there  are  by  error  two  "Scene 
X,"  one  on  p.  50,  the  other  on  p.  51.  The  airs  are  numbered  consecutively  for  each 
act:  18,  22,  28,  total  68  not  69.  The  airs,  by  no  means  only  ballad-airs,  are  printed 
separately  following  the  text,  but  without  titles,  merely  with  number  corresponding 
to  that  in  the  text,  where  the  tunes  are  indicated  by  title.  John  Christopher 
PepuBch,  who  composed  the  overture  and  arranged  the  music,  is  not  mentioned. 
First  edition. 

First  performed,  as  indicated,  January  29,  1728.  ML  50.5.B3 

—  The  beggar's  opera.  As  it  is  acted  at  the  Theatre-Royal  in 
Lincolns-Inn  Fields.  Written  by  Mr.  Gay  ...  3d  ed.:  with  the 
ouverture  in  score,  the  songs,  and  the  basses,  (the  ouverture  and 
basses  compos'd  by  Dr.  Pepusch)  Curiously  engrav'd  on  copper 
plates. 

London,  J.  Watts,  1729.     4  p.  I,  60  p.,  46  p.  (music).    23^"^. 

Three  acts  and  introduction.  Ballad  opera.  Cast  and  table  of  the  sixty-nine  [!] 
Bongs  numbered  consecutively.  The  corresponding  airs  are  printed  in  the  text  with 
their  titles.  ML  50.5.B33 

—  The  beggar's  opera.  Written  by  Mr.  Gay.  The  fifth  edition: 
to  which  is  prefix'd  the  ouverture  in  score  and  the  musick  to  each 
song. 

London,  John  Watts,  1742.     4  p.  I.,  8,  76  p.     20Y'^- 

Three  acts.    The  4  p.  1.  contain  a  table  of  the  69  songs,  advertisements,  cast  and 

first  page  of  the  "Introduction"  followed  on  the  8  p.  by  the  "Ouverture  in  score. 

Compos'd  by  Dr.  Pepusch:'  AC  901.M5v.519 

—  The  beggar's  opera.  Written  by  Mr.  Gay.  To  which  is  pre- 
fixed the  overture  in  score :  and  the  musick  to  each  song. 

London,  J.  and  R.  Tonson,  1765.     94  p.  (incl.  front.)     21 Y"^. 

Title  vignette:  port. 

Three  acts  and  introduction.  Cast  and  table  of  the  songs.  On  p.  11-18  the  "Over- 
ture in  score.  Composed  by  Dr.  Pepusch."  The  airs  (69)  are  printed  in  the  text, 
numbered  consecutively.  ML  50.5. B35 

Second  copy.    Longe  46 

—  The  beggar's  opera.  As  written  by  John  Gay.  Distinguishing 
also  the  variations  of  the  theatre,  as  performed  at  the  Theatre-Royal 
in  Drury-Lane.  Regulated  from  the  prompt-book,  by  permission  of 
the  managers,  by  Mr.  Hopkins,  prompter. 

London,  Join  Bell,  1777.     65  p.     17 Y"^- 

At  head  of  title:  "Bell's  edition."  On  p.  63-65:  "A  Table  of  the  songs."  Pepusch 
is  not  mentioned.  Following  the  text  2  unnumb.  p.  of  "Books  published  by  J.  Bell." 
On  p.  3  the  Drury-Lane  and  Co  vent-Garden  casts. 

The  Drury  Lane  cast  in  this  libretto  is  not  the  same  as  given  by  Genest  for 
November  8,  1777.  Schatz  7864 

—  The  beggar's  opera.  A  comic  opera.  By  John  Gay.  Adapted 
for  theatrical  representation,  as  performed  at  the  Theatre-Royal, 
Drury-Lane.  Regulated  from  the  prompt-book,  by  permission  of 
the  managers. 

London,  John  BeU,  1791.  2  pi.,  ix,  [4],  14-99,  [3]  p.  15^"^.  (J.BeU, 
British  theatre,  London,  1791-1797,  t.  2.) 


OPERA   LIBRETTOS  207 

The  beggar's  opera — Continued. 

The  first  pi.  represents  Mrs.  Crouch  as  Polly  and  is  dated  February  2,  1791.  The 
second  pi.  is  an  added  pictorial  title  page  and  is  dated  January  20, 1791.  Biographical 
sketch  of  John  Gav,  editorial  note  on  the  "Beggar's  Opera."  A  table  of  the  songs 
on  the  [3]  p.  at  end".  PR  1241. B4 

—  The  beggar's  opera.  A  comic  opera.  By  John  Gay.  Adapted 
for  theatrical  representation,  as  performed  at  the  Theatres-Royal, 
Drury-Lane  &  Covent-Garden.  Regulated  from  the  prompt-book, 
by  permission  of  the  managers  .  .  .  Cooke's  edition.  Embellished 
with  superb  engravings. 

London,  C.  Coolce,  n.  d.     2  pi     x,  [11-13],  14-72  p.     l^Y"^. 

Plates  and  contents  the  same  as  in  preceding  entry,  except  that  there  is  no  table 
of  the  songs.     Published  before  1800?  PR  3473.B4C6 

The  beggar's  wedding.     A  new  ballad  opera.     As  it  is  acted  at  the 
theatre  in  Dublin,  with  great  applause;  and  at  the  theatre  in  the 
Haymarket.     To  which  are  added  the  new  prologue  and  epilogue. 
By  Air.  Char.  Coffey  .  .  .  5th  ed. 
London,  Printed  hy  J.  D.,  1733.     58  p.     16'"^. 

Three  acts.  The  airs  are  not  printed,  merely  indicated.  They  are  numbered 
consecutively  in  each  act:  20,  15,  19,  total  54. 

Under  the  above  title  (prose  and  songs,  in  three  acts)  "The  beggar's  wedding" 
was  first  published  with  music  at  London  in  1729.  This  and  the  second  edition, 
1729  (without  music)  and  a  third  edition,  1729  (with  music)  are  at  the  British 
Museum,  as  well  as  the  fourth  edition,  1731.  Genest  says  under  Haymarket  1729 
of  the  "Beggar's  wedding":  "it  seems  to  have  come  out  at  Dublin  and  then  to  have 
been  acted  at  this  theatre."  Under  Drury  Lane,  July  4,  1729  he  then  enters  the 
first  performance  of  the  reduced  version  as  "Phebe  or  Beggar's  wedding." 

ML  50.5.B4 

First  performed  at  Dublin,  Smock  Alley,  March  24,  1729.     (Lawrence). 

—  The  beggar's  wedding.  An  opera.  As  it  is  acting  with  great 
applause  at  the  Theatre-Royal,  in  Drury-Lane.  With  the  prologue 
and  epilogue.     By  Mr.  Char.  Coffey  .  .  . 

London,  R.  Horsfield  and  T.  Lownds,  1763.     64  p.     21<=^. 

Cast.    The  56  (20,  15,  21)  airs  are  indicated  in  the  text  by  title.        Longb  102 

—  Phebe ;  or.  The  beggar's  wedding.     An  opera. 
47  p.     19^"^. . 

Title  page  wanting.  The  British  Museum  lists  an  edition  of  London,  1729.  One 
act.  By  Charles  Coney  who  is  not  mentioned.  Cast.  Ballad  opera,  the  32  airs  of 
the  songs  being  indicated  by  title.  Longe  151 

II  Begliar-Bey  di  Caramania.  Dramma  in  musica  da  rappresen- 
tarsi  nel  Piccolo  Teatro  Elettorale  I'anno  1780. 

Dresden,  Stamperia  elettorale,  n.  d.     119  p.     15^^. 

German  title  ("Der  Begjlerbey  in  Caramanien")  and  text  face  Italian.  Two 
acts.  With  name  of  Giuseppe  Amendola  as  composer,  but  not  that  of  the  librettist, 
Girolamo  Tonioli. 

First  performed  at  Dresden,  Churf.  eachs.  Kleines  Theater,  November  22,  1780. 

SCHATZ  173 

Der  Begjlerbey  in  Caramanien.  Tr.  of  Amendola's  II  Begliar- 
Bey  di  Caramania. 


208  LIBRABY  OF  CONGRESS 

Der  beglueckte  Florindo.  In  einem  singe-spiel  auf  dem  Ham- 
burgischen  Theatre  vorgestellet. 

[Hamburg],  n.  publ,  1708.      Unpaged.     ISY"^- 

Three  acts.  German  version  by  Hinsch  of  unknown  Italian  work.  Neither  he 
nor  the  composer,  Georg  Friedrich  Handel,  are  mentioned.  The  "Vorrede"  con- 
tains the  argument  and  statement  that  because  "die  vortrefliche  music,  womit  diese 
opera  gezieret,  etwas  gar  zu  lang  ausgefallen,"  the  work  would  be  divided  in  two 
parts,  the  first  as  above,  the  second  as  "Die  verwandelte  Daphne."  Italian  text  of 
the  arias  added  to  the  Italian. 

First  performed,  as  indicated,  January,  1708.  Schatz  4476 

—  Die  verwandelte  Daphne.  In  einem  singe-spiel  auff  dem  Ham- 
bui^ischen  Theatre  vorgestellet.     Im  jahr  1708. 

n.  L,  n.  d.     Unpaged.     i5J<='". 

Three  acts.  Some  arias  have  Italian,  others  German,  text  only.  To  some  the 
Italian  text  has  been  added. 

First  performed  in  January,  1708,  as  indicated.  Schatz  4493 

Die  beiden  angefuehrten  thoren.  A.  T.  of  Portugal's  Die  schlaue 
wittwe. 

Die  beiden  Antone  oder  Der  name  thut  nichts  zur  sache.  Eine 
komische  oper  in  zwei  akten.  Nach  dem  ungedruckten  Schikaneder- 
schen  origmale,  mit  beibehaltung  der  musik  von  Schack,  neu 
bearbeitet. 

Leipzig,  Friedrich  August  Leo,  1797.     88  p.     15*^. 

The  prefatory  note,  signed,  "Geschrieben  in  der  Leipziger  Michaelmesse,  1796, 
Z.,"  reads,  in  part: 

' '  Gegenwaertiges  singspiel  gefiel  seit  zehn  jahren  auf  den  oesterreichischen  buehnen 
und  in  der  dortigen  nachbarscnaft  so  sehr,  dass  es  noch  immer  mit  neuem  beifall  wie- 
derholt  wird  ...  In  dessen  war  sein  provinzieller  anstrich  wohl  auch  immer  ein 
hindemiss,  dass  man  es  ausser  seinem  vaterlande  nicht  auch  auffuehrte  .  .  .  Hier  ist 
ein  versuch,  worinn  die  originalitiit  dieses  stuecks,  so  weit  es  nur  thunlich  war, 
beibehalten  wurde,  und  der  schon  in  Sachsen,  bei  der  J.  Secondaschen  Gesellschaft, 
schmeichelhaf  ten  beifall  erhielt  ..." 

First  performed  at  Leipzig,  Theater  am  Rannstadter  Thore,  1797;  at  Vienna, 
Theater  a.  d.  Wieden,  1789,  as  "Anton  der  dumme  gartner  oder  Der  name  thut  nichts 
sur  sache."  Schatz  9566 

—  Arien  aus  den  [!1  Dummen  gaertner.  Ein  komisches  singspiel 
in  zwey  aufzuegen,  von  Emanuel  Schickaneder.  Aufgefuehrt  von 
der  Mihuleschen  Gesellschaft. 

Augsburg,  n.  publ.,  1793.     23  p.     W"^. 

The  same  as  "Die  beiden  Antone." 

First  performed  at  Augsburg,  National  Theater,  1793.  Schatz  9567 

Die  beiden  geizigen.     Tr.  of  Gr^try's  Les  deux  avares. 

Die  beiden  militzen.     Tr.  of  Fridzeri's  Les  deux  miliciens. 

II  Beiram  o  sia  II  camovale  turco,  ballet.     See  Curcio's  Solimano. 

Belisa  ossia  La  fedelth,  riconosciuta.     Dramma  in  due  atti  da  rappre- 
sentarsi  nel  Teatro  di  Monza  I'autunno  1795  .  .  . 
Milano,  Gaetano  Motta,  n.  d.     4^p.  I.,  56,  [1]  p.     16^^. 

Two  acts.  By  conte  Alessandro  Pepoli,  who  is  not  mentioned.  Impresario's  dedi- 
cation, cast,  scenario,  and  name  of  reter  von  Winter  as  the  composer.  With  the 
opera  were  performed  Paolino  Franchi's  ballet,  "Raol  de  Crequi"  (music  by  Winter 
and  Wenzeslaus  Pichl),  and  Carlo  Biancardi's  ballet,  "Le  preziose  umiliate";  com- 
poser not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  carnival,  1794. 

Schatz  11020 


OPERA   LIBEETTOS  209 

La  bella  Arsena.     Tr.  of  Monsigny's  La  belle  Arsene. 

La  bella  Arsene,  ballet.     See  Martin  j  Soler's  Andromaca. 

La  bella  Girometta.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  Giustiniani  di  S.  Moise  rautunno  dell'  anno 
MDCCLXI  deir  abate  Pietro  Chiari  .  .  . 

Venezia,  Modesto  Fenzo,  1761.     58  p.     15'='". 

Three  acts.     Cast,  acenario,  and  name  of  composer,  Ferdinando  Giuseppe  Bertoni. 

SCHATZ  937 

La  bella. incognita  e  La  maga  Circe.     Farsette  per  musica  di  una 
sola  parte  a  5.  voci  da  rappresentarsi  nel  Teatro  valle  degl'  Ulustris- 
simi  Signori  Capranica  il  carnevale  dell'  anno  1788. 
Roma,  Gioacchino  PuccineUi,  n.  d.     55,  [1]  p:     15'=™'. 

Casts  and  names  of  Francesco  Basili  as  composer  of  the  first  farce,  of  Pasquale 
Anfossi  of  the  second.  Authors  unknown  to  Schatz.  The  second  farce  stands  on 
p.  2»-55.  ML  50.2.B28B2 

La  bella  Lauretta.  Dramma  giocoso  per  musica  di  Giovanni  Ber- 
tati,  poeta  pensionato  di  S.  M.  I.  R.  A.  etc.  etc.  da  rappresentarsi  nel 
nobilissimo  Teatro  Giustiniani  in  S.  Moisd  per  la  seconda  opera  del 
carnovale  1795. 

Venezia,  Valvaseuse,  1795.     62  p.     18Y™'. 

With  name  of  Francesco  Gardi  as  the  composer.  Schatz  3537 

La  bella  pescatrice.  Commedia  per  musica  di  Saverio  Zini.  Da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  second'  opera  di 
quest'  anno  1789. 

Napoli,  n.  puhl,  1789.     48  p.     15^"^- 

Two  acts.     Cast  and  name  of  Pietro  Guglielmi  as  the  composer.       Schatz  4237 

—  La  bella  pescatrice.  Dramma  giocoso  per  musica,  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1791.     127  p.     16'='^. 

Two  acts.  Zini's  text,  with  alterations.  For  instance,  the  aria,  "Sposina  piti 
vezzosa,"  has  been  dropped  from  I,  3.  Pietro  Guglielmi  is  mentioned  as  the  com- 
poser.   German  title-page,  "Das  schoene  fischermaedchen,"  and  text  face  Italian. 

First  performed,  aa  indicated,  November  5,  1791.  Schatz  4238 

—  La  pescatrice.  Commedia  per  musica  di  Saverio  Zini  da  rappre- 
sentarsi nel  Real  Teatro  del  Fondo  di  Separazione  per  prim'  opera  di 
questo  corrente  anno  1790. 

Napoli,  n.  puhl.,  1790.     46  p.     15'^. 

Two  acts.  Pages  3-6, 19-22  missing,  containing,  probably,  also  Pietro  Guglielzni's 
name  as  composer.    Cast.    The  text  seems  to  follow  that  of  1789.  Schatz  4281 

—  Arien  und  gesaenge  aus  Dem  fischermaedchen.  Eine  operette 
in  zwey  aufzuegen.     Die  musick  ist  von  Guglielmi  ... 

Frankfurt  am  Main,  n.  puhl.,  1794.     24  p-     16'=^. 

The  translator  is  not  mentioned. 

First  performed  at  Frankfurt  a/M,  Nationaltheater,  1794.  Schatz  4239 

72251°— VOL  1—14 14 


210  LIBRABY  OF  CONGRESS 

Bella  und  Fernando,  oder  Die  satire,  in  einem  aufzuge.  In  musik 
gesezt  vou  herrn  Preu. 

n.  i.,  n.  d.  p.  [111]'176.  14^"^.  (C.  A.  Vulpius,Operetten.  hd.  I. 
Baireuth,  1790.) 

Detached  copy. 

First  performed  at  Bayreuth,  Privattheater  Gesellschaft,  May  20,  1789. 

ScHATZ  8463 

La  bella  verita.  Dramma  di  tre  atti  per  mnsica.  Rappresentato 
per  la  prima  volta  in  Bologna  Testate  dell'  anno  MDCSjLXII  con 
musica  del  Piccini. 

Carlo  Goldoni,  Opere  teatraM,  Venezia,  Zatta  e  Jlgli,  1788-95,  t.  39., 
[6r]-126  p.     18'='^.  PQ 

First  performed  as  indicated,  at  the  Teatro  Marsigli  Roesi,  June  12,  1762. 

Second,  detached  copy.  Schatz  8069 

La  belle  Arsene,  com^die-feerie,  en  quatre  actes,  m^lee  d'ariettes. 
Les  paroles  de  M.  Favart;  la  musi(jue  de  M.  de  Monsigny.     Repre- 
sentee devant  Sa  Majesty,  k  Fontainebleau,  le  6  novembre  1773,  & 
k  Paris,  le  14  aodt  1775. 
Paris,  la  veuve  Duchesne,  1776.     ix,  10-61  p.     18"^. 

Cast.  On  p.  [iii]-ix  Voltaire's  poem  "La  b^ueule"  and  prefatory  note  saying 
that  this  poem  had  furnished  the  sujet  for  the  opera,  that  the  verses  in  guillemeta 
(quotation  marks)  have  been  borrowed  more  or  less  literally  from  the  poem  and  that 
the  opera  as  performed  originally  at  Fontainebleau  had  only  three  acts.    Schatz  6562 

—  La  belle  Arsene,  com^aie-f 6erie,  en  quatre  actes.  M§16e 
d'ariettes. 

n.  i.,  n.  d.  xv,  [1],  77,  [1]  p.  19'''^.  (Theatre  de  M.  Favart,  Paris, 
Duchesne,  1763-77,  tx.). 

At  end:  "De  I'imprimerie  de  C.  Simon  .  .  .  1775." 

Cast,  Favart's  dedication  to  the  due  de  Richelieu  and  Voltaire's  poem  "La 
b^:ueule"  on  which  the  opera  is  founded,  precede  the  text.  No  music  printed  in 
the  text.    The  composer,  Monsigny,  is  not  mentioned.  ML  49.A2F1 

—  Die  schoene  Arsene,  ein  singspiel  in  vier  aufzuegen  aus  dem 
franzoesischen  uebersetzt  mit  musiK. 

Frankfurt  am   Mayn,  mit  Andredischen  schriften,   1776.     100  p. 

No  music.  Neither  Johann  Heinrich  Faber,  the  translator,  nor  Monsigny  is  men- 
tioned. This  version,  according  to  Schatz,  was  used  by  Th.  Marchand's  Churpfalz. 
deutsche  Hofschauspielgesellschaft.  •  Schatz  6563 

—  Gesaenge  aus  der  romantischen  oper:  Die  schoene  Arsene.  In 
vier  aufzuegen.     Die  musick  ist  von  Monsigny. 

Hamburg,  J.  M.  Michaelsen,  1780.     16  p.     17'="'. 

Johann  Andre's  version,  who  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  Oct.  27,  1780. 

Schatz  6564 

—  La  bella  Arsena.     Ein  singspiel  in  vier  aufzuegen. 

[At  end]  Augsburg,  mit  Brinhausserischen  schriften,  1781.  8 4  p. 
16^"^ . 

Version  of  Johann  Heinrich  Faber.  Schatz  6565 


OPERA   LIBRETTOS  211 

La  belle  Arsene — Continued. 

—  Den  ski0nne  Arsene ;  et  syngestykke  i  fire  handlinger  af  Favart, 
med  musik  af  M  *  *  *,  til  samme  musik  oversat  af  Adam  Gottlob 
Thoroup. 

n.  i.,  n.  d.    76  y.     16^"^. 

First  performed  at  Copenhagen,  Kongel.  Theater  paa  Kongens  Nytorv,  Decem- 
ber 10,  1781.  ScHATZ  6566 

—  De  schoone  Arsene,  zangspel  met  balletten.  Naar  het  fransch 
gevolgd  van  Favart,  door  Bartholomeus  Ruloffs. 

Amsteldam,  J.  Helders  en  A.  Mars,  1789.     4  P-  ^-t  ^^>  [^1  P- 

Dedicatory  poem  by  the  translator  dated  1789. 

First  performed  at  Amsterdam,  Stads  Schouwburg,  October,  1788.     Schatz  6586 

La  belle  esclave,  ou  Valcour  et  Zeila,  com^die  en  un  acte  et  en 
prose,  m^lee  d'ariettes.  Par  M.  Dumaniant.  Musique  de  M.  Phili- 
dor.  Jouee  a  PariS,  sur  le  Theatre  des  Petits  com^diens  de  Mgr.  le 
comte  de  Beaujolais,  le  18  septembre  1787,  &  public  au  profit  du 
Sieur  Morel. 
Paris,  Prault,  1787.     2^.1.,  38,  [3]  p.     21'^^. 

On  first  p.  1.  the  note: 

"Le  Sieur  Morel  est  le  jeune  acteur  qui  a  eu  la  main  blessee  par  i'explosion  d'un 
pistolet  qui  devoit  lui  servir  dans  un  de  ses  roles,  &  au  profit  duguel  on  a  d^j^  donn6 
^ne  representation . ' '  The  [3]  p .  contain :  ' '  Couplets  de  la  scene  iv,  mis  en  musiq  ue . ' ' 
("Riches  de  la  terre.")  ML  50.2.B3P3 

Belle  et  Bonne,  on  Les  deux  soeurs,  comedie  en  un  acte,  en  prose 
et  vaudevilles.  Reprfeent^e,  pour  la  premiere  fois,  a  Paris,  sur  le 
Th^&tre  du  Vaudeville,  le  5  frimaire,  an  6,  samedi  25  novembre 
1797  (v.  St.)  par  F.  P.  A.  Leger. 

Paris,  Au  Theatre  du  Vaudeville,  an  F/«.  1798  {v.  st.)     5 J,,  p.    20'''^. 

Cast.  Many  of  the  airs  are  printed  in  the  text  and  some  of  them  are  marked  aa 
new  by  Leger.  A  new  air  was  also  contributed  by  Bruni.  Not  recorded  by  CI.  & 
L.  or  Schatz.  ML  48.M2L 

La  belle  fermiere.     A.  T.  of  Candeille's  Catherine. 

La  belle-mere.     A.  T.  of  Fay's  Clementine. 

Bellerofon,  ein  ernsthaftes  singspiel  in  drei  aufzuegen,  aufgefuehrt 
bei  der  ankunft  Sr.  Durchlauc^t  des  herrn  kurfuersten  zu  Pfalz- 
baiern  auf  der  Kurfuerstl.  Nationalschaubuehne.  Verfasst  von 
Johann  Friedrich,  des  H.  R.  R.  frei  und  pannerherrn  Binder  von 
Krieglstein.     In  musik  gesezt  von  herrn  Peter  Winter  .  .  . 

Muenchen,  n.  publ.,  1785.     64  p.     W^^. 

Cast,  argument. 

First  performed  at  Munich,  July  29,  1785.  Schatz  11022 

II  Bellerofonte.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
deir  Accademia  degl'  Intronati  nella  prima  vera  delF  anno  1767  in 
occasione  del  felice  arrivo  in  Siena  delle  Altezze  Loro  reali  Pietro 
Leopoldo,  arciduca  d 'Austria  .  .  .  e  Maria  Luisa,  infanta  di  Spagna  .  .  . 
n.  i.,  n.  d.     8  p.  I.,  48  p.     20'='^.  , 

Three  acts.  The  author  is  not  mentioned  and  is  unknown  to  Schatz.  Impresa- 
rio's dedication,  dated  Siena,  May  6,  1767,  argument,  scenario,  cast,  poem  of  welcome, 
name  of  Giuseppe  Misliweczek  as  the  composer  and  "awertimento": 


212  LIBRARY   OF   CONGRESS 

II  Bellerofonte — Continued. 

"Tronco,  ed  alterato  in  gran  parte  troverassi  rorip:inale,  ch'6  parto  di  non  ignota 
penna;  ma  tal'6,  quasi  eempro,  il  destino  de  i  drammi  musicali,  qualora  nuova  rappre- 
eentazione  se  ne  intraprende." 

The  first  ballet,  by  Francesco  Turchi,  was  called  "Orfeo  ed  Euridice."  The  com- 
jtoeer  of  the  music  is  not  mentioned. 

First  performed  at  Naples,  Teatro  di  San  Carlo,  January  20,  1767.    Schatz  6532 

II  Bellerofonte.  Drama  musicale  del  Signer  Vincenzo  Nolfi  da  rap- 
presentarsi  nel  Teatro  Novissimo  di  Venetia  Tanno  1642  .  .  . 

Venetia,  Gio.  Battista  Surian,  164^. 

Three  acts  with  prologue.  Author's  notice  to  the  reader,  with  Francesco  Sacra ti'a 
name  as  the  composer,  argument.  "Ode"  to  Nolfi  on  his  "Bellerofonte,"  sonnet  by 
him,  "Per  le  due  sublimi  cantatraci  del  Teatro  Novissimo  nel  Bellerofonte"  (not  men- 
tioned by  name)  and  "Sonetto  in  lode  del  Signer  Francesco  Sacrati,  compositore 
della  musica,"  by  conte  Paolo  Feretti  d'Ancona.  Schatz  9252 

Bellerophon .  Theatralisches  singspiel,  so  zu  Oranienbaum  auf  bef  ehl 
Sr,  Kayserl.  Iloheit  des  gross-fuersten  etc  aufgefuehret  worden. 
Die  poesie  is  vom  hrn.  doctor  J.  Bonechi  .  .  .  die  musick  vom  hm. 
Fr.  Araya  ... 

St.  Petersburg,  Kayserl.  Academie  der  wissenschaften,  1767.     lip. 

Two  parts.  Ailment,  cast  and  sjmopsis  of  the  plot  without  the  text.  "Bellero- 
fonte" was  first  performed  at  St.  Petersburg,  Court  Theater,  April  10/21,  1741. 

ML50.2.B35A7 

Bellerophon.  Tragedie  reresent6e  [!]  par  1' Academie  royale  de 
musique. 

Paris,  Christophe  Ballard,  1679.     front:,  54,  [4]  p.     ^5<^"». 

The  [4]  p.  contain  Lully's  "Permission  pour  tenir  Academie  royale  de  musique." 

Prologue  and  five  acts.  The  prefatory  note  contains  argument  and  same  note  as 
below.     Comeille,  the  author,  is  not  mentioned. 

First  performed,  as  indicated,  January  31,  1679,  ML50.2.B35L7 

—  Bellerophon.  Tragedie,  representee  par  I'Academie  royale  de 
musique.     Suivant  la  copie  imprimee,  a  Paris. 

[Amsterdam,  Antoine  Schelte],  1679.     56  (incl.  front.),  4  P-     13'^™'. 

Contents  as  in  next  entry.  ML  50.2.B35L8 

—  Bellerophon.  Tragedie,  representee  par  I'Academie  royale  de 
musique.     Suivant  la  copie  imprim'ee.  ^  Paris. 

[Amsterdam,  Antoine  Schelte],  1682.     56  (incl.  front.) ,  [4]  p.     ISY'^. 
The  [4]  p.  contain  Lully's  "Permission  pour  tenir  Academie  royale  de  musique." 
Prologue  and  five  acts.    The  prefatory  note  contains  argument  and  remark: 
'Le  roy  ayant  donn6  la  paix  ^  I'Europe,  I'Academie  royale  de  musique  a  creu 


devoir  marquer  la  part  qu'elle  prend  k  la  joye  publique  par  un  spectacle,  oil  elle  pust 
rlest^moigr 
Without  name  of  Comeille  or  LaUy.  ML  49.  A2L9 


faire  entrer  les  t^moignages  de  son  zele  pour  la  gloire  de  cet  auguste  monarque." 


—  Bellerophon,  tragedie  representee  par  I'Academie  royale  de 
musique  Fan  1679.  Les  paroles  sont  de  M.  Comeille  &  la  musique 
de  M.  de  Lully,  XI.  opera. 

n.  i.,  n.  d.  14'^'^-  pi-,  135-196  p.  (Recueil  general  des  opera,  t.  II, 
Pans,  1703). 

Detached  copy.  Five  acts  and  prologue.  The  text  is  said  to  have  been  a  col- 
laboration' of  Thomas  Comeille,  Fontenelle  (and  Boileau?)  (For  a  digest  of  the  con- 
trversy  see  Clement  and  Larousse.)  The  prologue  is  preceded  by  the  same  note  as 
above.  Schatz  5762 

Second  copy.    ML48.R4 


OPERA   LIBRETTOS  213 

Bellerophon— Continued . 

—  Arlequin  Bellerophon.  Parodie.  Par  Messieurs  Dominique  & 
Romagnesi  .  .  .  Representee  pour  la  premiere  fois  par  les  Com6- 
diens  italiens  ordinaires  du  roi,  le  7.  May  1728. 

Les  'parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t  iv,  36  p.     WV"^. 

One  act.     The  airs  and  vaudeville  printed  at  end  in  the  "Table  des  airs"  (92  p.). 

ML  48. P3 

Bellerophon,  oder :  Das  in  die  preussische  krone  verw'^andelte  wagen- 
gestirn,  an  dem  frohen  vermaenlungsfeste  Sr.  Koeniglichen  Majestaet 
von  Preussen  Friderici  I  .  .  .  zu  unterthaenigster  freuden-bezeugung 
in  einer  operetta,  auf  dem  Grossen  Hamburgischen  Schau-platz  aufge- 
fuehret.     Im  jahr  1708.  den  28.  Novembr. 

n.  i.,  n.  d.      Unpaged.     18^"^. 

Three  acts  with  prologue  and  epilogue.  Neither  Barthold  Feind,  the  author  who 
based  his  text  on  Comeille,  nor  Christoph  Graupner,  the  composer,  is  mentioned  in 
the  "Vorbericht."  Some  of  the  arias  and  the  choruses  have  both  Italian  and  German 
text.  ScHATz  4118 

Bellezza  ed  onesta.     A.  T.  of  Martin  y  Soler's  Una  cosa  rara. 

La  bellezza  sopra  d'un  carro.     See  Scipione  Aifricano. 

La  Bellinda.  Commedia  per  musica  di  Francesco  Cerlone  da  rap- 
presentarsi  nel  Teatro  Nuovo  sopra  Toledo  nel  carnevale  di  quest' 
anno  1781. 

Napoli,  n.  puhl,  1781.     68  p.     15'='^. 
.  Three  acts.     Cast  and  name  of  Giacomo  Tritto  as  the  composer.      Schatz  10461 

Belmira  in  Creta.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniano  di  S.  Mose  I'autuno  corrente  MDUCXXIX  .  .  . 

Venezia,  Alvise  Valvaseuse,  1729.     J^7  p.     15'^. 

Three  acts.  By  Girolamo  Giusti,  who  is  not  mentioned.  Dedication,  notice  to  the 
reader,  ai^ument,  scenario,  cast,  and  name  of  the  composer,  Antonio  Galeazzi. 

Schatz  3419 

Belmont  und  Constanze,  oder:  Die  entfuehrung  aus  dem  serail. 
Eine  operette  in  drey  akten  von  C.  F.  Bretzner.  Componirt  vom 
herrn  kapellmeister  Andre  in  Berlin. 

Leipzig,  Carl  Friedrich  Schneider,  1781.     72  p.     MJ'^™. 

First  performed  at  Berlin,  Dobbelinssches  Theater,  May  25,  1781.        Schatz  183 

Belmont  und  Constanze  oder  Die  entfuehrung  aus  dem  serail. 
Eine  operette  in  drey  akten  von  C.  F.  Bretzner.  Componirt  vom 
herrn.  nofmusikus  Dieter  in  Stuttgart. 

Stuttgart,  Dr^iicTcerey  der  herzoglichen  Hohen  Karls-Schule,  1784' 
72  p.     16<='^. 

First  performed  at  Stuttgart,  herzogl.  Kl.  Theater,  1784.  Schatz  2574 

Belmonte  und  Konstanze.  L.  T.  of  Mozart's  Die  entfiihrung  aus 
dem  serail. 


214  LIBRARY   OF  CONGRESS 

.  .  .  Die  belohnte  rechtschaflfenheit,  ein  schauspiel  mit  gesang  in 
einem  akt.     Verfasst  und  in  miisik  gesezt  von  herrn  Wagenseil. 

n.  i.,  n.  d.     [6]  p.     16<="'. 

At  head  of  title:  "Von  der  Kleinen  Liebhaber  gesellschaft  wird  den  23  und  26 
maymonats  1785  aufgefuehrt,"  at  Kaufbeuren.  It  was  followed  by  the  two  act 
"Das  wunsch  huetchen.     Ein  lustspiel."  Schatz  10814 

Belphegor;  or,  The  wishes.  A  comic  opera:  as  it  was  acted  at  the 
Theatre  Royal,  Smoke-Alley. 

[Dublin],  Printed  for  the  booksellers,  1788.     29  p.     15^'='^. 

Neither  the  author,  Miles  Peter  Andrews,  is  mentioned  nor  the  composer  Frangois 
Hippolyte  Barth616inon. 

Pirst  performed  at  London,  Drury  Lane,  March  17,  1778.  Lonoe  223 

Belsazer.  A.  T.  of  Telemann's  Das  ende  der  Babylonischen  mo- 
narchie. 

The  benevolent  planters.     A  dramatic  piece,  as  performed  at  the 
Theatre  Royal,  Haymarket.     Written   by  Thomas  Bellamy,     [vig- 
nette] 
London,  J.  Debrett,  1789.     3  p.  I.,  I4,  [2]  p.     20^^. 

One  act  and  prologue.  Cast.  A  slavery  abolition  play  in  which  there  are  a  few 
songs,  one  to  the  tune  of  "Rule  Britannia."  The  [2]  p.  contain  publisher's  book- 
lists. 

First  performed  August,  1789,  as  "The  friends,  or,  the  benevolent  planters." 

LONGE  195 

Benevolent  tar.     A.  T.  of  Reeve's  The  purse. 

Berengario  re  d'ltalia.  Drama  per  musica.  Da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  il  camovale  dell'  anno  1709.  Di  Matteo 
Noris  .  .  . 

Venezia,  Marino  Rossetti,  1709.     69,  [1]  p.     15'^"'. 

The  additional  p.  contains  a  list  of  "Opere  musicali"  publ.  by  Antonio  Bortoli. 

Three  acts.  Dedication,  argument,  author's  prefatory  remarks,  and  scenario. 
Girolamo  Polani,  the  composer,  is  not  mentioned.  Schatz  8248 

Berenice.     O.   T.   of  Antonio  Salvi's   text   "Le  gare  di  politica  e 

d'amore." 

Berenice.     Dramrna  per  musica  da  rappresentarsi  nel  famosissimo 

Teatro  Grimani  di  S.  Gio.  Grisostomo.     Nel  carnovale  dell'   anno 

MDCCXXXIV  .  .  . 

Venezia,  Marino  Rossetti,  1734- 

Three  acts.  By  Antonio  Salvi  who  is  not  mentioned.  Dedication  by  Domenico 
Lalli,  cast,  argument,  scenario,  and  name  of  Francesco  Araya  as  composer. 

First  performed  at  Pratolino  Teatro  della  Villa  Medici,  1730.  Schatz  305 

Berenice,  in  einem  singenden  schau-spiele  aufF  dem  Hamburgischen 
Schau-platze  vorgestellet. 

[Hamburg],  Conrad  Neumann,  1702.     Unpaged.     18^"^. 

Three  acts.  Neither  Hinsch,  the  author,  is  mentioned  nor  Georg  Brenner,  the 
composer.    Text  based  on  Zeno's  "Lucio  Vero."  Schatz  1332 

Berenice.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  il  camovale  dell'  anno  1741  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     58  p.     15^^"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, argument,  scenario,  cast,  and  name  of  Galuppi  as  composer.  On  a  fly  leaf 
preceding  the  title  page  the  substitute  aria  (I,  12)  "II  fiero  mi  tormenta." 

First  performed,  as  indicated,  January  27,  1741  (Piovano).  Schatz  3483 


OPERA  LIBRETTOS  215 

Berenice.  Dramma  da  cantarsi  nel  Teatro  celebre  Grimani  in  S. 
Gio.  Grisostomo  il  carnovale  MDCCXXV. 

Venezia,  Marino  Rossetti,  n.  d.     66  p.     15^™'- 

Three  acts.  By  Benedetto  Pasqualigo,  who  is  not  mentioned.  Argument,  cast, 
Bcenario,  and  name  of  Giuseppe  Maria  Orlandini  as  the  composer.         Schatz  7329 

La  Berenice.  Drama  per  musica  da  rappresentarsi  in  Verona  nel 
Nuovo  Teatro  dell'  Accademia  Filarmonica  nel  carnovale  dell'  anno 
1762  .  .  . 

VeroTUL,  Dionisio  Ramanzini,  1762.     J^8  p.     17'^^. 

Three  acts.  Dedication  with  name  of  Apostolo  Zeno  as  the  author  (an  alteration 
of  whose  "Lucio  Vero"  this  is),  argument,  cast,  scenario,  and  name  of  David  Perez 
as  the  composer.  Schatz  7879 

Berenice.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  d.  S. 
Angelo  per  la  solita  fiera  dell'  Ascensione  dell'  anno  1759  .  .  . 

Venezia,  Modesto  Fenzo,  1759.     48  p.     Id""^. 

Three  acts.  By  Bartolomeo  Vitturi,  who  is  not  mentioned.  Impresario's  dedi- 
cation, argimient,  cast,  scenario,  and  name  of  Salvatore  Perillo  as  the  composer. 
("La  musica  tutta  nuova.") 

First  performed,  as  indicated.  May  23,  1759.  Schatz  7925 

Berenice.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1771  .  .  . 

Torino,  Mairesse,  n.  d.     viii,  60  p.     17"™. 

Three  acts.  By  Jacopo  Durandi,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  names  of  Ignazio  Platania  as  the  composer  of  the  opera,  of  Giuseppe  Antonio 
Le  Messier  of  the  ballet  music. 

First  performed,  as  indicated,  December  26,  1770.  Schatz  8214 

Berenice  e  Lucilla  overo  L'amar  per  virtil. — ^Berenice  und  Lucilla, 
oder  Das  tugendhaffte  lieben,  meistens  aus  dem  italianischen  genom- 
men,  und  zu  Darmstadt  in  einem  sing-spiel  vorgestellet  den  [blank] 
Februarii  im  jahr  1710. 

Darmstadt,  Hoff-Buch-druckerey ,  n.  d.     83  p.     18^'^™. 

Three  acts.  Argument.  Neither  Osiander,  the  author,  nor  Christoph  Graupner, 
the  composer,  is  mentioned.  Schatz  4119 

Berenice  und  Lucilla  oder  Das  tugendhaffte  lieben.  See  Graup- 
ner's  Berenice  e  Lucilla. 

La  bergere  des  Alpes.  Pastorale  en  trois  actes,  et  en  vers, 
mel^e  de  chants.     Par  M.  Marmontel,  de  I'Academie  franpoise. 

Avignon,  Louis  Chambeau,  1766.    32  p.     W™. 

The  composer,  Joseph  Kohault,  is  not  mentioned. 

First  performed  at  Paris,  Com^die  italienne,  February  19,  1766.       ML  48.M2  I 

—  La  bergere  des  Alpes,  pastorale  en  trois  actes,  et  en  vers,  m616e 
de  chant.     Par  M.  Marmontel  .  .  . 
BruxeUes,  J.  J.  Boucherie  &  compagnie,  1770.    44  V'     18'^'^' 

The  composer,  Joseph  Kohault,  is  not  mentioned.  On  p.  39-44:  "Airs  de  la 
Bergere  des  Alpes;"  "C'est  dans  le  bois"  (I,  1);  "Oui,  la  nature  est  la  mfere"  (I,  9); 
"Si  les  talents  &  les  grades"  (?);  "Sous  ces  gazons  depuis  deux  ans"  (III,  4). 

Schatz  5204 

La  bergerie.     Entree  in  Niel's  Les  romans. 


216  LIBRABY   OF   CONGRESS 

Die  bergknappen,  ein  originalsingspiel  in  einem  aufzug.  Aufge- 
fuehrt  auf  dor  hochfuerstl.  Thurnuncl  Taxischen  Schaubuehixe.  Die 
musik  ist  vom  hrn.     Paul  Kuerzinger. 

Regenshurg,  mit  Breitfeldischen  schriften,  1773.     2^  f-     15"^. 

Text  by  Paul  Weidmann,  who  is  not  mentioned. 

First  performed  1773,  as  indicated.  Schatz  5337 

Die  bergknappen,  ein  originalsingspiel  von  einem  aufzuge.  Aufge- 
fiihrt  auf  der  K.  K.  Nationalschaubuhne.  Die  musik  ist  vom  herm 
Umlauf. 

Wien,  hey  dem  Logenmeister,  1778.    26  f.     16'^'^. 

By  Paul  Weidmann,  who  is  not  mentioned. 

First  performed,  as  indicated:  privately,  for  Joseph  II,  on  January  16,  1778;  pub- 
licly, on  February  17, 1778.  (Haas  has  this  date  on  p.  xii  of  his  ed.  of  the  opera,  1911; 
on  p.  X  he  has  February  18)  Schatz  10524 

Berilowitz  in  Tartaria,  ballo  eroico  pantomimo.  See  Fioravanti's 
L'amor  per  interesse. 

II  Bertarido,  re  de  Longobardi.  Drama  per  musica  da  rappresen- 
tarsi  in  Venezia  nel  Teatro  Tron  di  S.  Cassiano  Fautuno  dell'  anno 
MDCCXXVII. 

Venezia,  Marino  Rossetti,  1727.     59  p.     14''"'. 
Three  acts.    Argument,  preface,  cast,  and  names  of  the  composer  of  the  opera, 
Giuseppe  Boniventi,  and  of  the  ballet  airs,  Giacomo  Mioto  Antonio  Salvi.    The 
unmentioned  author  is  Antonio  Salvi,  whose  altered  "Rodelinda,  regina  de'  Longo- 
bardi "  this  is.  Schatz  1185 

Bertholde  a  la  ville.  Parody  of  Ciampi's  Bertoldo,  Bertoldino  e 
Cacasenno. 

Bertoldo.  Drama  tragicomico  da  rappresentarsi  nel  Teatro  di  San 
Fantino  il  carnovale  dell'  anno  1717. 

Venezia,  Christoforo  BoHoli,  1717.     43  p.     14^'^'^. 

Three  acts.  Prefatory  note  and  scenario.  Neither  the  librettist,  Francesco  Pas- 
sarini,  is  mentioned,  nor  the  composer,  Girolamo  Bassani.  Schatz  635 

II  Bertoldo.  Dranmaa  giocoso  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  di  via  delta  Pergola  nel  carnevale  del 
MDCCLXXXVIII  .  .  . 

Firenze,  Stamperia  gia  Alhizzinianxi,  n.  d.     64  p.     16^'^"'. 

Two  acts.  By  Lorenzo  da  Ponte,  with  his  name  and  that  of  the  composer,  Antonio 
Brunetti.  ("La  musica  h  tutta  nuova.")  With  the  opera  were  performed  Le 
Fevre's  ballets,  "II  Cristoforo  Colombo  nell'  Indie,  ballo  eroico  tragico"  and  "Le 
figlie  astute."     The  composers  of  the  music  are  not  mentioned.  Schatz  1363 

—  Bertoldo  e  Bertoldino.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Genova  nel  Teatro  da  S.  Agostino  Testate  del  1791  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     68  p.     13^^. 

Two  acts.  A  much-condensed  version  of  "  II  Bertoldo. ' '  The  first  act,  for  instance, 
haa  only  25  scenes,  instead  of  28,  the  opening  chorus,  "Di  re  si  possente,"  the  fifth 
scene,  "Ah  me  la  pagnerai,"  the  tenth,  "Quanti  diversi  affetti,"  etc.,  being  sup- 
pressed. Impresario's  dedication,  cast,  scenario,  and  name -of  Antonio  Brunetti  as 
composer.  Schatz  1364 

Bertoldo.     See  Ciampi's  Bertoldo,  Bertoldino  e  Cacasseno. 


OPERA   LIBRETTOS  217 

Bertoldo,  ein  lustiges  singspiel  in  zwey  aufzuegen.  Aufgefuehrt  im 
K.  K.  Hoftheater. 

Wien,  n.  puhl,  1787.     79  p.     W"^. 

Two  acts.  German  text  only.  Lorenzo  da  Ponte  is  mentioned  as  the  author, 
Francesco  Piticchio  as  the  composer.    The  translator  is  not  mentioned. 

First  performed,  as  indicated,  June  22,  1787.  Schatz  8202 

Bertoldo,  Bertoldino  e  Cacasenno. 

[156]-214  p.  16 Y'^.  (Carlo  Goldoni,  Overe  drammatiche  giocose,  t.  i, 
Torino,  1757.) 

Three  acts.     In  his  humorous  prefatory  note  on  the  text  Goldoni  says: 
"A  proposito  del  poeta,  fa  egli  la  sua  protesta  .  .  .  e  che,  se  ha  fatto  un  cattivo 
libro  in  dieci  giorni,  non  I'ha  saputo  far  meglio.     Circa  le  arie,  alcune  sono  figlie 
legittime,  e  naturali  del  libro,  alcune  adattate,  altre  spurie,  ed  altre  adulterine  per 
comodo,  e  compiacimento  de'  virtuosi,  onde  ec."  ML  49.A2G6 

—  Bertoldo,  Bertoldino  e  Cacasenno.     Dramma  di  tre  atti  per 

musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  t.  39, 
[189]-248  p.     18'^'^.  PQ 

Bertoldo,  Bertoldino,  e  Cacasenno,  dramma  cornice  per  musica 
da  rappresentarsi  nel  Teatro  Giustiniano  di  S.  Moise  il  carnovale  delF 
amio  1749. 

Venezia,  Modesto  Fenzo,  1749.     60  p.     l^Y'^. 

Three  acts.  Neither  the  author.  Carlo  Goldoni,  is  mentioned,  nor  Vincenzo  Legren- 
zio  Ciampi,  the  composer.    Goldoni's  witty  notice  to  the  reader  ends: 

"Circa  le  arie,  alcune  sono  figlie  legitime,  e  naturali  del  libro,  alctine  addotate, 
altre  spurie,  ed  altre  adulterine  per  commodo,  e  compiacimento  de  virtuosi,  onde,  ec." 

This  is  the  real  and  original  title  of  Goldoni's  famous  libretto.  All  statements  that 
Ciampi  composed  another  opera  called  "Bertoldo  in  {or  alia)  corte,"  first  performed 
at  Parma  are  incorrect,  because  a  comparison  of  the  librettos  (all  in  three  acts)  in  the 
L.  C.  proves  that  "Bertoldo  in  corte  is  practically  identical  with  "Bertoldo,  Ber- 
toldino e  Cacasseno."  The  opera  became  known  also  simply  as  "Bertoldo,"  but 
"Bertoldo  in  {or  alia)  corte"  appears  to  have  become  the  most  popular  title,  and  aa 
euch  Ciampi's  opera  was  first  performed  at  Paris  on  November  22,  or  November  9, 1753, 
aa  a  pasticcio.  For  instance  {compare  De  La  Laurencie's  essay  mentioned  below) 
"  Grandi,  e  ver  eon  "  was  from  Leo's  "  Olimpiade  "  and  "  Quando  sento  spirarmi " 
was  parodied  from  his  "Semaisenti  spirarti  "  in  his  " Clemenza  di  Tito. "  "La 
donna  onorata"  does  not  appear  in  the  original  Venice,  1749  libretto  of  Ciampi's 
opera,  though  in  the  Brunswick  and  Strassburg  librettos  analized  by  me.  "Cosi 
fugge  e  spaventosa"  is  not  in  Goldoni's  text.  For  a  detailed  comparison  of  these 
different  editions  see  the  author's  study  on  Ciampi's  opera  and  Favart's  "  Ninette  k 
la  cour"  in  the  Sammelbdnde  d.  I.  M.  G.  1910/11,  p.  525-564. 

To  this  essay  I  wish  to  add  here  that  there  exist  two  collections  of  "Favourite 
Songs  .  .  .  Bertoldo,"  not  only  one,  as  I  presumed.  The  Royal  Collie  of  Music  in 
London  possess  both,  with  this  ms.  note  on  the  title  page,  as  Mr.  Squire  informed 
me:  "Published  originally  in  1749  and  republished  with  no.  1  in  1762."  The  L.  of 
C.  copy  is  identical  with  No.  2.    The  contents  of  No.  1  are: 

1.  Sive  Bertoldo  mio  garbato.  Ciampi 

(Text  not  by  Goldoni.) 

2.  Sono  allegra[,  son  contenta].  Ciampi 

(Text  from  Goldoni's  La  buona  figliuola  maritata.) 

3.  Ciascun  mi  dice.  _  Ciampi 

(Text  not  in  the  original  Venice,  1749,  libretto,  but  in  the 
Brunswick  and  Ferrara  eds.) 

4.  Se  nessuno  ora  non  c'  i.  anonymous 

(Text  from  Goldoni's  II  mercato  di  Malmantile.) 

5.  Ah  poi  che  pieth.  Galuppi 

(Text  not  by  Goldoni.)  Schatz  1882 


218  LIBRARY   OF   CONGRESS 

Bertoldo,  Bertoldino,  e  Cacasenno — Continued. 

—  Bertoldo,  Bertoldino  e  Cacasenno.  Dramma  giocosa  [!]  per 
musica  da  rappresentarsi  nel  Nuovo  Teatro  dell'  Opera-pantomima 
di  Bronsevico. 

n.  i.,  [1760f]    147  p.     ISY"^. 

Three  acts.  Scenario  and  name  of  the  composer,  Vincenzo  Ciampi,  German  title 
page  "Bertoldus,  Bertoldinus  iind  Cacasennue  '  and  text  face  the  Italian. 

SCHATZ  1879 

—  Bertoldo.  Dramma  comico  per  musica  da  rappresentarsi  nel 
Teatro  Nuovo  di  Argentina. 

Argentina,  Giovanni  Henrico  Heitz,  1751.     Jfi  p.     15"^. 
Three  acts.    Notice  to  the  reader,  cast,  and  name  of  the  composer,  Vincenzo 
Ciaxapi. 
First  performed  at  Strassburg  (Argentina)  in  1751,  as  indicated.         Schatz  1876 

—  Bertoldo  in  corte.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Bonacossi  da  S.  Stefano  il  camevale  delP  anno 
1755  ... 

Ferrara,  Giuseppe  Rinaldi,  n.  d.     4^  p.     14Y^- 

Three  acts.  Impresario's  dedication,  Goldoni's  original  "Bertoldo,  Bertoldino  e 
Cacasenno"  preface  (with  exception  of  the  last  paragraph),  cast,  and  name  of  the, 
composer,  Vincenzo  Ciampi.  The  parts  of  "Aurelia,  sorella  del  rfe"  and  "Lisaura, 
figlia  del  rh,  e  della  regina,"  have  been  dropped  and  the  whole  libretto  has  been 
considerably  condensed  and  modified.  For  purposes  of  identification  may  be  men- 
tioned that  the  opening  chorus  "Amor  discenda"  has  been  dropped  and  that  the 
opera  now  begins  with  the  words  "Amico,  in  questa  alpestre,"  that  its  third  act  has 
only  eight  scenes  instead  of  eleven,  the  second  fifteen  instead  of  eighteen,  etc. 

SCHATZ  1887 

—  Bertholde  a  la  ville,  opera-comique,  en  un  acte.  Repr4sent6 
pour  la  premiere  fois  sur  le  Theatre  [!]  de  la  Foire  S.  Germain  le  9 
mars  1754. 

Paris,  Duchesne,  1754.     55,  [1]  p.     19^"^. 

Cast.  On  p.  31-55  the  same  airs  as  in  the  1766  ed.,  which  compare  for  authors 
and  composer.    On  last  p.  is  a  list  of  "Opera-comiques  nouveaux." 

ML  50.2.B37C31 

—  Bertholde  a  la  ville,  opera-comique  en  un  acte.  Represent e 
pour  la  premiere  fois  sur  le  TneS,tre  de  la  Foire  S.  Germain,  le  9  mars 
1754. 

La  Eaye,  Jean  Neaulme,  1755.    28  p.     iP<=™. 

Neither  authors  nor  composer  mentioned.     {See  next  entry.)  ML  48. A4 

—  Bertholde  a  la  ville.  Opera-comique,  en  un  acte.  Represents 
pour  la  premiere  fois  sur  le  Tn6atre  de  la  Foire  S.  Germain  le  9  mars 
1754. 

Paris,  la  veuve  BucJiesne,  1766.    55  p.     18^'^. 

Cast.  On  I).  31-55  the  "Airs  de  Bertholde,"  "Quand  le  hasard  ensemble,"  "Tel 
qu'un  petit  oiseau,"  "Votre  coeur  en  vain,"  "A  tant  de  charmes,"  "Dieu!  quel 
paix,"  "Le  Ciel  va  rendre."  As  authors  of  this  parody  en  vaudevilles  of  Ciampi's 
opera  are  mentioned  by  different  authorities  Anseaume  alone,  or  de  Lattaignan  and 
Anseaume,  or  Vad6,  Anseaume  and  Hautemer.  All  mention  Lasalle  d'Offemont 
as  composer,  resp.  arranger  of  the  music,  which  was  selected  from  French  vaudevilles 
and  the  six  ariettes  from  Ciampi's  opera  and  Cocchi's  "La  mascherata." 

Schatz  1883 

—  Le  caprice  amoureux,  ou  Ninette  a  la  cour.  Com6die  en  trois 
actes,   mel6e   d'ariettes,   parodiSes   de   Bertolde   a   la   court.     Par 


OPERA   LIBRETTOS  219 

Bertoldo,  Bertoldino,  e  Cacasenno — Continued. 

Favart.     Reprfeent^  pour  la  premiere  fois  par  les  Comediens  fran- 

fois  ordinaires  du  roi  le  12  fevrier  1757  [!] 

Paris,  N.  B.  Duchesne,  1758.     j^  f.     19^'=^. 

The  date  of  performance  should  be  1755.    {See  next  entry.)      ML  50.2.B37C33 

—  Le  caprice  amoureux  ou  Ninette  a  la  cour,  comedie  en  deux 
actes,  m^lee  d'ariettes,  parodiees  de  Bertolde  a  la  cour  par  Monsieur 
Favart.  Representee  pour  la  premiere  fois  par  les  Comediens  ita- 
liens  ordinaires  du  Roi,  le  mercredi  12  mars  1756  et  ci-devant  en 
trois  actes  le  12  fevrier  1755.  Nouvelle  Edition  corrig6e  &  conforme 
h.  la  representation. 

Paris,  N.  B.  Duchesne,  1759.     86  p.     18*^. 

Cast.  On  p.  81-82  "Table  des  ariettas  de  Ninette  k  la  cour,  gravees  en  quatre 
parties"  with  the  foot-note  "Les  ariettes  marquees  dans  la  table  par  une  S,  ne  se 
chantent  point  k  la  Representation;  mais  se  trouvent  gravees  dans  la  musique." 
These  are  in  panic  I,  no.  9,  "En  tourbillon,  un  papillon,"  in  partie  II,  no.  18,  "Au 
Bein  des  alarmes,"  and  no.  21,  "Qu'il  a  de  gentillesse,"  in  partie  III,  no.  23,  "Je 
veux  tirer  vengeance,"  no.  24,  "Assise  sur  le  bord  d'une  onde,"  no.  25  "Non,  non, 
je  n'ai  peiu:,"  and  no.  27  "Quatuor."  On  p.  83-86  "Catalogue  des  pieces  des  come- 
dies frangoise  &  italienne,  &  opera  comiques  qui  se  vendent  detaches."  The  text 
is  a  close  parody  of  Goldoni's  "Bertoldo,"  but  the  music  is  a  pasticcio  from  Ciampi'a 
opera,  and  operas  by  Latilla,  Cocchi,  Selitti,  Jommelli,  Vinci,  etc.  Duni  is  said  by 
Bome  authonties  to  nave  arranged  the  score  for  Favart,  but  this  is  not  certain.  The 
whole  complicated  matter  of  text  and  music  has  been  investigated  by  the  author  in 
the  study  mentioned  above.  Compare  also  De  La  Laurencie's  article  on  "Les 
bouffons,"  S.  I.  M.,  1912,  nos.  6-8.  The  music  of  the  "  O  dell'  Egitto,"  final  chorus 
in  Rinaldo  di  Capua's  La  Zingara  "  and  hia  "  Toute  mon  ame  "  is,  as  I  since  learned, 
borrowed  from  Basse's  "  Leucippo."  Schatz  1877 

—  Le  caprice  amoureux,  ou  Ninette  a  la  cour,  comedie  en  deux 
actes,  meslee  d'ariettes,  parodiees  de  Bertolde  a  la  cour;  par  M. 
Favart:  Representee  pour  la  premiere  fois  par  les  Comediens  italiens 
ordinaires  du  roi,  le  mercredi  12  mars  1756. 

n.  i.,  n.  d.  120  p.  19'^™.  (Theatre  de  M.  Favart,  Paris,  Duchesne, 
1763-77,  t.  Hi.) 

No  cast.  No  composer  mentioned.  No  music  printed  in  the  text,  but  the  text 
is  followed  on  p.  [81]-98  by  twenty-seven  "Ariettes  de  Ninette  a  la  cour,  parodie  .  .  . 
Nouvelle  Edition  corrig^e,  et  conforme  aux  representations"  and  on  p.  [97J-120  by 
eix  "Ariettes,  pour  servir  de  supplement  ...  with  foot-note:  "Ces  anettes  ne  se 
chantent  point  k  la  representation;  mais  elles  ont  toujours  ete  gravees  dans  la 
musique.  They  are  "En  tourbillon,  un  papillon,"  "Au  sein  des  alarmes,"  "Qu'il 
a  de  zentillesse, '  "Je  veux  tirer  vengeance,"  "Assise  sur  les  bords,"  "Non,  non,  je 
n'ai  point  peur."  Of  these  only  the  words  of  "Qu'il  a  de  zentillesse"  appear  in  the 
present  text  (II,  10)  and  the  same  air  is  printed  as  no.  21  of  the  "Ariettes."  The 
others  are  remnants  of  the  three-act  version.  ML  49.A2F1 

—  Der  verliebte  eigensinn,  oder  Nannerl  bei  hofe,  eine  komische 
oper  in  zween  aufzuegen.  Aus  dem  franzoesischen  des  herm  Favart 
uebersetzt  [vignette]. 

Presshurg,  Anton  Loewe,  1778.     1  p.  l,  70  p.     16^'^'^. 

German  version  by  Carl  Ludwig  Reuling,  with  cast. 

First  performed  at  Pressburg,  Neuea  Theater,  in  1778.  Schatz  1878 

—  Bondepigen  ved  hoflfet.  En  lyrisck  comedie  i  to  handlLnger,  af 
Favart.  Musiken  af  Duny;  til  samme  musik  oversat  af  Niels  Krog 
Bredal. 

n.i.,n.d.     112  p.     W"^. 

Duni  did  not  compose  the  music,  but  possibly  arranged  the  score  for  Favart. 
First  performed  at  Copenhagen,  Hoftheater  i  Christiansborg  Slot,  March  12,  1776. 

Schatz  2852 


220  LIBRARY   OF   CONGRESS 

Bertoldo  in  corte.     See  Ciampi's  Bertoldo,  Bertoldino  e  Cacasseno. 

Die  besaenftigte  mitbuhlerinnen.    Tr.  of  Le  rivali  placate. 

Gesaenge  in  dem  nachspiel  Der  beschaemte  geizhals.  Verfertigt 
und  in  musik  gesezt  von  herrn  Wagenseil. 

Kaufbeuren,  Born,  1787.     [12]  p.     W^^. 

One  act.  A  contemporary  hand  has  written  on  the  title  page:  "Aufgefuert  d.  30 
oct.  1**"  und  e"*"*  nov.  1787  ;  on  p.  [2]  the  cast  and  the  receipts.  The  performances 
were  given  at  the  Theater  der  bui^erlichen  Agenten  Gesellschaft  AC. 

SCHATZ  10815 

Der  beschluss  des  camevals.     Opera  comique  auf  dem  Ham- 
burgischen  Schau-platze  vorgestellet  im  monat  feoniarii  anno  1724. 
[Hamburg],  Caspar  Jalchel,  n.  d.     Unpaged.     18'^'^. 

A  pasticcio  in  three  acts,  of  which  the  first  two  have  French  text,  and  the  last 
German.  In  the  anonymous  German  avertissement  we  are  informed  that  the  first  act 
is  based  on  "L'Europe  galante,"  composed  by  Campra. 

"Weil  darinnen  ein  turckischer  aufzug  vorkonunt,  der  bey  einer  ansehnlichen 
menge  von  personen  so  viel  fremdes  als  laecherliches  in  rich  haelt." 

The  third  act  consists  "aus  einer  neu-verfertigten  operette  comique,"  which  Schatz 
attributes  to  Telemann  (text  by  Schwemschu),  under  the  title  "II  capitano."  The 
second  act  is  Montfleury's  comedy  "La  fiUe  capitaine,"  and  is  spoken  (in  FrenchI) 
throughout.    Surely,  one  of  the  oddest  mixtures  imaginable!  Schatz  1564 

Der  besiegte  zauber.     Tr.  of  Siissmayer's  L'incanto  superato. 

Den  beskaeramede  gnier.     Tr.  of  Scolari's  L'avaro  burlato. 

Den  besnaerede  Cadi.     Tr.  of  Monsigny's  Le  cadi  dup6. 

Die  bestaendigkeit  besiege t  den  betrug.  German  title  of 
Graupner's  La  costanza  vince  I'inganno. 

Die  bestandigkeit  in  der  liebe.  A.  T.  of  Anfossi's  Isabella  und 
Rodrigo. 

Das  beste  komt  zulezt.     A.  T.  of  Kaffka's  Der  guckkasten. 

Die  bestrafte  eifersucht.     Tr.  of  Cimarosa's  II  marito  disperato. 

Gresaenge  aus  dem  sin^spiele:  Der  bestrafte  hochmuth,  oder: 
Liebe  macht  alle  staende  gleich,  in  drey  aufzuegen.  Die  musik  ist 
von  Gerl. 

Hamburg,  Rale  und  Freystatzky  wittwe,  1798.     40  p.     16^*^ . 

Text  by  Franz  Joseph  Fransky  after  Coltellini's  "  La  contessina." 
First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  September  10,  1798;  pre- 
viously as  "Graf  Balbarone  oder  Die  maskerade"  at  Briinn,  National-theater,  May, 
28,  1796. 

Schatz  3785 

Der  bestuerzte  und  wieder  erhoehte  Nebucadnezar,  koenig  zu 
Babylon,  unter  dem  grossen  propheten  Daniel,  in  einem  singespiel 
auf  dem  grossen  Hamburgiscnen  Schau-platze  vorgestellet  im  jahr 
1704. 

[Hamburg],  rait  Grejlingischen  schrifften,  n.  d.     Unpaged.     IS^''^. 
Three  acts.    Neither  the  author,  Christian  Friedrich  Hunold  (Menantes)  is  men- 
tioned, nor  the  composer,  Reinhard  Keiser.    Scenario  and  "  Vorrede  "  with  argument. 

Schatz  5092 


OPERA   LIBRETTOS  221 

Die  betrogene  arglist.     See  WeigFs  Das  unnutze  bestreben. 
Der  betrogene  geizhals.     Tr.  of  Paisiello's  L'avaro  deluso. 

Der  betrogene  geizige,  oder  Wer  das  glueck  hat.  Tr.  of  Paisiello's 
La  discordia  fortunata. 

Die  betrogene  staats-liebe,  oder  Die  unglueckselige  Cleopatra, 
koenigin  von  Egj^pten,  in  einem  singespiel  aur  dem  Hamburgischen 
Schau-PJatz  vorgestellet. 

Hamburg,  Nicolaus  SpieringTcs  wittwe,  1704-     Unpaged.     19^^. 

Three  acta.  The  "Historische  einleitung"  is  not  signed  by  the  author,  Friedrich 
Christian  Feustking,  nor  is  the  composer,  Johann  Matthesou,  mentioned. 

First  performed,  as  indicated,  October  20,  1704.  Schatz  6101 

Die  betrogene  und.  nachmals  vergoetterte  Ariadne,  in  einem 
singe-spiele  auif  dem  Hamburgischen  Schau-platze  im  jahr  1722  vor- 
gestellet. 

[Hamburg],  Casper  JaTchel,  n.  d.  Unpaged.  ISY'^- 
Three  acts  and  prologue.  Cast,  scenario,  and  name  of  Reinhard  Keiser  as  the 
composer.  The  last  page  contains  two  substitute  arias.  Many  arias  have  Italian 
text  added  to  the  German.  The  author,  resp.  translator.  Christian  Heinrich  Postel, 
is  not  mentioned.  According  to  Schatz  the  title  of  the  text  originally  was  "Die 
Bchone  und  getreue  Ariadne."  Schatz  5079 

Der  betrogene  vormund  oder  Das  einfaeltige  maedgen.  Tr.  of  von 
Schacht's  II  tutore  deluso  o  La  sempUce. 

Die  betrogenen  kastellane.     Tr.  of  Fabrizj's  Li  castellani  burlati. 

Der  betrug  aus  liebe,  oder  Der  schuss  von  Gaensewiz.  Ein  ko- 
misches  singspiel  in  drey  aufzuegen.  Durch  den  eleve  Rudolph 
Zumsteeg  im  musik  gesezt. 

Stuttgart,  Christoph  Gottfried  Maentler,  1780.    63  p.     14^"^' 

Author  not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Stuttgart,  Hoftheater,  1780.  Schatz  11293 

Betrug  durch  aberglauben.  Ein  komisches  singspiel  in  zwey 
aufzuegen  vom  F.  Eberl.  Die  musik  dazu  ist  ganz  neu  von  herm 
Karl  Ditters,  edlen  von  Dittersdorf.  Aufgefuhrt  im  K.  K.  National- 
Hoftheater. 

{Vienna],  Zujlnden  heym  logenmeister,  n.  d.     93  p.     15'^'^. 

Bound  in  with  this  "Arien  aus  .  .  .  Una  cosa  rara  .  .  .  von  Vinzenz  Martini, 
Wien,  1787." 

First  performed,  as  indicated,  October  3,  1786.  Schatz  2587 

Der  bettelstudent,  oder  Das  donnerwetter.  Ein  originallustspiel 
in  zwey  aufzuegen  mit  gesaengen.  Die  musik  ist  von  herrn  Peter 
Winter  .  .  . 

n.  i.,  1789.     [405]-458  p.     17'''^. 

Detached  copy.    By  Paul  Weidmann,  who  is  not  mentioned. 

First  performed  at  Munich,  National  Schaubuehne,  February  2,  1785. 

Schatz  11023 

II  Beverlei  o  sia  11  giouocatore  inglese,  ballet.  See  Gardi's  H 
nuovo  convitato  di  pietra. 


222  LIBRARY   OF   CONGRESS 

II  bevitore,  intermezzi  per  musica,  da  rappresentarsi  nel  Regio  Teatro 
alia  corte  di  Dresda.     L'anno  1747. 

n.  i.,  n.  d.     79  p.     16'"". 

Three  parts.  Cast.  Neither  the  author  (unknown  to  Schatz)  nor  the  composer, 
Joh.  Ad.  Hasse,  is  mentioned.  German  title  p^e,  "Der  eaeuffer,"  and  text  face 
Italian. 

First  performed,  as  indicated,  January,  1747.  Schatz  4520 

Der  bey  dem  allgemeinen  welt-friede  von  dem  grossen  Augus- 
tus geschlossene  tempel  des  Janus  auf  dem  lang-gewuenschten 
friedenfeste  welches  im  jalir  1698  in  Hamburg  gefeiret  ward  in  einem 
singespiel  vorgestellet.     [vignette.] 

Hamburg,  Nicolaus  Spieringlc,  n.  d.      Unpaged.     IS^*^^. 

Three  acts.  Lengthy  historical  preface,  delving  even  into  numismatics,  by  the 
author  Christian  Ileinrich  Postel.  Neither  he  is  mentioned,  nor  the  composer, 
Reinhard  Keiser.    The  text  of  the  opera  is  followed  by  4  p.  of  text  with  title:  ''Nach 

feendigter  opera  faehret  Fama  in  einer  wolcke  herab  imd  singet  dem  grossen  kayser 
/eopold  zu  ehren  nachfolgendes.    Auff  dessen  beschluss  folget  das  feuer-werck. 
Hamburg,  Gedrucktbey  Nicolaus  Spieringk,  1698." 

First  performed  at  Hamburg  Opemhaus  beim  Gansemarkt,  June  9,  1698. 

Schatz  5120 

—  Der  bey  dem  allgemeinen  welt-frieden  von  dem  grossen 
Augustus  geschlossene  tempel  des  Janus,  in  einer  opera  auf 
dem  Hamburgischen  Schau-platze  aufs  neue  aufgefuehret  im  monath 
octobris  anno  1729. 

[Hamhurg],  mit  Stromerschen  schrifften,  n.  d.      Unpaged.     18Y'^- 
Three  acts.     Neither  the  author,  Christian  Heinrich  Postel,  nor  the  composer, 
Reinhard  Keiser,  is  mentioned.    The  text  is  the  same  as  in  the  edition  of  1698 
except  that  the  dialogue  of  the  scene  III,  13,  was  suppressed,  the  final  aria  "Edler 
friede  sey  willkommen  "  now  forming  part  of  III,  12.  Schatz  5078 

Die  beyden  barons  von  Rocca  Azura.  Tr.  of  Cimarosa's  I  due 
baroni  di  Kocca  Azurra. 

Die  beyden  eifersuechtigen.  Tr.  of  Martin  y  Soler's  Li  sposi  in 
contrasto. 

Die  beyden  fluechtlinge.     Tr.  of  Paisiello's  Le  gare  generose. 

Die  beyden  kleinen  Savoyarden.  Tr.  of  Dalayrac's  Les  deux 
petits  Savoyards. 

Die  bezauberte  insel.     A.  T.  of  P.  Ritter's  Der  sturm. 

Der  bezauberte  kranz,  ballet.     See  Piccinni's  Das  gute  maegdchen. 

Die  bezauberten.  Eine  komische  oper  in  einem  aufzuge.  Nach 
dem  franzosischen  der  Madame  Favart.  Verfertigt  und  in  musik 
gesetzt  von  Johann  Andr6. 

Berlin,  CJiristian  Friedrich  Himhurg,  1777.     70  p.     15"^. 

Based  on  "Les  ensorcel^s  ou  Jeannot  et  Jeannette,"  parody  of  " Les  surprises  de 
I'amour"  by  de  Marivaux. 

First  performed  at  Berlin,  Dobbelinssches  Theater,  October  18,  1777. 

Schatz  184 

Bezestan  o  Mercato  di  schavi,  ballet.  See  M.  A.  Valentini's 
Solimano. 


OPEEA   LIBRETTOS  223 

Bianca  de'  Rossi,  ballet.     See  P.  Guglielmi's  La  pupilla  scaltra. 

Bianca  de'  Rossi,  ballet.     See  Tarchi's  Dorval  e  Virginia. 

Bianca  de'  Rossi.  Dramma  nuovo  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  Venier  in  San  Benedetto  il  carnovale  dell* 
anno  1797. 

Venezia,  Modesto  Fenzo,  1797.     43  p.    'IS""^. 

Three  acts.  By  Mattia  Botturini,  who  is  not  mentioned.  He  makes  this  curious 
remark  in  a  prefatory  note: 

"  L'unico  awiso,  ch'  egli  [I'autore]  avanza  al  pubblico,  e  ch'  esiste  su  questo  soggetto 
una  tragedia  del  Signor  abbate  Pier  Antonio  Meneghelli,  intitolata  anch'  essa  Bianca 
cfe'  Rossi,  uscita  in  Padova  dalla  stamperia  di  Gio.  Antonio  Gonzati,  e  rappresentata  in 
questa  Dominante  e  in  altre  citt^  d'ltalia,  nonchfe  un  ballo  pantomimo  composto  dal 
Signbr  Giuseppe  Trafieri  ed  eseguito  nel  nobilissimo  Teatro  di  San  Benedetto  il  car- 
novale deir  anno  1793." 

Cast,  scenario  and  name  of  Vittorio  Trento  as  the  composer.  Whether  or  not  he 
used  the  music  of  the  1793  ballet  which  he  composed  is  not  mentioned.  On  p.  21-25 
cast  and  description  of  Maria  de'  Caro's  "Oscar  e  Malvina,  ballo  eroico  pantomimo," 
"musica  tutta  nuova  .  .  .  del  Sig.  Giuseppe  Nucci;"  and  on  p.  39-40,  brief  descrip- 
tion, without  name  of  the  composer,  of  the  music  of  Giuseppe  Domenico  de  Rossy's 
ballet,  "Mysis  ed  Eufrasia  ossia  I  due  gemelli." 

First  performed,  as  indicated,  January  14,  1797.  Schatz  10418 

Biblis,  tragedie,  representee  par  I'Acad^mie  royale  de  musique,  Fan 
1732.  Paroles  de  M.  Fleury.  Musique  de  M.  La  Coste.  CXVII. 
opera. 

n.  i.,  n.  d.  1^'^'^.  pi.,  205-264  V-  (Recueil  general  des  opera,  t.  xv, 
Paris,  1739.) 

Detached  copy.     Five  acta  and  prologue. 

First  performed,  as  indicated,  November  6,  1732.  Schatz  5352 

Second  copy.    ML  48. R4 

Bickerstaff's  TJnburied  dead.     A  moral  drama.     As  acted  at  the 
Theatre-Royal  in  Lincoln's-Inn-Fields  .  .  . 
London,  J.  WatU,  1743.     4  p.  l,  30,  [2]  p.    21 Y"^. 

Two  acts  and  epilogue.  Cast  and  preface.  Interspersed  with  songtf,  the  composer 
of  which  is  not  mentioned.    Author  unknown  to  Clarence.  Longe  271 

First  performed  as  indicated,  January  14,  1743  (Genest). 

Gesaenge  aus  dem  schauspiele :  Biondetta. 
n.  L,  n.  d.     [8]  p.     16^"". 

Four  acts.  Neither  the  author,  Karl  Christian  Engel,  nor  the  composer,  Friedrich 
Adam  Killer,  is  mentioned. 

First  performed  at  Schwerin,  Theater  im  Ballhause,  July  14, 1790.      Schatz  4715 

La  birba.     Intermezzo. 

[210]-230  p.  16^'^^.  {Carlo  Goldoni,  Opere  drammaticTie  giocose, 
t.  iv,  Torino,  1767.) 

Two  parts.    Original  composer  unknown  to  Schatz.  ML  49.A2G6 

—  La  birba.  Intermezzo  di  due  parti  per  musica.  Rappresentato  per 
la  prima  volta  in  Venezia  il  carnovale  dell'  anno  MDCCXXXIV. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  jigli,  1788-95,  t.  35, 
[71]-93  p.     18^"^.  PQ 

Li  birbi.  Intermezzi  da  rappresentarsi  in  musica  nel  Teatro  di  S. 
Angelo  nel  carnevale  1732. 

Venezia,  Carlo  Buonarrigo,  1732.     12  p.     15""^. 

Two  intermezzi .  By  Antonio  Zanetti,  who  is  not  mentioned.  Michele  Fizii  is  men- 
tioned as  the  composer.    Cast.  Schatz  3105 


224  LIBRARY   OF   CONGRESS 

Li  birbi.  Intermezzo  da  rap>presentarsi  in  musica  nel  Theatre  nuovo 
deir  Opera  pantomima,  de  piccoli  HoUandesi  di  Nicolini. — Die  schel- 
men,  em  musicalisches  zwischenspiel.  Vorgestellet  auf  dem  neuen 
Theater  in  der  Opera  pantomima  von  denen  hollaendischen  kindern 
des  herrn  NicoHni. 

Braunschweig,  Keitel,  n.  d.     Unpaged.     19^'^^. 

Two  parts.  By  Antonio  Zanetti,  who  is  not  mentioned.  German  text  faces 
Italian.     Cast  and  name  of  the  composer,  "Ignatio  Fiorillo  Napoletano." 

First  performed  as  indicated,  1749;  at  Hamburg,  Neumarkt  by  the  same  company, 
December  2, 1748;  at  Prague,  by  the  same  company  in  the  same  year.     Schatz  3199 

The  birth-day,  or,  The  prince  of  Airagon.  A  dramatick  piece, 
with  songs.  In  two  acts.  As  performed  at  the  Theatre-Royal,  Hay- 
Market.     Written  by  J.  O'Keete. 

Lmidon,  T.  Cadell,  1783.     2  p.  l,  iv,  U],  38  p.     21  p. 

Prologue,  cast,  and  O'Keefe's  dedication  to  the  Prince  of  Wales,  dated  London, 
August  26,  1783.  Of  the  nine  songs,  etc.,  the  music  of  six  is  indicated  as  being  by 
Samuel  Amold,  of  two  as  by  Piccinni.  The  finale-chorus  of  the  second  act  is  with- 
out composer's  name. 

First  performed  August  12, 1783,as  indicated.  Lonoe  164 

The  birth  of  the  Prince  of  Wales.     A.  T.  of  Attwood's  Caernarvon 

Castle. 

Die  biss  in  und  nach  dem  todt  unerhoerte  treue  des  Orpheus. 
L.  T.  of  Reiser's  Orpheus. 

Bitten  und  erhoerung.  Ein  singspiel  womit  das  geburtstagsfest 
des  koenigs  am  24sten  januar  dieses  jahres  von  der  Waeserschen 
gesellschait  zu  Breslau  gefeiert  worden. 

p.  273-281.    18^"^'    (Litteratur  und  Theater  Zeitung,  Berlin,  1783). 

Footnote  by  the  editor:  "Hat  den  herrn  kammer-referendarius  Berger  in  Breslau 
zum  verfasser,  und  die  musik  ist  vom  herrn  [Johann  Christian]  Kaffka  dazu  ver- 
fertigt  worden."  Schatz  4772 

La  bizarra  contadina.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  second'  opera 
di  quest'  anno  1790. 

Napoli,  n.  puU.,  1790.     Jf.7  p.     15^"^. 

Two  acts.     Cast  and  name  of  Gaetano  MarineUi  as  the  composer.     Schatz  5959 

La  bizzarria  degli  umori.  Farsetta  per  musica  a  cinque  voci  da 
rappresentarsi  nel  Teatro  Capranica  nel  carne vale  dell' anno  1777  .  .  . 

Boma,  Ottavio  PuccineUi,  1777.     47  p.     W"^. 

Two  acts.  Author  is  not  mentioned  and  is  imknown  to  Schatz.  Impresario's  dedi- 
cation, cast,  and  name  of  Giuseppe  Gazzaniga  as  the  composer.  Schatz  3684 

Le  bizzarie  del  bel  sesso.     A.  T.  of  tTie  ballet  La  vedova  ingegnosa. 

Blaise  et  Babet  ou  La  suite  des  Trois  fermiers.     Com^die  en  deux 
actes,  m^lee  d'ariettes,  par  M.  Monvel;  representee  pour  la  pre- 
miere fois  par  les  Comediens  italiens  ordinaires  du  roi,  devant  Leurs 
Majest^s,  a  Versailles,  le  4  avril,  &  h.  Paris  le  30  juin  1783. 
Paris,  Brunei,  1784.     56  p.     18^"^. 

_  Cast.  DezSde,  the  composer,  is  not  mentioned.  The  melodies  of  the  "Chanson. 
Lise  chantoit  dans  la  prairie"  (I,  5)  and  of  the  "Romance.  Entends  ma  voix" 
(II,  5)  are  printed  in  the  text  Schatz  2514 


OPERA   LIBRETTOS  225 

Blaise  et  Babet — Continued. 

—  Gesaenge  aus  dem  singspiele :  Toeflfel  nnd  Dortchen,  in  zwey 
aufzuegen,  nach  Monvell.     In  musik  gesetzt  von  Desaides. 

Hamburg,  J.  M.  Michaelsen,  1788.     20  p.     16^"^. 

The  translator  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  b.  G^nsemarkt,  Oct.  13,  1788;  at  Mannheim, 
National  theater,  Aug.  10,  1788.  Schatz  2515 

Blaise  le  savetier,  opera  comique,  suivi  de  La  ndce  de  Nicaise, 
intermede  ra^le  de  chants  &  de  danses;  par  Monsieur  S.  ,  .  .  La 
musique  de  M.  Phillidor.  Represent  6  pour  la  premidre  fois  sur  le 
Theatre  de  I'Opera  comique  de  la  Foire  Saint  Germain,  le  9  mars  1759. 

Paris,  N.  B.  Duchesne,  1759.     31  p.     19^"^. 

Imprimatur  of  date,  Jime  27,  1759,  cast  and  Avertissement  by  Sedaine,  the  author. 
{See  next  entry.)  ML  50.2.B39P4 

—  Blaise  le  savetier,  op.^ra  comique,  suivi  de  La  noce  de  Nicaise; 
intermede  mele  de  chants  &  de  danses:  par  M.  S.  .  .  .  La  musique 
de  M.  Philidor.  Repr^sente  pour  la  premiere  fois  sur  le  Theatre  de 
rOpera-comique  de  la  Foire  Saint-Germain,  le  neuf  mars  mil  sept 
cent  cinquante-neuf. 

Paris,  la  veuve  Duchesne,  1769.    38  p.     19^"^. 

By  Michel  Jean  Sedaine  (not  mentioned),  who  says  in  his  avertissement: 
"Si  quelqu'  un  me  reproche  I'attention  avec  la  quelle  j'ai  ecrit  la  pantomime  de 
cette  farce,  qu'il  fasse  reflexion  que  le  grand  defaut  de  la  plupart  des  ariettes  au 
theatre,  est  de  se  voir  denuees  d'action:  soit  que  ce  defaut  vienne  des  paroles  &  de 
la  situation  theatrale;  soit  que  I'acteur,  seulement  musicien,  ne  sgache  point  lea 
revgtir  des  gestes  &  du  sentiment  vrais."  Schatz  8007 

—  Blaise  le  savetier,  opera  comique,  m^le  d'ariettes,  par  Monsieur 
S.  .  .  .     La  musique  de  M.  Philidor. 

Paris,  Duchesne,  1771.     29  p.     19'^'^. 

Sedaine's  Avertissement  not  in  this  ed.  Schatz  11736 

—  Hanns  der  schuhflicker,  ein  shigspiel  in  einem  aufzuge  aus  dem 
franzoesischen  uebersetzt  mit  musik. 

Frankfurt  am  Mayn,  mit  Andrealischen  schriften,  1772.  61  p,  9 
p.  {music)     W^. 

Cast.  Neither  Joh.  Heinr.  Faber,  the  translator,  nor  Philidor,  the  composer,  is 
mentioned.  Version  used  by  Theob.  Marchand's  company.  The  mvisic  (voice  and 
bass)  consists  of:  "Um  vergniigt  zu  leben"  (I,  4.  "Tiens,  tu  me  fais  piti6"),  "Nur 
das  geld  kann"  (I,  5.     "L'argent  seul  fixe  le  caprice").  Schatz  8008 

Blanche  et  vermeille,  com^die  pastorale,  en  deux  actes  et  en  prose, 
m^ee  de  musique.     Representee  pour  la  premiere  fois  par  les  Com^ 
diens  italiens  ordinaires  du  roi,  le  lundi  5  mars  1781. 
Paris,  Thomas  Brunei,  1781.     28  p.     21<''^. 

Neither  Jean  Pierre  Claris  de  Florian,  the  author,  is  mentioned,  nor  Henri  Joseph 
Rigel,  the  composer.  ML  50.2.B4R3 

Der  blaue  schmetterling,  oder  Der  sieg  der  natur  ueber  die 
schwaermerey.  Ein  komisches  singspiel  in  drey  aufzuegen.  Nach 
Wieland.  Sowohl  die  worte,  als  die  musik,  sind  vom  hrn.  Maximihan 
Ulbrich.     Aufgefuehrt  im  K.  K.  Nationalhoftheater. 

Wien,  heijm  Logenmeister,  1782.     70  p.     15^"^. 

First  performed,  aa  indicated,  April  2,  1782.  Schatz  10522 

72251°— VOL  1—14 15 


226  LIBRARY  OF  CONGRESS 

Das'blendwerk.     Tr.  of  Gr^try's  La  fausse  magie. 

The  blind  beggar  of  Bethnal  Green.     By  R.  Dodsley  [vignette]. 
London,  Printed  for  R.  Dodsley,  1741.     44  p.     20'^'^. 
On  p.  [5],  advertisement  of  Dodsley 's  "Publick  register." 
One  act.     Cast.    The  composer,  Thomas  Au^tine  Ame,  is  not  mentioned. 
First  performed  at  London,  Drury-Lane,  April  3,  1741  (Genest).  Lonoe  124 

Second  copy.     AC901  M5  v.  596 

Blue-beard;  or,  Female  curiosity!  A  dramatick  romance;  first 
represented  at  the  Theatre  Royal  Drury-Lane,  on  Tuesday,  January 
16,  1798.     Written  by  George  Colman,  the  younger  .  .  . 

London,  Cadell  and  Davies,  1798.     vi,  [1],  54,  [1]  p.     ;?/«="». 

Two  acts.  Cast  and  preface,  with  name  of  Michael  KeUy  as  composer  and  com- 
piler of  the  music,  and  statement  that  the  piece  is  not  a  translation  from  the  French 
or  any  other  lanfijuage.  In  Corri,  Dussek  &  co's  vocal  score  "And  silence  reigns 
within  the  walls  "  is  headed  as  by  Paesiello.  Longe  246 

The  airs,  glees,  choruses,  etc.  in  the  new  pantomime  of  Blue  Beard; 
or,  The  flight  of  Harlequin.     As  performed  at  the  Theatre-Royal, 
Covent-Garden.     Third  edition. 
London,  T.  Cadell,  1791.    20  p.     18'"^. 

Two  acts.  Cast.  The  airs,  "That  all  ride  their  hobbies"  and  "My  name's  Tippy 
Bob,"  are  headed  as  composed  by  William  Reeve.  Longe  218 

Blunders  at  Brighton.     A.  T.  of  Shield's  The  Irish  mimic. 

Die  blut-durstige  rache,  oder  Hehates  und  Olympia,  in  einem 
singspiel  auf  den  Hamburgischen  Schau-platze  vorzustellen. 

[Hamhurg],  Spiering,  1709.      Unpaged.     18^*^^. 

Three  acts.  Text  and  music  by  Reinhard  Keiser,  who  is  not  mentioned .  Scenario 
and  argument.    A  few  arias  have  Italian  text  added  to  the  German.      Schatz  5080 

The  boarding-school:   or,  The  sham  captain.     An  opera.     As  it  is 
perform'd  at  the  Theatre  Royal"  in  Dru^-Lane,  by  His  Majesty's 
servants.     Written  by  the  author  of  the  Beggar's  wedding  and  The 
Devil  to  pay.     With  the  musick  prefix'd  to  each  song. 
London,  J.  Watts,  1733.     44  p.  19^^. 

One-act  ballad  opera.  Cast,  dedication  signed  by  the  author,  Charles  Coffey,  and 
table  of  the  23  songs,  the  airs  of  which  are  printed  in  the  text  with  their  titles,  except 
airs  1,  2,  12,  which  are  headed,  "set  by  Mr.  Seedo." 

First  performed  January  29,  1733,  as  indicated.  Longe  50 

—  The  boarding  school:  or,  The  sham  captain.  An  opera.  By 
C.  Coflfey,  Esq. 

[185]-215  p.  W^^.  (Collection  of  the  most  esteemed  farces  and  en- 
tertainments, t.  v.,  Edinburgh,  1792.) 

Drury-Lane  cast.     Ballad  opera,  with  the  airs  "set  by  Mr.  Seedo." 

Schatz  11753E 

Die  boese  frau.  Komisches  original-singspiel  in  zwey  aufzuegen. 
1791. 

n.  i.,  n.  d.  [297]-392  p.  W"^.  (HerJclots'  Operetten,  iv,  Berlin, 
1792.) 

Detached  copy.     The  composer,  Ignatz  Walter,  is  not  mentioned. 
First  performed  at  Bremen,  Theater  an  der  Bastion  beim  Osterthore,  November  3, 
1794.  Schatz  10858 


OPERA   LIBRETTOS  227 

La  Bohemienne.     See  La  Zingara,  by  Riiialdo  di  Capua. 

La  boite  de  Pandore.     See  La  faussefoire. 

Le  bon  fils,  opera  en  un  acte.  Paroles  de  Louis  Hennequin,  mu- 
sique  de  L.  S.  Lebrun  .  .  .  Repr^ente,  pour  la  premiere  fois,  sur 
le  Theatre  de  la  rue  Feydeau,  le  premier  jour  compl^mentaire  de  la 
troisieme  ann^e  r^publicaine  (17  septembre  1795,  vieux  style). 

Paris,  Huet,  an  quatrieme  de  la  Repuhlique,  [1795-96].     23  p.     20'^'^. 

Cast.  Between  p.  22-23  in  contemporary  ms.  the  added  couplet  for  Lise's  "Vous 
jug^rez  de  mon  ivresse."  ML  50.2. B7L3 

Le  bon  fils,  com6die,  en  un  acte  et  en  prose,  m^lee  d'ariettes;  par 
M.  de  Vaux,  La  musique,  de  M.  PMidor.  Representee,  pour  la 
premiere  fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le  lundi, 
11  Janvier  1773. 

Paris,  la  veuve  Duchesne,  1773.     iv,  [6]-80,  p.  4  p-  {music)     17'^^. 

The  music  consists  of  the  vaudeville:  ' '  Enfans  voila  votre. ' '  In  his  avertisscTnent  the 
author  repudiates  the  charge  of  plagiarism  because  of  the  great  similarity  of  a  scene 
with  one  m  Gretry's  "Silvain."     His  own  piece,  he  says, 

"faite  dans  son  origine  pour  un  theatre  desoci^te,  avoit  ^te  lue  a  ceux  qui  devoient 
la  jouer  &  k  quelques  gens  de  lettres  plus  d'un  an  avant  la  repr&entation  de  Silvain. 
C'est  done  le  hasard  qui  a  fait  naltre  la  meme  idee  a  deux  poetes  qui  ne  se  connois- 
soient  pas."  Nevertheless,  he  says,  he  has  done  all  in  his  power  to  weaken  the 
resemblance.  Further  on  he  states,  that  the  piece  was  at  first  called  "  Antoine  Masson, ' ' 
but  "le  public,  aprfes  la  seconde  representation,  pr^^^nt  I'acteur  qui  I'annonfoit  & 
TpToiionga,  le  bo7i  fits."  Schatz  8009 

II  bon  ton.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniani  in  S.  ^loise  il  camovale  dell'  anno  1780. 
Venezia,  n.  publ.,  n.  d.     78  p.     IS*^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Joseph  Schuster  as  the  composer.     ("La  musica  sara.")  Schatz  9761 

Le  bon  vivant,  oder  Die  Leipziger  messe,  in  einem  singe-  und  lust- 
spiel  auff  dem  Hamburgischen  Schau-Platz  vorgestellet.  Im  jahr 
1710. 

Hamburg,  Johan  Niclas  Gennagel,  n.  d.      Unpaged.     W^^. 

Three  acts.  Preface  in  form  of  a  commentary  on  his  own  piece  by  Weidemann,  the 
author.    Neither  he  nor  the  composer,  Reinhard  Keiser,  is  mentioned. 

Schatz  5121 

Bondehovmod  eller  Ki0bmanden  som  adelsmand,  og  bondepigen 
som  fr0ken.     Tr.  of  Picinni's  II  fumo  villano. 

Bondepigen  ved  hoflfet.  Tr.  of  Ciampi's  Le  caprice  amoureux,  ou 
Ninette  a  la  cour. 

B0nderfolk.s  elskov.     Tr.  of  Lampugnani's  L'amor  contadino. 

Bonduca:  or.  The  British  heroine.  A  tragedy.  Acted  at  the 
Theatre  Roval.  Bv  His  Majesty's  servants.  With  a  new  enter- 
tainment or  musick,  vocal  and  instrumental.  Never  printed  or 
acted  before. 

London,  Printed  for  Richard  Bentley,  1696.  4  V'  ^'>  ^^y  t^l  P' 
21 Y"^. 

Three  acts,  prolo^e,  and  epilogue.  Last  (unnumb.)  page  contains  Bentley's 
book  list.    Cast,  dedication  by  Geo.  Powell,  and  his  notice  to  the  reader.     Powell 


228  LIBRARY   OF   CONGRESS 

Bonduca — Continued . 

says  that  a  friend  of  his,  name  not  given,  ia  responsible  for  this  revision  and  moderni- 
zation of  (Beaumont  ?  and)  Fletcher's  "Bonduca,"  that 

"the  whole  play  was  revised  quite  through,  and  likewise  studied  up  in  one  fort- 
night." 

In  the  dedication  he  says: 

"'Tia  a  fabrickof  antiquity;  a  foundation  of  that  celebrated  poetical  architect,  the 
famous  Fletcher;  but  with  several  alterations,  besides  the  two  first  acts  new  writ.  .  .  . 
it  has  this  further  advantage,  as  being  an  English  story;  that  the  glory  of  worthies 
and  heroes  sounds  sweetest,  where  the  musick  is  tuned  at  home  ..." 

This  last  is,  of  course,  an  allusion  to  Henry  Purcell. 

First  performed  1695  (Squire).  Longe  208 

he  bonheur  de  rillussion.     A.  T.  of  Piron's  text  IjCs  chimeres. 

La  bonne  amie.     A.  T.  of  Desbrosses'  Les  deux  cousines. 

La  bonne  femme.     Parody  of  Gervais'  Hipermnestre. 

La  bonne  femme  ou  Le  Ph6nix,     Parody  of  Gluck's  Alceste. 

Le  bonne  homme  misere.  A.  T.  of  Gaveaux  I^e  diable  couleur  de 
rose. 

Les  bons  et  les  mechans,  ou  Philemon  et  Baucis,  pantomime,  en 
deux  actes;  par  M.  Audinot.     Representee,  pour  la  premiere  rois, 
sur  le  Theatre  de  I'Ambigu-comique,  le  premier  Janvier  1783. 
Paris,  Cailleau,  1783.     18  y,     18^^. 

Two  acts.  Scene  by  scene  description  of  the  action.  The  composer  of  the  music 
is  not  mentioned.     In  an  Avertissement  the  publisher  says: 

"...  Grand  peintre  &  grand  machiniste,  le  chevalier  Servandoni  porta  ^  sa 
perfection  la  Pantomime  a  Machines.  Personne  ne  poussa  plus  loin  que  ce  fameux 
artiste,  I'art  de  faire  jouer  les  decorations,  d'en  multiplier  les  effets,  de  les  varier, 
de  les  opposer  avec  autant  de  rapidity. 

"Ne  pouvant  employer  aucun  de  ces  grands  moyens,  le  directeur  de  I'Ambi^u- 
Comique  puisa  dans  la  nature  meme  un  nouveau  genre  de  pantomime.  Une  action 
simple  &  suivi,  des  situations  int^ressautes,  agreables,  des  tableaux  pittoresques, 
vanes  &  multiplies,  qui  tiennent  toujours  au  sujet,  voilk  la  t3,che  que  cet  entre- 
preneur s'est  imposc^e. 

"La  Belle  au  bois  dormant,  fut  le  premier  &  I'un  des  plus  agreables  ouvrajjes 
qu'il  ait  offert  au  public,  &  le  8ucc(§s  constant  que  cette  pantomime  a  eu  toutes  lea 
fois  qu'on  I'a  remise  au  thMtre,  dispense  d'entrer,  k  cet  egard,  dans  de  plus  grands 
details. 

"Bientot  les  quatre  Fils  Aymon  <&  Pierre  de  Provence,,  qui  succ^derent  k  la  Belle 
au  bois  dormant,  obtinrent  led  applaudissemens  les  plus  encourageans. 

"Enfin,  le  Prince  Noir  <&  Blanc  &  Dorothee,  sembient  avoir  r^unis  tons  les  suffrages 
d'un  public,  qui  donne  toujours  une  nouvelle  preuve  d'indulgence  &  d'int^ret  k 
chaque  effort  nouveau  que  Ton  fait  pour  lui  plaire.  .  .  . 

"L'effet  de  ces  sortes  d'ouvrages,  est  de  parler  d'abord  aux  yeux,  &  de  n'arriver 
au  coeur  ou  k  I'esprit,  que  par  le  secours  de  cet  organe,  &  d'une  musique  destinee  k 
remplacer  le  dialogue.  On  pense  que  leurs  programmes  n'en  doivent  6tre  que  la 
description  ..."  ML48.B2 

Both  sides  of  the  water.     A.  T.  of  Keeve's  The  raft. 

II  bottanico  novellista.     Dramma  giocoso  per  musica  da  rappre- 
sentarsi  la  primavera  dell'  anno  1770  nel  Teatro  Dolfino  in  Treviso  .  .  . 
Venezia,  Giambattista  Casali,  1770.     48  p.     15^^. 

Three  acts.  By  Goldoni,  originally  called  "Lo  speziale."  Impresario's  dedica- 
tion, cast,  and  name  of  the  compo.ser,  Domenico  Fischietti.  Schatz  3241 

II  bottaro,  ballet.     See  P.  Guglielmi's  Arsinoe  e  Breno. 


OPEBA   LIBRETTOS  229 

II  bottaro  di  Svezia,  ballet.     See  Paisiello's  Le  gare  generose. 

La  bottega  da  caffe,  commedia. 

[5]-44  p.  16^^.  {Carlo  Goldoni,  Opere  drammatiche  giocose,  t.  iv, 
Torino,  1757.) 

Three  parts.    Original  composer  unknown  to  me.  ML  49.A2G6 

—  La  bottega  del   caffe.     Intermezzo   di  tre  parti  per  musica. 
Rappresentato  per  la  prima  volta  in  Venezia  I'anno  MDCCXXXV. 
Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  35, 
[289]-331  p.     ISY"^-  PQ 

II  bottegaro  gentiluomo.     Intermezzo  a'  due  voci. 

Venezia,  Domenico  Lovisa,  1739.     12  p.     IJi-Y™'- 

Two  parts.  By  Antonio  Salvi,  who  is  not  mentioned.  In  the  brief  entry  catalogue 
of  his  libretto  collection  Schatz  attributed  the  music  to  Giuseppe  Maria  Oilandml, 
but  in  the  manuscript  of  his  Opera-dictionary  he  attributes  it  to  Joh.  Adolf  Hasse, 
remarking  that  the  intermezzo  is  also  known  as  ' '  Larinda  e  Vanesio, ' '  and  originally, 
for  the  first  performances  at  Naples,  Teatro  di  San  Bartolomeo,  December,  1726,  was 
called  "L'artigiano  gentiluomo."  Florimo  makes  no  mention  of  such  a  performance. 
Mennicke  (p.  511)  says  that  the  Royal  Library  at  Dresden  possesses  Hasse's  "Cajo 
Fabricio,"  Dresden,  1734,  with  his  intermezzi,  "L'artigiano  gentiluomo  (=Larinda 
e  Vanesio),  and  that  a  German  edition  of  the  text  of  these  is  in  the  Schatz  collection. 
On  p.  495  of  his  book  he  enters  under  "Intermezzi " :  "1726.  L'artigiano  gentiluomo, 
Neapel,  Datum  der  Auffiihrung:  ?,  Exemplar:  Dresden,  Librettist:  ?" 

It  is  quite  clear  that  this  information  was  partly  derived  from  Schatz  himself,  whose 
libretto  collection,  indeed,  contains  "Der  handwerksmann  als  edelmann,"  Dresden, 
1734. 

To  add  to  the  confusion,  Schatz,  in  his  ms.  work  (in  L.  of  C),  "  Chronologische 
folge  der  von  Johann  Adolph  Hasse  in  musik  gesetzten  dramatischen  werke,"  enters 
as  no.  6: 

'^Larinda  e  Vanesio.  Intermezzi  per  musica  in  2  parti.  Text  urspriingl.  m.  d. 
titel  "L'artigiano  gentiluomo,"  von  Antonio  Salvi,  verandert  von  [blank],  Neapel, 
Teatro  di  S.  Bartolomeo.     xii,  1726." 

"Besetzung 
"Larinda  Sig*  Celeste  Reste 

"Vanesio  Sig.  Gioacchino  Corrado 

"NB.  Dieses  werk  wurde  als  zwischenspiel  z.  d.  dramma  per  musica  "L'Ab- 
tarto"  aufgefiihrt." 

He  then  quotes  from  the  libretto  (which  is  not  in  his  collection) : 

"Se  I'intermezzi  li  vedrai  tutti  diversi  dal  loro  primo  essere,  e  da  quella  forma, 
che  si  sono  rappresentati  in  Torino,  Fiorenza,  ed  altn  capitoH,  sappi,  che  si  fe  fatto  per 
adattarli  al  costume  di  questa  citt^." 

As  6a.  Schatz  enters — 

"  L'arligiano  gentiluomo  (Larinda  e  Vanesio)  .  .  .  Dresden,  8/vii,  1734  .  .  . 
Textbuch  in  deutscher  prosa,  am  textbuch  der  oper ' '  Cajus  Fabritius  "  angeheftet  .  .  . 

"NB.  Dieses  werk  wurde  als  zwischenspiel  z.  d.  dramma  per  musica  "Cajo 
Fabrizio"  aufgefiihrt." 

Schatz  means,  of  course,  that  both  the  opera  and  the  intermezzi  were  performed 
in  Italian. 

As  6'»  he  enters: 

"II  bottegaro  gentiluomo  (Larinda  e  Vanesio)  .  .  .  Venedig,  Teatro  di  S.  Angelo, 
came  vale  1739  .  .  .  Aufgefiihrt  als  zwischenspiel  zu  dem  Dr.  p.  m.  "Achille  in 
Sciro"  V.  P.  Chiarini." 

"II  bottegaro  gentiluomo"  was  indeed  performed  at  Venice,  1739,  with  Chiarini's 
opera,  "Achille  in  Sciro,"  and  Wiel  adds  this  note:  • 

"Con  questa  opera  furono  rappresentati  gli  intermezzi:  Un  bottegaro  gentiluomo, 
in  due  parti;  e:  Pandolfo  (musica  di  G.  A.  Hasse)." 

It  \vill  be  noticed  that  Wiel  attributes  only  the  music  of  "Pandolfo"  to  Hasse,  not 
of  "Un  bottegaro  gentiluomo,"  whose  composer  he  did  not  know.  This  point  Schatz 
overlooked,  and  he  (incorrectly),  on  Wiel  s  authority,  attributed  "II  bottegaro  gen- 
tiluomo," Venice,  1739,  to  Hasse,  after  first  having  attributed  it  to  Orlandini. 

To  sum  up,  while  Hasse  apparently  composed  Salvi's  altered  text  under  the  title  of 
"L'artigiano  gentiluomo"  or  "Larinda  e  Vanesio,"  for  Naples,  1726,  used  also  later 


230  LIBRARY  OF   CONGRESS 

II  bottegaro  gentiluomo — Continued. 

on  in  1734,  at  Dresden,  there  ia  nothing  to  show  that  his  music  was  also  used  at  Venice, 
1739,  for  another  version  of  Salvi's  text  under  the  title  of  "II  bottegaro  gentiluomo." 
I  therefore  prefer  Orlandini  as  coinpoeer,  though  his  connection  with  the  work  is 
made  doubtiul  by  the  following  entry:  Schatz  7350 

—  Le  bourgeois  gentilhomme ;  or,  Vanesio  and  Larinda.  An 
interlude.  Performed  by  Sig.  Anna  Maria  Faini,  and  Signor  Antonio 
Ijottini,  at  the  King's  Tlieatre  in  the  Haymarket.  The  music  is 
composed  by  Signor  Orlandini. 

Lrnidmi,  J.  ChricUey,  1737.     15  p.     i7<^. 

Two  parts.  This  is  not  Salvi's  text,  as  Schatz  would  have  found  on  comparison. 
Salvi  b^ns  his  with  "  Un  Marte  furibondo,"  for  instance,  whereas  the  London  libretto 
begins,  Sotto  mentite  epoglie;"  act  second  in  this  b^[ins,  "La,  la,  la,  la,  etc..  Fate 
largo  o  Ganimede,"  instead  of  "Levamiti  davanti." 

First  performed,  as  indicated,  1737.  Schatz  7353 

Ijcs  bottes  de  sept  lieues.     A.  T.  of  Arlequin,  roi  des  Ogres. 

Le  bouquet  du  roi,  opera  comique,  en  un  acte,  repr^entee  sur  le 
Theatre  de  I'Opera  comique,  le  24  ao<lt  1752  [!]      - 

La  Haye,  Pierre  Gosse,  1760.  32  p.  16'^.  (Vade,  Oeuvres,  La 
Haye,  1760,  t.  i.) 

One  act,  en  vaudevilles.  Cast.  From  footnotes  it  would  appear  that  only  scenes 
4  and  6  were  by  Vad<!..  The  musical  arranger  of  the  vaudevilles,  etc.,  is  not  men- 
tioned. ML  49.A2V2 

—  T^  bouquet  du  roi,  op^ra-comique,  en  un  acte,  represente  sur 
le  Theatre  de  I'Opera-comique,  le  24  aoM  17.53. 

Paris,  la  veuve  Duchesne,  1766.     32  p.     ISY""'- 

Cast.  On  p.  30-32  the  "Airs":  "De  tes  pleurs,  tendre  Axirore,"  "Les  jolis,  les 
petits  marquis."     Neither  Vad6  nor  the  arranger  of  the  music  is  mentioned. 

1753  appears  to  be  the  correct  date.     {Comp.  Parfaict.)  Schatz  11485 

Le  boiirgeois  gentil-homme.  Tr.  of  Orlandini's  II  bottegaro  gen- 
tiluomo. 

The  Bow- street  opera,  in  three  acts.  Written  on  the  plan  of  the 
Beggar's  opera;  all  the  most  celebrated  songs  of  which  are  parodied; 
ana  the  whole  piece  adapted  to  modern  times,  manners  and  charac- 
ters .  .  .     The  fourth  edition. 

London,  Printed  for  the  author,  1776.     iv,  44  V-     21 '^^. 

An  everything-but-complimentary  dedication  to  David  Garrick,  whose  refusal 
"  to  suppress  the  exhibition  of  the  Beggar's  opera,  at  the  requisition  of  the  Bowstreet 
magistrates"  gave  rise  to  this  anonymous  "whim,"  which  is  in  three  acts  and  utilizes 
32  ballad  airs,  indicated  by  title.     First  edition  published  in  1773.         Longe  251 

La  Bradamante  del  Co.  Pietro  Paolo  Bissari.  Drama  per  musica 
nel  Teatro  Grimano. 

'Venetia,  Valvasense,  1650.     84  p.     13\<^^. 

Last  page  incorrectly  paged  82.  Oiu-  copy  lacks  the  front,  which  should  form 
p.  [1-2].  Three  acts,  with  prologue.  Author  s  dedication,  argument,  and  scenario. 
The  composer,  Pietro  Francesco  Cavalli,  is  not  mentioned. 

First  performed,  as  indicated,  carnival  1650.  Schatz  1731 


OPERA   LIBRETTOS  231 

Bradamante,  tragedie  representee  par  TAcademie  royale  de  musique 
Tan  1707.  Les  paroles  de  M.  Roy,  &  la  musique  de  M.  La  Coste. 
LXIX.  opera. 

n.  i.,  n.  d.  14"^.  pi.,  227-278  p.  {Recueil  general  des  opera,  t.  ix, 
Paris,  1710.) 

Detached  copy.     Five  acts  with  prologue.     "Avertissement." 
First  performed,  as  indicated,  May  2,  1707.  Schatz  5353 

Second  copy.    ML  48. R4 

Bradamante  e  Ruggero,  ballet.     See  Monza's  Oreste. 

Bradamante  nell'  isola  d'Alcina.     Drama  da  rappresentarsi  in 
Parma  nel  novo  Teatro  di  S.  A.  S.  il  carnovale  dell'  anno  1729  .   .  . 
Parma,  Eredi  di  Paolo  Monti,  1729.     xii,  46,  [1]  p.     i5<=™. 

Three  acts.  By  Antonio  Fanzaglia  (Schatz).  Author's  dedication,  argument, 
cast,  scenario,  and  name  of  the  composer,  Riccardo  Broschi.  It  appears  from  the 
dedication  that  the  opera  had  previously  been  performed  at  Rome  in  1728.  The 
title  originally  was  "L  isola  d'Alcina."  Schatz  1342 

Der  braeutigam  ohne  braut.  A.  T.  of  Cimarosa's  Die  vorgeblichen 
grafen. 

II  bravo  burlato.  Intermezzo  per  musica  da  rappresentarsi  nel 
Teatro  de'  Nobili  di  Gubbio  il  carnevale  del  MDCCL  VII. 

Guhhio,  gli  eredi  del  Mattioli,  n.  d.     [16]  p.     18^"^. 

Two  acts.  By  Antonio  Pavoni.  Neither  he  nor  the  composer,  Binaldo  di  Capua, 
is  mentioned. 

First  performed  at  Rome,  Teatro  di  Palla  a  Corda,  carnival  1746.     Schatz  8801 

Brenno.     O.  T.  of  Eeichardt's  Brennus. 

Brenno,  dramma  per  musica  composto  con  cori,  e  balli  analoghi  da 
Ant.  Filistri  de  'Caramondani  .  .  .  e  messo  in  musica  da  Giov. 
Federico  Reichardt  ...  da  rappresentarsi  nel  Regio  Teatro  di  Ber- 
lino  .  .  . 

Berlino,  Haude  e  Spener,  1789.     155  p.     16'='^. 

Three  acts.    Cast.    Argument.    German  t.-p.  "Brennus"  and  text  face  Italian. 

Comp.  below.  ML  50.2.B8R3 

—  Brennus.  Ein  musikalisches  drama,  nach  der  italiaenischen  poesie 
des  herrn  Filistri  de'  Caramondani  fuer  das  Koenigl.  Opern  theater 
zu  Berlin  zum  carneval  des  jahres  1789  in  musik  gesetzt  von  Johann 
Friederich  Reichardt.  Am  24  Januar  1798  im  K5nigl.  Opernhause 
von  den  Koenigl.  saengern  und  saengerinnen  und  dem  Koenigl. 
orchester  mit  deutscher  poesie  concertmaessig  aufgefuehrt.  Den 
beschluss  macht  eine  neue  composition  nach  Ramlers  poesie,  zur 
gedaechtnissfeier  des  grossen  koenigs  Friedrichs  des  Zweiten. 

Berlin,  Johann  Friedrich  Unger,  1798.     3  p.  I.,  34  p.     IS'""'. 

Three  acts.  Cast  and  prefatory  note  according  to  which  only  so  much  of  the 
opera  (as  first  performed  on  October  16,  1789)  was  retained 

"als  zum  verstaendniss  der  haupthandlung  und  fuer  den  effekt  der  arien  und 
mehrstimmigen  singesiitze  nothwendig  war."  Schatz  8637 

Brenno  in  Efeso.     Drama  per  musica  da  rappresentarsi  nel  famoso 
Teatro  Vendramino  di  S.  Saivatore  I'anno  1690  ... 
Venetia,  Nicolini,  1690.     60  p.     14<='^. 

Three  acts.  Dedication  signed  by  the  author,  Antonio  Arcoleo,  notice  to  the 
reader  with  name  of  Giacomo  Antonio  Perti  as  the  composer,  argument,  and  scenario. 

Schatz  7947 


232  LIBBABY  OF  CONGRESS 

Bretislaus  oder  Die  siegende  bestaendigkeit  auf  die  hoechst-glueck- 
liche  verbindung  Seiner  Koenigl.  Hoheit  .  .  .  Carl  Friedrich,  erben 
zu  Norwegen,  hertzogen  zu  Scmesswig-Holstein  etc  etc.  mit  der  .  .  . 
prinzessin  Anna  Petrowna  an  deroselben  hohen  gebuhrts-feste  den 
7  febr:/27  Jan.  anno  1725  in  einem  sing-spiele,  nebst  einer  illumina- 
tion und  einem  feuer-wercke  auf  dem  Hamburgischen  Schauplatze 
vorgestellet. 

Hamburg,  Caspar  JaTchel,  n.  d.     Unpaged.    20^. 

Three  acts  and  prologue.  Cast,  scenario,  and  statement  that  the  music  "ausser 
einigen  eingerueckten  italiaenischen  arien  is  by  Reinhard  Keiser.  The  author, 
Johann  Phiupp  Praetorius,  is  not  mentioned.  Schatz  5133 

Briseide.     Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  camovale  del  1784  alia  presenza  delle  Maesth,  Loro. 
Torino,  Onorato  Derossi,  n.  d.    viii,  62  p.     8^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  the  composer,  Francesco 
Bianchi,  and  the  librettist,  Francesco  Sebaatiano  Gambino.  The  three  ballets  by 
Sebastiano  Gallet,  music  by  Vittorio  Amedeo  Canavasso,  were  called  "  Enea  e  Tumo, 
"La  viaggiatrice  osia  Le  circostanze  imbarazzanti,"  and  "Di  Greci  festeggianti  la 
riconciliazione  d'Achille  e  d'Agamennone,"  and  separate  librettos  are  said  to  have 
been  printed. 

First  performed,  as  indicated,  December  26,  1783.  Schatz  1002 

Briseide.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  13.  di  agosto  1791.  Festeggiandosi  la  nascita  di 
S.  M.  la  regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1791.     44  p.     W^^. 

Two  acts.  Impresario's  dedication,  with  same  date  as  in  the  title,  argument,  cast, 
scenario,  and  names  of  Angelo  Pocobelli  as  the  author,  of  Ferdinando  Robuschi  as 
composer  of  the  opera,  of  Giuseppe  Maria  Curcio  as  composer  ("musica  tutta 
nuova")  of  Michele  Fabiani's  "Amore  e  Psiche,  ballo  eroico  pantomimo  in  cinque 
atti,"  described  on  p.  10-14.  Schatz  8839 

Britain's  glory;    or,  A  trip  to  Portsmouth.     A  musical  entertain- 
ment, in  one  act,  as  performed  at  the  Theatre  Royal,  in  the  Hay- 
Market,  with  universal  applause.     By  the  late  Mr.  Benson  .  .  . 
London,  J.  Wallis,  n.  d.     1  p.l.,  32  p.    21""^. 

Cast  and  dedication.    The  composer,  Samuel  Arnold,  is  not  mentioned. 

First  performed,  August  20,  1794.  Longe  246 

Britannia  and  Batavia:    a  masque.     Written  on  the  marriage  of 
the  princess  royal  with  His  Highness  the  prince  of  Orange.     By  the 
late  Mr.  Lillo. 
London,  J.  Gray,  1740.     1  p.  I.,  6-15  p.     20'^'^. 

One  act.  Of  the  12  "airs"  (songs),  two  were  to  be  sung  to  popular  airs,  indicated 
by  title.  The  composer  (and  author?)  of  these  songs,  Henry  Carey,  is  not  mentioned. 
Perhaps  identical  with  "  Britannia  or  the  royal  lovers,"  Covent  Garden,  February 
11,  1734.  ML  52.2. B86 

Britannico.  Tragedia  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  .  .  .  Fanno  1751. 

Berlino,  Eaude  e  Spener,  n.  d.     91,  [Ji\  p.     W^^. 

Three  acts.  Cad  Heinrich  Graim  is  mentioned  as  the  composer,  and  Leopoldo 
de  Villati  as  the  author.  ("La  presente  tragedia  h  stata  tirata  dal  francese  [Racine's 
' Britannicus ']  e  composta  ad  uso  di  musica.")  Argument  and  scenario.  Gefman 
title-page,  "Britannicus,"  and  text  face  Italian. 

First  performed,  as  indicated,  February  17,  1751.  Schatz  4091 


OPERA   LIBRETTOS  "  233 

Britannicus.     Tr.  of  Graun's  Britannico. 

The  British  enchanters;    or,  No  magick  like  love.     A  dramatick 
poem.     [port,  vignette.] 
London,  J.  Tonson,  1732.     71  p.     16'"^. 

Five  acts  and  prologue.     Cast  and  notice  to  the  reader: 

"Upon  the  separation  of  the  houses,  when  musical  performances  were  confin'd  to 
one  theatre,  and  dramatick  to  the  other  [this  regulation  went  in  force  about  January, 
1708!],  it  became  necessary  to  lengthen  the  representation  of  the  ensuing  poem  with 
several  alterations  and  additions,  and  some  entire  new  scenes,  to  fill  up  the  spaces 
occasion'd  by  the  necessity  of  leaving  out  the  mixture  of  musical  entertainment. 
\VTiich  additions  are  herewith  printed,  ha\ing  never  been  publish'd  before." 

The  text  is  by  George  Granville  (Lord  Lansdowne),  and  was  written  as  an  attempt 
to  improve  on  opera  librettos.  It  was  first  performed,  evidently  with  "musical 
entertainments,"  at  the  Haymarket  Theatre,  February  21,  1706,  and  again  with 
alterations  on  March  22,  1707  (Genest).  The  composer  not  recorded  by  Schatz  or 
Clarence.  Longe  75 

British  fortitude,   and  Hibernian  friendship;    or,  An  escape 
from  France.     A  musical  drama  in  one  act  by  J.  C.  Cross.     As  per- 
formed with  universal  applause  at  the  Theatre  Royal  Covent  Garden, 
[vignette] 
London,  Printed  hy  cfc  for  J.  Roach,  Sept.  3,  1794-     1  p-  1-,  31,  [1] 

Cast,  dedication,  and  author's  prefatory  note,  according  to  which  the  piece  was 
originally  WTitten  for  Mr.  Johnstone's  benefit  (as  Capt.  O'Leary),  who  introduced 
"songs  .  .  .  the  production  of  gentleman  well  known  m  the  literary  world,  and  .  .  . 
eungby  him  .  .  .  pre\aous  to  their  introduction  in  British  fortitude  ..." 

The  composer,  William  Reeve,  is  not  mentioned. 

First  performed,  March  29,  1794.  Longe  308 

The  British  heroine.     A.  T.  of  Purcell's  Bonduca. 

British  heroism.     A.  T.  of  The  death  of  captain  Faulknor. 

The  British  recruit.     A.  T.  of  To  arms! 

The  British  stage;  or,  The  exploits  of  Harlecjuin:  a  farce.  As  it 
is  performed  by  a  company  of  wonderful  comedians  at  both  theatres, 
with  wonderful  applause;  with  all  its  original  songs,  scenes,  and 
machines.  Design' d  as  an  after-entertainment  for  the  audiences  of 
Harlequin  Doctor  Faustus,  and  The  Necromancer  .  .  . 

London,  T.  Warner,  1724.     1  p.l.,  v-vii,  [1],  24  p.     19^^. 

One  act.     Preface.     Obviously  a  satire  by  unknown  author.  Longe  152 

The  British  worthy.     A.  T.  of  H.  Purcell's  King  Arthur. 

Britons,  strike  home:  or.  The  sailor's  rehearsal.     A  farce.     As  it 
is  acted  at  the  Theatre-Royal,  by  His  Majesty's  servants.     Written 
by  Mr.  Edward  Phillips.     With  the  musick  prefix'd  to  each  song. 
London,  J.  Watts,  1739.     3  p.l.,  30,  [2]  p.     17  Y"^. 

Cast.  One  act,  prologue,  epilogue.  Though  the  fact  that  the  eight  airs  are  printed 
in  the  text  without  titles  would  permit  the  inference  that  they  were  composed  for 
the  occasion,  the  piec^is  nevertheless  a  ballad-opera,  as  Mr.  Squire  has  proven. 

First  performed  at  Drury  Lane,  December  31,  1739.  Longe  321 

—  Britons  strike  home:  or,  The  sailors  rehearsal.  A  farce.  As  it 
is  acted  at  the  Theatre-Rpyal  by  his  Majesty's  servants.  B}''  Mr. 
Edward  Phillips. 

Glasgow,  n.  pull.,  1761.     25,  [3]  p.     17^"^. 

One  act,  prologue  and  epilogue.  Ca^t  and  on  last  (unnumb.)  page  table  of  the 
eight  songs,  the  airs  of  which  are  not  indicated.  Lonoe  118 


234  LIBRARY   OF   CONGRESS 

Die  brueder  als  nebenbuhler.  Tr.  of  P.  v.  Winter's  I  fratelli 
rivali. 

Brute.     See  M,  Curzio. 

Brute  costante.     See  M.  Curzio. 

II  Brute  milanese  ossia  La  congiura  contro  Galeazzo  Maria  Sforza 
Visconti,  ballet.     See  Nasolini's  11  trionfo  di  Clelia. 

A  new  opera;  called,  Brutus  of  Alba:  or,  Augusta's  triumph.  As 
it  is  acted  at  the  Theatre,  in  Dorset-Garden,  by  His  Majesty's  servants. 

Lmdon,  Printed  by  W.  Olney,  for  S.  Briscoe,  1697.  2  p.  l,  63,  [1] 
p.    21\'^. 

No.  6  and  7  repeated  in  paging,  making  an  actual  total  of  61  p. 

Imperfect,  wanting  p.  35-48. 

Five  act.s.  The  "epistle  dedicatory"  of  date  "Monday,  Octob.  16,  1699"  [!]  ia 
signed  by  the  authors  George  Powell  and  John  Verbruggen.  Daniel  Purcell,  the 
composer,  is  not  mentioned.  ML  50.2. B85 

Le  bucheren,  ou  Les  trois  souhaits,  comedie  en  un  acte,  mel6e  d'a- 
riettes.     Representee  pour  la  premiere  fois  par  les  Com^diens  italiens 
ordinaires  ciu  roi,  le  lundi  28  f^vrier   1763.     La  miisique  par  M. 
PhHidor. 
Paris,  Claude  Herissant,  1763.    56  p.     W^. 

By  Jean  Francois  Guichard  and  Castet,  who  are  not  mentioned.  Perrault's 
"Conte"  on  which  the  play  ia  based,  precedes  the  text.  Schatz  8010 

—  Le  bucheren,  ou  Les  trois  souhaits.  Comedie  en  un  acte,  m^lee 
d'ariettes;  par  Mr.  Guichard.  La  musique  de  Mr.  Philidor.  Repre- 
sentee sur  le  The&tre  de  la  cour  par  les  Com^diens  fran^ois  ordinaires 
du  roi,  le  [Uank]  1767. 

Copenhague,  CI.  Philibert,  1767:    64  p.     W"^. 

Cast.  YuDiN  PQ 

—  Ijc  bucheren,  ou  Les  trois  souhaits  comedie  en  un  acte,  mesl^e 
d'ariettes.  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  lo  lundi  28  fevrier  1763.  La  musique  par 
M.  Phihdor. 

Paris,  la  veuve  Duchesne,  1771.     50  [3]  p.     jf5<=™. 

Cast.  The  [3]  p.  contains  "Conte  de  feu  Mr.  Perrault,  qui  a  donn^ lieu k  la  pi^e." 
The  authors,  Jean  Francois  Guichard  and  Castet,  are  not  mentioned. 

Schatz  11736 

—  Le  bucheren,  ou  Les  trois  souhaits  comedie  en  un  acte,  m^l^e 
d'ariettes;  representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  lundi  28  fevrier  1763.  La  musique  par 
M.  Phihdor. 

Paris,  la  veuve  Duchesne,  1782.     55  p.     19'^^. 

Cast.    In  this  ed.  Perrault's  "Conte"  on  p.  3-6.    Authors  not  mentioned. 

Schatz  11737A 

—  Der  helzhauer  oder  Die  drey  wuensche,  ein  singspiel  in  einem 
aufzuge  aus  dem  franzoesischen  uebersetzt  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1773.  88  p.,  8  p. 
{folded  music)     16^^. 


OPERA   LIBRETTOS  235 

Le  bucheron — Continued. 

Cast.  Version  for  Theob.  Marchand's  company  by  Johann  Heinrich  Faber. 
Neither  he  is  mentioned  nor  Philidor,  the  composer.  The  music  (voice  and  bass) 
incorrectly  bound  in  with  this  copy  belongs  to  Fridzeri's  "Die  beiden  militzen," 
whereas  the  8  p.  of  music  belonging  to  the  "Holzhauer"  are  incorrectly  bound  in 
with  "Die  beiden  militzen."  It  consists  of  "Sieh  doch  den  schmerz  "  (1, 1  "Annette 
au  bois")  "Colins  augen  sind  sehr  echon  (1, 10  "Colin  a  des  yeux  charmants"),  "Ihr 
manner,  die  ihr  immer  schmalet"  (last  scene.  "Maris,  qui  querrellez  sans 
cesse.")  ScHATz  8011 

—  Skovhuggereii  eller  De  tre  0nsker.  Et  syngespil  i  een  act  af 
Guichard  hvortil  musiken  er  componeret  af  Philidor.  Oversat  af 
Lars  Knudsen. 

n.  i.,  n.  d.     78  p.     15^'^'^. 

First  performed  at  Copenhagen,  December  3,  1782.  Schatz  8013 

Die  buckeligen.     A.  T.  of  Portugal's  Die  taeuschende  aehnlichkeit. 

Buergerfreuden !  Ein  oesterreichisches  buergergemaehlde  mit  choe- 
ren  in  einem  aufzug.  Von  Karl  Friedrich  Hensler.  Aufgefuehrt  by 
der  gluecklichen  zurueckkunft  unsers  tapfern  erzherzogs  Karl.  Am 
2.  maerz  1797.     Die  musik  ist  von  Wenzel  Miiller  .  .  . 

Wien,  gedruckt  mit  Schmidtischen  schriften,  n.  d.     56  p.     17'^^. 

First  performed  as  indicated  on  the  Marinelli'sche  Schaubuehne. 

Schatz  6914 

Le  bugie  hanno  le  gambe  corte.  A.  T.  of  Moneta's  II  conte 
Policronio. 

Bund  ueber  eck.     A.  T.  of  Ruprecht's  Die  dorfhaendel. 

La  buona  figliuola.     Dramma  di.tre  atti  per  musica.     Rappresen- 
tato  per  la  prima  volta  in  Parma  il  carnovale  dell'  anno  MDCCLVI. 
Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  38, 
[165\-217  p.     18^"^.  PQ 

La  buona  figliuola.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo,  Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  di  S.  A. 
Serenissima  il  Signor  principe  di  Carignano  nell'  autunno  dell'  anno 
MDCCLVIII. 

Torino,  Gaspare  Bayno  e  Giuseppe  Avondo,  n.  d.  52,  [1]  p.     IJ^'^'^. 

Three  acts.  By  Goldoni.  The  unnumbered  page  contains  "Arie  cangiate  ..." 
Se  del  fiume  altera  I'onda  [1, 14]  "Alia  selva,  al  prato,  al  rio  "  [II,  9]  "Misera rondinella  " 
[III.  4]. 

Cast  and  name  of  the  composer,  "Egidio  Duni  Napolit.  Maestro  di  cap)ella  di 
S.  A.  R.  di  Parma." 

First  performed  at  Parma,  Teatro  Ducale,  carnival,  1757  not  1756.    Schatz  2834 

La  buona  figliuola.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo  Pastor  Arcade  recitato  nel  Teatro  Giustioian  di  S.  Moise  il 
carnovale  dell'  anno  1760.     Seconda  edizione. 

Veneda,  n.  puhl.,  1760.     48  p.     15^"^. 

Three  acts,  p.  45-48,  incorrectly  headed  "atto  quarto."  By  Goldoni.  Salvatore 
Perillo  is  mentioned  as  the  composer.  Schatz  7921 


236  LIBRARY  OF   CONGRESS 

La  buona  figliuola.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo,  Pastore  Arcade, 

Roma,  n.  publ,  1760.    52  p.     16^"^. 

Three  acts.     By  Carlo  Goldoni.     Niccol6  Piccinni  is  mentioned  as  the  compoeer. 

First  performed  at  Rome,  Teatro  delle  Dame,  February  6,  1760,  and  again  sum- 
mer, 1768  (Schatz).  ML  50.2. B9P4 

—  La  buona  figliuola.  Dramma  giocoso  f>er  musica  del  .  .  .  Carlo 
Goldoni  ...  da  rappresentarsi  ne'  Teatri  privilegiati  di  Vienna 
Testate  dell'  anno  1768. 

Vienna,  Ghelen,  n.  d.     63,  [1]  p.     17'='^. 

Three  acts.  Niccol6  Piccinni  is  mentioned  as  the  composer.  On  the  last  p.  the 
substitute  aria  for  "Son  tradita"  (II,  9),  "In  tanti  affanni  miei,"  which  does  not 
appear  to  have  been  written  by  Goldoni. 

First  performed  at  Vienna,  1764.  Schatz  8070 

—  La  buona  figliuola,  dramma  giocoso  per  musica  del  celebre  Sign. 
Carlo  Goldoni,  da  rappresentarsi  nel  Regio  Teatro  Danese — Den 
fromme  pige  .  .  . 

Ki0benhavn,  L.  N.  Svare,  1770.     115  p.     17^"^. 

Three  acts.     Italian  and  Danish  texts.     Cast  and  name  of  Piccinni  as  the  composer. 

First  performed  1769,  as  indicated.  Schatz  8071 

—  La  buona  figliuola.  Commedia  per  musica  da  rappresentarsi 
nel  Teatro  Nuovo  per  second'  opera  del  corrente  anno  1778. 

Napoli,  n.  publ.,  1778.     64  p.     i5^™. 

Three  acts.    By  Goldoni.     Cast  and  name  of  Niccol6  Piccinni  as  the  composer. 

Schatz  8131 

—  La  buona  figliuola.  Dramma  giocoso  per  musica,  di  Polisseno 
Fegejo,  P.  A.  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di 
Sassonia. 

Dresda,n.puhl,  1781.     127  p.     15^"^. 

Three  acts.  German  title,  "Das  gute  maedel,"  and  text  face  Italian.  Piccinni  is 
mentioned  as  the  composer.  Schatz  8074 

First  performed  at  Dresden,  November  16,  1765. 

—  The  accomplish' d.  maid:  A  comic  opera.  As  it  is  performed  at 
the  Theatre-Royal  in  Co  vent-Garden.  The  music  by  Sig".""  Niccolo 
Piccini  .  .  . 

London,  W.  Griffin  [eU.],  1767.     1  p.  I.,  ii,  59,  [1]  p.     19^"^- 

Three  acts.  Cast  and  preface  by  the  translator,  Edward  Toms  (not  mentioned), 
who  says,  in  part: 

"...  This  translation  is  attempted,  so  as  to  be  sung  to  the  original  music,  as  per- 
formed in  Italy  ...  As  the  music  of  this  opera,  has  always  been  esteemed  the  most 
capital  work  01  that  great  composer  Piccini,  the  translator  thought  it  more  just,  to  give 
up  the  claim  to  poetical  harmony,  rather  than  make  the  least  infringement  on  the 
musical  accent.  He  likewdse  flatters  himself,  that  it  will  not  be  less  acceptable  to  an 
English  audience,  by  the  dialogue's  being  without  the  incumbrance  or  recitative. 
All  other  alterations,  are  made  only  to  adapt  it  to  the  English  stage  .  .  .  Should  this 
first  attempt  of  bringing  an  entire  Italian  musical  composition  on  the  English  stage, 
by  applying  our  language  to  the  harmony  of  their  most  eminent  composer,  prove 
acceptable  to  the  public,  the  translator's  intention  is  fully  answered,  as  it  may  be  the 
means  of  exciting  some  abler  genius  to  tread  the  same  path." 

The  last  (unnumb.)  p.  contains  the  "Table  of  the  songs,"  with  note  that  "Bring,  ye 
tedious  hours,"  "Some  men  with  artful  praise,"  and  "Thus  the  sun  at  mom"  "were 
not  originally"  in  La  Buona  figliuola,  "but  are  the  composition  of  the  same  master." 
In  Randall  &  Abel's,  vocal  score  the  air  "Oh!  (Off),  my  lord,  pray  forbear"  is  headed 
as  by  "Sigr  Pirillo,  Napolitano."     (Salvatore  Perillo.) 


OPEKA   LIBRETIOS  237 

La  buona  figliuola — Continued. 

First  performed,  as  indicated,  December  3,  1766;  in  Italian  at  the  Haymarket, 
December  9,  1766  (Bumey).  Longe  32 

—  The  accomplish'd  maid.  A  new  comic  opera.  As  it  is  per- 
formed at  the  Theatre-Royal  in  Covent-Garden.  The  music  by 
Signior  Niccolo  Piccini  .  .  . 

PhiladelpUa,  Printed  arid  sold  by  Robert  Bell,  1 777.    61,  [1]  p.  20^^. 

Three  acts.     London  cast. 

Not  performed  in  America.  ML  50.6.A2 

—  La  buona  figliuola,  op6ra  comique,  en  trois  actes;  parodiee  en 
franpais  sur  la  musique  du  celebre  Piccini.  Representee  pour  la 
premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  17  juin 
1771. 

Paris,  Didot  Vaine,  1771.     48  p.     19'^. 

Cast  and  anonymous  preface,  with  Goldoni's  name,  and  that  of  Domenico  Baccelli 
as  the  musician  either  responsible  for  the  musical  side  of  the  parody  or  indeed  partly 
for  the  parody  itself,  since  the  author  says:  "Baccelli  .  .  .  me  proposa  de  la  faire 
connoltre  en  France,  en  parodiant  les  paroles  italiennes  sur  la  quelle  elle  6toit  com- 
pos6e."  The  preface  contains  also  some  observations  on  the  difficulty  of  making 
"parodies.  The  text  is  attributed  to  Jean  Francois  Cailhava  d'Estandoux.  On  p.  45, 
a  note  to  the  effect  that  the  piece  was  already  half  printed  when  the  Comediens 
italiens  substituted  the  following  ariettes,  "Dans  ces  fioeurs  je  vols  I'image  "  (I,  1)  and 
"La  tendresse  et  la  sagosse"  (III,  5),  for  "Quel  plaisir,  quelle  volupte"  and  "Dana 
mon  coeur."  Both  substituted  airs  were  by  Piccinni,  but  not  from  "La  buona 
figliuola.    On  p.  47-48,  the  air  of  the  ariette,  "Pauvre  Annette,  quelle  pitie"  (I,  4), 

ScHATZ  8073 

—  La  buona  figliuola,  opera  comique,  en  trois  actes;  parodiee  en 
Francois  sur  la  musique  du  celebre  Piccini.  Representee  pour  la 
premiere  fois  par  les  Comediens  italiens  du  roi  le  17  juin  1771. 

Paris,  Didot  laine,  1771.     48  p.     19^"^- 

Cast.  Cailhava  d'Estandoux  is  not  mentioned.  On  p.  47^8  the  text  of  the  sub- 
stituted arias.    This  ed.  of  1771  contains  no  music.  ML  48.M2M 

—  La  buona  figliuola,  opera  comique  en  trois  actes,  parodiee  en 
franpois  sur  la  musique  du  cel6bre  Piccini,  represents  pour  la  pre- 
miere fois  par  les  Comediens  italiens  ordinaires  du  roi  le  17  juin  1771. 

Paris,  la  veuve  Duchesne,  1772.     56  p.     17 Y"^. 

Cast.  On  p.  47-56  the  two  ' '  Airs  de  la  Buona  Figliuola  "  ' '  Par  le  trou  de  la  serrure  " 
and  "Je  suis  d'une  bonne  p8,te."  Yudin  PQ 

—  Das  gute  maegdchen,  ein  scherzhaftes  musicalisches  schauspiel 
aus  dem  italiaenischen,  welches  an  dem  Churpfaelzischen  Hof  bei 

felegenheit  des  hoechst  beglueckten  namensfestes  Sr.  Churfuerstl. 
)urchlaucht  .  .  .  aufgefuehret  worden.     Im  jahr  1769. 
Mannheim,  Akademische  huchdruckerei,  n.  d.    55  p.     16Y^- 
Cast,  scenario,  and  name  of  Piccinni  as  the  composer.     On  p.  51-53  the  titles  of 
Legrand's  ballets  "Die  artige  schaefer"  and  "Die  eifersuechtige  Faunen"  and  a 
description  of  Fabiani's  ballet  "Der  bezauberte  kninz."    The  composers  of  the 
music  are  not  mentioned. 

First  performed  November  4,  1769,  as  indicated.  Schatz  8072 

—  Das  gute  maedchen.  Eine  operette  in  drey  akten.  Nach  der 
musik  der  Buona  figliuola  von  Nic.  Piccini. 

Leipzig,  Carl  Friedrich  Schneider,  1783.    56  p.     16*^^. 

Transl.  by  Johann  Joachim  Eschenburg,  who  is  not  mentioned. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  Sept.  8,  1777.      Schatz  8075 


238  LIBRABY  OF  CONGRESS 

La  buona  figliuola — Continued. 

—  Gesaenge  aus  dem  singspiele :  Das  gute  maedchen,  in  zwey  auf- 
zuegen,  nach  der  Buona  figliuola  von  Piccini. 

Hamburg,  J  oh.  Matthias  Michaelsen,  1791.     24  p.     17'^"*. 

Eschenburg's  translation. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  January  14,  1779. 

SCHATZ  8076 

La  buona  figliuola  maritata.  Dramma  di  tre  atti  per  musica. 
Rappresentato  per  la  prima  volta  in  Venezia  I'autunno  dell'  anno 
MDCCLXIL 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  38, 
[219]-269  p.     ISY"^- 

First  performed  at  Bologna,  1761.     {See  below.)  PQ 

La  buona  figliuola  maritata.  Dramma  giocoso  per  musica  da 
rappresentarsi  I'anno.  1764. 

Vienna,  Ghelen,  n.  d.     56  p.     16'^'^. 

Three  acts.  By  Goldoni  (who  is  not  mentioned)  as  sequal  to  his  "La  buona  figli- 
uola."    Cast,  scenario,  and  name  of  Niccol6  Piccinm  as  the  composer. 

First  performed  at  Bologna,  Teatro  Formagliari,  May,  1761.  Scelatz  8135 

—  La  buona  figliola  maritata.  Farzetta  a  sei  voci,  ridotta  dalla 
burletta  in  musica  di  Polisseno  Fegejo,  P.  A.  da  rappresentarsi  nel 
Teatro  degli  Accerbi  de'  nobili  d'Urbania  nel  camevale  dell'  anno 
1769  ... 

Roma  ed  in  Fano,  Andrea  Donati,  n.  d.     39  p.     39'^'^. 

Two  acts.     Dedication  and  name  of  Niccol6  Piccinni  as  the  composer. 

SCHATZ  8136 

Buovo  d'Antona.  Dramma  di  tre  atti  per  musica.  Rappresen- 
tato per  la  prima  volta  in  Firenze  I'anno  MDCCL. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  41, 
[5]-59  p.     18''"'. 

See  next  entry.  PQ 

Buovo  d'Antona.  Dramma  giocoso  per  musica  di  Polisseno  Fegejo, 
Pastor  Arcade,  da  rappresentarsi  nel  Teatro  Giustinian  di  S.  Mois^ 
il  carnovale  dell'  anno  1759. 

Venezia,  Modesto  Fenzo,  1759.     58  p.     ^.^i^™. 

Three  acts.  By  Carlo  Goldoni.  Cast,  scenario,  and  name  of  Tommaso  Traetta 
as  composer. 

First  performed,  as  indicated,  December  27,  1758,  unless  previously  at  Florence, 
1750.  ScHATZ  10388 

II  burbero  di  buon  cuore.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  nobile  Teatro  Giustiniani  in  San  Moise  nelF  autunno  dell' 
anno  1789. 

Venezia,  Modesto  Fenzo,  1789.     68  p.     W"^. 

Two  acts.  By  Lorenzo  da  Ponte,  who  is  not  mentioned.  Cast  and  name  of  Vin- 
cenzo  Martini  (Martin  y  Soler)  as  the  composer. 

First  performed  at  Vienna,  Burptheater,  Jan.  4,  1786.  Schatz  6005 


OPERA  LIBRETTOS  239 

II  burbero  di  buon  cuore — Continued. 

—  II  burbero  di  buon  cuore.     Dramma  giocoso  per  musica  da 

rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  publ,  1789.     157  p.     15^"^- 

Two  acts.  By  Lorenzo  da  Ponte  with  few  if  any  changes.  German  title  page 
' '  Der  gutherzige  polterer  "  and  text  face  Italian.  Vincenz  Martini  (Martin  y  Solar) 
is  mentioned  as  composer. 

First  performed  at  Dresden,  Churf.  Theater,  October  3,  1789.  Schatz  6006 

Die  burg  Hymens.     Tr.  of  Naumann's  La  reggia  d'Imeneo. 

La  burla  di  D.  Pacconio  a  Parigi,  ballet.  See  Anfossi's  La  maga 
Circe. 

Le  burle  per  amore.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobUe  Teatro  di  San  Samuele  il  carnovale  dell'  anno  1784. 
Venezia,  Giov.  Battista  Casali,  n.  d.  62  p.  17 Y™'- 
Two  acts.  Bv  Marcello  Bemardini,  who  is  not  mentioned.  Cast  and  name  of 
Vincenzo  Martini  (Martin  y  Soler)  as  the  composer.  With  the  opera  was  performed 
Francisco  Clerico's  "II  convalescente  innamorato,  ballo  comico  pantomimo."  The 
composer  of  the  music  is  not  mentioned.  Schatz  6007 

II  cabalista  ne  sa'  men  del  caso.  A.  T.  of  Auletta's  II  marchese 
di  Spartivento. 

La  caccia  d'Enrico  Quarto,  ballet.     See  Anfossi's  Demofoonte. 

La  caccia  d'Enrico  IV,  ballet.     See  P.  Guglielmi's  Le  due  gemelle. 

La  caccia  d'Enrico  IV.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  in  San  Moisel'autunnodell'anno  1783  .  .  . 
Venezia,  Modesto  Fenzo,  1783.     76  p.     .?7<="*. 

Three  acts.  Cast,  scenario,  name  of  Giacomo  Rust  as  the  composer,  and  dedication 
by  Antonio  Dian,  which  reads,  in  part: 

"A  prima  vista  potrebbe  forse  sembrar  quello  [drama]  stesso,  che  a  tempi  addietro 
venne  in  altre  scene  di  questa  Dominante  rappresentato;  ma,  toltone  un  aria  sola 
della  prima  buffa  nell'  atto  secondo,  che  sife  desiderato  di  conservare,  egli  h  tutto  nuovo. 
La  dotta  pena,  che  quello  scrisse,  valendosi  d'arbitrio  non  conteso  ai  poeti,  immagin5 
combinazioni  di  personaggi,  di  nazione,  di  caratteri,  e  di  episode  diverse  da  quelle  che 
ci  somministra  il  Teatro  comico  francese,  e  ci6  forse  per  addattarsi  alio  stile  delle 
drammatiche  rappresentazioni  musicali  di  quel  di,  assai  diverso  dall'  odiemo.  lo  ho 
bramato  che  si  concilino  possibilmente  uniformity  colla  commedia  francese  e  condotta 
di  dramma  musicale,  il  che  si  h  fatto,  per  quanto  disparity  di  circostanze  fra  questo,  e 
quella,  e  massime  per  la  distribuzion  delle  arie,  e  per  la  combinazion  de'  finali,  non 
1  abbia  impedito." 

With  the  opera  were  performed  Antonio  Mauro's  ballets  "Dove  entr6  cervo,  esce 
donna,  o  sia  II  curioso  accidente  della  caccia"  ^nd  "La  serieta  in  conflitto,"  the  com- 
posers of  the  music  not  being  mentioned.  Schatz  9177 

La  caccia  d'Isabella,  reg^na  di  Spagna,  ballet.    iSee  Tarchi's  Ezio^ 

Caccia  di  Diana,  ballet.     See  Gius.  Scarlatti's  Partenope. 

La  caccia  in  Etolia.  O.  T.  of  Valeriani's  libretto  Gl'inganni 
fortunati. 

La  caccia  in  Etolia,  pastorale  per  musica  da  recitarsi  nel  Teatro 
Bonacossi  a  S.  Stefano  I 'anno  1715  .  .  . 

Ferrara,  Eredi  di  Bernardino  PomateUi,  1715.     62  p.     16)^*^™. 

Three  acts.  By  Belisaro  Valeriani.  Author's  dedication,  notice  to  the  reader, 
argument,  cast,  name  of  Fortimato  Chelleri  as  composer,  and  imprimatur  dated  May 
28,  1715.  Schatz  1817 


240  LIBRARY  OF  CONGRESS 

II  cacciatore  deluso.     Dramma  serio-comico  per  musica  da  rappre- 
sentarsi  nel  Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1771. 
Lishona,  Stamperia  reale,  n.  d.     86  p.     W^. 

Three  acts.    Argument,  cast,  scenario,  and  name  of  Gaetano  Martinelli  as  author, 
of  Niccol6  Jommelli  as  composer.     Known  also  as  "Semiramide  in  bemesco." 
First  performed  at  Tubingen,  Neues  theater,  November  11, 1767.        Schatz  4897 

I  cacciatori  burlati,  ballet.     See  Hasse's  L'Olimpiade. 

Le  cadi  dupe,  opera-comicme  en  iin  acte,  m616  d'ariettes,  de  la  com- 
position de  M.  le  chevalier  Gluck. 

Vienne,  Ghelen,  1768.     32  p.     16'"". 

By  Pierre  R^ne  Lemonnier,  who  is  not  mentioned. 

First  performed  at  Vienna,  Burg  theater,  1761,  and  again  at  Laxenburg,  Favorita, 
May  28,  1764.  Schatz  3924 

Le  cadi  dupe,  opera-comique  en  un  acte;  par  I'auteur  du  Maltre  en 
droit:  represents  pour  la  premiere  fois  sur  le  Theatre  de  I'Opera- 
comique  de  la  Foire  S.  Germain,  le  4  fSvrier  1761. 

Paris,  Duchesne,  1761.     50,  [6]  p.     19'^'^. 

Cast.  By  Pierre  R^n^  Lemonnier.  Monsigny,  the  composer,  is  not  mentioned. 
On  the  [61  p.  catalogues  of  plays,  operas,  etc.  On  43-50  the  same  ariettes  as  in  the 
1782  ed.,  with  exception  of  the  sixth,  which  is  not  in  this  ed.  ML  50.2. C2M7 

— Le  cadi  dupe,  opera-comique,  en  un  acte,  par  I'auteur  du  Maitre  en 
droit.     Represents,  pour  la  premiere  fois,  sur  le  Theatre  de  I'OpSra- 
comique  de  la  Foire  Saint  Germain. 
Paris,  la  veuve  Duchesne,  1766.     32  p.     19^"^. 

Neither  the  author,  Pierre  R6n6  Lemonnier,  is  mentioned,  nor  the  composer 
Pierre  Alexandre  Monsigny.  Schatz  11725 

—  Le  cadi  dupe,  opSra  comique  en  un  acte,  par  I'auteur  du  Maitre 
en  droit;  represents  pour  la  premiere  fois  sur  le  Theatre  de  I'Opera 
comique  de  la  Foire  Saint-Germain,  le  4  fevrier  1761. 

Paris,  la  veuve  Duchesne,  1782.     Ifi  p.  19^'^. 

Cast.  On  p.  33-40,  "Ariettes  du  Cadi  dup6.  No.  1.  Vous,  qu'amour  br<ile.  2.  Si 
votre  flamme  est  trahie.  3.  Amant  fidelle  &  sensible.  4.  Toi,  que  moncoeur  adore. 
5.  Non,  ma  reine,  sois  certaine.  6.  Ah!  que  le  sort  d'une  femme."  Monsigny  is 
not  mentioned.  Schatz  6567 

—  Den  besnaerede  Cadi.  Et  syngespil  i  en  act  af  Monnier. 
Hvortil  musikken  er  componeret  af  Monsigny.  Oversat  af  Lars 
Knudsen. 

n.  i.,  n.  d.     46  p.     16'^'^.         '  Schatz  6568 

Cadmo.  Dramma  per  musica  da  cantarsi  nella  Real  villa  di  Queluz 
per  celebrare  il  felicissimo  giorno  natalizio  del  serenissimo  Signore  Don 
Giuseppe  principe  del  Brasile  li  21  agosto  1784. 

[Lishoa],  Stamperia  reale,  n.  d.     31  p.     15"'^. 

One  act  and  licenza.  Cast  and  names  of  Gaetano  Martinelli  as  author,  of  Antonio 
da  Silva  as  composer.  Schatz  9881 

Cadmo  ed  Ino,  ballet.    See  Piccinni's  Tigrane. 


OPERA   LIBRETTOS  241 

Cadmus,  in  einem  musicalisclien  schau-spiele,  auf  dem  Hamburg- 
ischen  Schau-platze  vorgestellet  im  jahr  MDCCXXV. 

Hamhurg,  Caspar  JaJchel,  n.  d.      Unpaged.     19'^^. 

Three  acts.  Cast,  ecenario,  and  "  vorbericht "  with  names  of  Johann  Ulrich  Koenig 
as  author,  of  Johann  Paul  Kunz  (Kiintze)  as  composer,  and  remark  that  the  aria 
"Kan  dem  mein  hertze  widerstehen " and  "zwo  andere,  welche  bey  den  originalien 
in  italiaenisch  gedruckt  worden,  gewisser  ursachen  willen  in  selbiger  sprache  gesun- 
gen  werden." 

First  performed  at  Brunswick,  Fuerstl.  Opemhaus,  February,  1720.     Schatz  5314 

Cadmvs  et  Hermione.  Tragedie.  Representee  par  TAcademie 
royale  de  musique. 

Paris,  Imprimee  aux  depens  de  Indite  Academie,  par  R.  Bavdry,  1674. 
front,  4p.t,  68  p.     23'^'^. 

Prologue  ("Le  serpent  Python")  and  five  acts.  Neither  the  author,  Philippe 
Quinault,  nor  the  composer,  Jean  Baptiste  Lully,  is  mentioned,  but  the  latter'a 
"Permission  pour  tenir  Academie  royale  de  musique"  and  "Privilege"  follows  the 
text.  ML  50.2.C22L9 

—  Cadmus  et  Hermioiie,  tragedie.  En  musique.  Suivant  la 
copie  imprimee  a  Paris. 

[Amsterdam,  Antoine  ScTielte],  1687.     64  p-  (incl.  front.)     i5i<=™. 

Prologue  and  five  acta.    Cast.    Neither  Quinault  is  mentioned,  nor  Lully. 

ML  50.2.C22L92 

—  Cadmus  et  Hermione,  tragedie  representee  par  I'Academie 
royale  de  musique  Tan  1674.  Les  paroles  sont  de  M.  Quinault  &  la 
musique  de  M.  de  Lully.     IV.  opera. 

n.  i.,  n.  d.  front.,  143-204  p.  14'^^-  (Recueil  general des  opera,  t.  i, 
Pans,  1703.) 

Detached  copy.     Laudatory  poem,  prologue,  and  five  acts. 

First  performed,  as  indicated,  April  27,  1673  (Schatz),  February,  1673  (Pnmiferes). 

Schatz  5763 
Second  copy.    ML  48. R4 

—  Cadmus  et  Hermione,  tragedie  representee  par  I'Academie 
royale  de  musique,  pour  la  premiere  fois  sur  le  Theatre  de  Bel-Air, 
&  ensuite  sur  celui  du  Palais  Royal,  au  mois  d'Avril  1672. 

Quinault,  Theatre,  Paris,  1739,  t.  iv,  pi.,  p.  [53]-118.     17""^. 
Prologue  and  five  acts.    Lully  is  not  mentioned.  PQ  1881. Al    1739 

La  caduta  d'Amulio.     Dramma  per  musica  del  dr.  Carlo  Gandini 
da  rappresentarsi  nel  Teatro  di  S.  Angelo  il  carnovale  dell'  anno  1747. 
Venezia,  Modesto  Fenzo,  1747.     59  p.     IS*^^. 

Three  acts.    Cast,  argument,  ecenario,  and  name  of  Antonio  Graetano  Pampani 

as  the  composer.  Schatz  7757 

La  caduta  de  decemviri.  Drama  per  musica  da  rappresentarsi  nel 
Regio  Ducal  Teatro  di  Milano  I'anno  1723  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1723.     5  p.  I.,  58  p.     14'^^- 
Three  acts.     By  Silvio  Stampiglia,  who  is  not  mentioned.     Impressario's  dedica- 
tion dated  Milan,  December  26,  1723,  argument,  cast,  scenario,  and  name  of  Giovanni 
Porta  as  the  composer.  Schatz  8389 

72251°— VOL  1—14 16 


242  UBRARY   OF  CONGRESS 

La  caduta  de*  decemviri.  Drama  per  musica  di  Silvio  Stampiglia 
tra  grArcadi  Palemone  Licurio  .  .  . 

Napoli,  Dom.  Ant.  Parrino  e  Michele  Luigi  Mviio,  1697.     5  p.  I., 

Three  acts.  Dedications  by  the  author  and  the  impressario,  argument,  cast,  and 
scenario.    The  composer,  Alessandro  Scarlatti,  is  not  mentioned. 

First  performed  at  Naples,  Teatro  di  S .  Bartolomeo,  November,  1 697 .     Schatz  9523 

La  caduta  de'  decemviri.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Bartolomeo  il  di  primo  ottobre  di  questo  corrente 
anno  1727.  Festeggiandosi  il  felicissimo  giorno  natalizio  della  Sac. 
Ces.  Catt.  Real  Maestk  di  Carlo  Sesto  imperador  regnante  .  .  . 

Napoli,  Francesco  Ricciardi,  1727.     60  p.     l^Y"^- 

Three  acts.  By  Silvio  Stampiglia,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argiunent,  scenario,  cast  and  name  of  Leonardi  Vinci  as  composer. 

First  performed  aa  indicated,  October  1,  1727.  ML  50.2.C23V4 

"^  La  caduta  di  Elio  Seiano.     Drama  per  musica  nel  Teatro  k  S.  Salva- 

tore  I'anno  MDCLXVII  ... 

Venetia,  per  gli  eredi  Leni,  1667.    front.,  70  p.     14'^™- 

Three  acts.  Dedication  by  the  author,  conte  Niccol6  Minato,  and  dated,  Venice, 
February  3,  1667,  argument,  scenario,  and  notice  to  the  reader,  with  name  of  Antonio 
Sartorio  as  the  composer.  The  opera  was  a  sequel  to  his  "La  prosperity  di  Elio 
Seiano."  Schatz  9492 

La  caduta  di  Gelone.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  I'autunno  dell'  anno  1719. 
Venezia,  Marino  Rossetti,  1719.     57  p.     15^^. 

Three  acts.  By  Francesco  Rossi.  Notice  to  the  reader  signed  by  the  author,  cast, 
scenario,  and  name  of  the  composer,  Giuseppe  Maria  Buini.  Schatz  1390 

La  caduta  di  Leone,  imperator  d'Oriente.  Drama  per  musica 
da  recitarsi  nel  Teatro  di  Sant'  Angelo  Tautunno  MDCCXXXII  .  .  . 

Venezia,  Alvise  Valvasense,  n.  d.     1^7  p.     14*^^- 

Three  acts.  By  Carlo  Paganicesa,  who  is  not  mentioned.  Impresario's  dedication, 
dated  Venice,  December  3,  1732,  argument,  cast,  and  name  of  Giuseppe  Antonio 
Paganelli  as  the  composer.  Schatz  7571 

La  caduta  di  Troia,  ballet.     See  Monza's  Erifile. 

La  caduta  di  Troja,  ballet.     See  Pio's  Medonte. 

Caernarvon  castle;  or,  The  birth  of  the  Prince  of  Wales:  an  opera 
in  two  acts.     First  performed  at  the  Theatre-Royal,  Hay-Market, 
August  12th,  1793  .  .  . 
London,  William  Lane,  1798.     3  p.  I.,  39  p.     21^"^. 

Cast  and  dedication.  Neither  the  author,  John  Rose,  is  mentioned,  nor  the  com- 
poset,  Thomas  Attwood.  Longe  239 

II  cafFe  di  campagna.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  A.  serenissima  il  Signer  principe  di  Carignano 
nell'  autunno  dell'  anno  MDCCLXII. 

Torino,  Gaspare  Boyno,  n.  d.     52  p.     15Y^- 

Three  acts.  By  Pietro  Chiari  (not  mentioned).  Cast,  scenario,  and  name  of  the 
composer,  Ignazio  Celoniat.  Schatz  1772 


OPEBA   LIBRETTOS  243 

II  caffe  di  campagna.  Dramma  giocoso  da  rappresentarsi  in 
musica  nel  Teatro  Giustiniani  di  San  Mois^  I'autunno  dell'  anno 
MDCCLXI.     Deir  abate  Pietro  Chiari  .  .  . 

Venezia,  n.  puhl,  176 L     57  p.     15^"^. 

Three  acts.     Cast,  ecenario,  and  name  of  Galuppi  as  composer. 

First  performed,  as  indicated,  Nov.  18,  1761.  Schatz  3501 

La  caffe ttiera  bizzarra.  Dramma  giocoso  in  tre  atti.  Da  rappre- 
sentarsi nel  Teatro  Elettorale. 

Vresda,  n.  puhl,  1796.     21  p.  I.     65  p.     16'^"K 

Two  acts.  By  Lorenzo  da  Ponte  who  is  not  mentioned.  German  title  "Die 
launige  kaffeeechenkinn'"  faces  Italian.  A  scene  by  scene  synopsis  in  German  pre- 
cedes the  Italian  text.     Joseph  Weigl  is  mentioned  as  the  composer. 

First  performed  1796  as  indicated,  at  Vienna,  Burgtheater,  September  15,  1790. 

Schatz  10930 

Le  cahos.     See  Destouches  and  Lalande's  ballet  Les  elemens. 

Caio  Gracco.  Dramma  per  musica  rappresentato  alle  Sac.  Ces. 
Reali  Maesta  nel  carnevale  dell'  anno  MDCCX.  Poesia  del  .Sig.  Silvio 
Stampiglia,  tra  gli  Arcadi  Palemone  Licurio  .  .  .  musica  del  Sig.  Gio. 
Bononcini  .  .  . 

Vienna  d/ Austria,  gli  Jieredi  Cosmeroviani,  n.  d.     88  p.     H^^. 

Three  acts.     Argument  and  scenario. 

First  performed  as  indicated,  in  February,  1710.  Schatz  1203 

Caio  Marzio  Coriolano.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  San  Cassiano  il  carnovale  dell'  anno  MDCCXLVII. 

Venezia,  n.  puhl.,  n.  d.     5  p.  I.  (incl.  port),  78  p.     16Y^. 

The  port.,  by  Raf.  Bachi,  represents  Maria  Teresa  Cibo  d'Este. 

Three  acts.  By  Zaccaria  Seriman,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Pietro  Pulli  as  the  composer. 

First  performed  at  Reggio,  Teatro  del  Pubblico,  1741.  Schatz  8513 

Caio   Ostilio.     Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  via  della  Pergola  il  carnevale  del  MD(X!XCV  .  .  . 
Firenze,  Pietro  Fantosini,  1794.     ^5  p.     17'''^. 

Two  acts.  By  Eustacchio  Manfredi.  Neither  he  nor  the  composer  Giuseppe 
Giordani  is  mentioned.  Cast.  On  p.  5-9  the  description  of  Giacomo  Ricciardi'e 
four-act  "Dorcis  e  Cleobisa,  ballo  eroico  pantomime, "  whose  ballet  "Gli  sposi  per 
inganno  "  was  also  performed.     The  composers  of  the  music  are  not  mentioned. 

First  performed  as  indicated,  December  27;  1794;  at  Faenza,  Nuovo  Teatro  Com- 
unale,  for  its  opening  May  12,  1788.  Schatz  3850 

II  Cajetto.  Dramma  per  musica  da  rappresentarsi  nel  nuovo 
famosissimo  Teatro  di  S.  Girolamo  nel  carnovale  dell'  anno  1746. 
Dedicata  a  Madama  Gramatica. 

Venezia,  Luigi  Pavini,  1746.     80  p.     11'^'^. 

Three  acts.  With  whimsical  dedication,  argument,  cast,  scenario  and  name  of 
composer,  Ferdinando  Bertoni,  but  not  of  author,  Antonio  Rigo  (called  Gori). 

Schatz  908 

C.  Fabbrizio. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744,  t-  h  V-  {17S\-270. 

Three  acts  with  licenza.  Arguinent.  No  composer  is  mentioned.  In  the  "Cata- 
logo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  "in  Vienna.  1729  [No- 
vember 4,  music  by  CaMara]    1730."  ML  49.A2Z3 


244  LIBRARY  OF   CONGRESS 

C.  Fabbrizio — Continued. 

—  C.  Fabbrizio.     Pubblicato  per  la  prima  volta  in  Vienna  1729. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  vii,  p.  2^9- 

342.     ^l'"". 

Three  acts  and  licenza.     Argument.     No  composer  is  mentioned.    ML  49.A2Z4 

Cajo  Fabricio.  Dramma  per  musica  di  Apostolo  Zeno  da  rappre- 
sentarsi  nel  Teatro  di  corte  .  .  .  Musica  ael  Sig.  Giovanni  Adolfo 
Hasse  ... 

Salishurgo,  Giovanni  Gioseppe  Mayr,  1737.     71,  [1]  p.     15''™. 
Three  acta.    Argument. 

First  performed  at  Salzburg,  Hoftheater,  1737;  at  Rome,  Teatro  Capranica,  Jan- 
uary 12,  1732.  ScHATZ  4522 

—  Cajo  Fabricio.  Drama  per  musica  da- rappresentarsi  nel  Teatro 
di  S.  Angelo  il  carnovale  dell  anno  1735  .  .  . 

Venezia,  Marino  Rossetti,  1735.     60  p.     14''™. 

Three  acts.  Impreesario's  dedication,  argument,  cast,  scenario,  and  name  of 
'Adolfo  Asse  detto  il  Sassone"  (Joh.  Ad.  Hasse)  as  composer.  On  p.  8  the  sub- 
stitute aria  "No,  n5  non  ti  lagnar"  (III,  2)  instead  of  "Misera  tortorela."  In  the 
Salzbui^  1737  ed.  the  corresponding  aria  is  ' '  Vol^i  k  me  gli  affetti  tuoi "  and  numerous 
other  differences  are  noticeable,  as  for  instance  III,  1  having  the  aria  "Sar^  vezzosa, 
e  bella"  instead  of  as  Venice  "Richezza  non  chiede,"  which  is  not  by  Zeno  at  all. 

ScHATz  4522a 

—  Cajus  Fabritius,  ein  sing  und  trauer  spiel,  vorgestellt  aufn 
Koenigl.  pohln.  und  churfuerstl.  saechss.  Schauplatz  zu  Dresden. 
Ins  deutsche  aus  dem  italienischen  uebersetzt. 

Dresden,  bey  Gottloh  Christian  Hilschem,  1734-     88  p.     Wi^''™. 

Three  acts  in  prose.  In  his  dedication  addressed  to  the  "Annehmliches  frauen- 
zimmer  "  the  translator  gives  as  raison  d'itre  of  his  translation : 

' '  Das  sinnliche  vergnuegen,  so  Sie  bei  vorstellung  dieses  stueckes  durch  die  ohren, 
und  augen  geniessen,  suche  ich  vollkommener  zu  machen,  wenn  ich  auch  Ihrem 
verstande  was  dabei  zu  thun  gebe." 
and  in  his  "  Vorbericht "  he  expresses  the  same  idea: 

' '  Der  uebersetzer  hat  auf  nicnts  dabei  geseben,  als  dieses  trauerspiel  in  rein  deutsch 
zu  bringen,  um  es  einigen  zuschauern  verstaendlich  zu  machen." 

He  does  not  mention  Hasse,  the  composer,  whose  "Cajo  Fabricio"  was  first  per- 
formed at  Dresden,  July  8,  1734,  Mennicke  adding  "2  Faasg.?"  (2d  version?). 
Two  intermezzi  have  been  added  on  p.  81-88  under  the  title  "  Der  hand wercks-mann 
ein  edelmann."  This  is  a  translation  of  "L'artigiano  gentiluomo,"  under  which  title 
the  intermezzi  were  performed  at  Dresden  simultaneously  with  "Cajo  Fabricio." 
It  is  the  title  of  Antonio  Salvi's  original  text,  but  when  it  was  first  performed  in  an 
altered  version  with  Hasse's  music,  at  Naples,  Teatro  di  S.  Bartolomeo,  December 
1726,  it  was  called  "Larinda  e  Vanesio."  Schatz  4523 

—  Cajo  Fabricio.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  per  ordine  di  Sua  Maest^  .  ,  . 

Berlino,  Haude  et  Spener,  1766.     Ill,  [3]  p.^   16"™. 

Three  acts.  Argument,  scenario,  and  names  of  Joh.  Ad.  Hasse  as  the  composer 
and  Apostolo  Zeno  as  the  original  author,  which  note  refers  to  the  numerous  altera- 
tions of  his  text.    German  title  page  "Cajus  Fabricius"  and  text  face  Italian. 

First  performed,  as  indicated,  September  1766.  Schatz  4524 

Cajo  Fabricio.     Dramma  per  musica  da  rappresentarsi  nell  Sala 
degl'  illiiii  Signori  Capranica  nel  carnevale  dell'  anno  MDCCLV  .  .  . 
Roma,  Fausto  Amidei,  n.  d.     66  p.     15"™. 

Three  acta  with  intermezzi.  By  Apostolo  Zeno,  who  is  not  mentioned.  Impresa- 
rio's dedication,  argument,  cast,  scenario,  and  name  of  Giuseppe  Scolari  as  the 
composer,  Schatz  9804 


OPERA   LIBEETTOS  245 

II  Cajo  Mario.     Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  de  nobili  Sig.  fratelli  Prini  della  citta  di  Pisa  la  primavera 
dell'  anno  1779. 
Pisa,  Francesco  Pieraccini,  1779.     4^  p.     17'^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario, 
argument,  and  note:   "La  musica  h  di  van  celebri  autori."  Schatz  11311 

Cajo  Mario.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Benedetto  nell'  autuno  dell'  anno  MDCCLXX. 
Venezia,  Modesto  Fenzo,  n.  d.     54  p-     18'^^. 

Three  acts.  By  Gaetano  Roccaforte.  Argument,  cast,  name  of  composer,  Pasquale 
Anfossi,  but  not  of  librettist.  Schatz  231 

II  Cajo  Mario.  Dramma  per  musica  da  rappresentarsi  nel  nobiiis- 
simo  Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascensione  dell'  anno 
1781. 

Venezia,  Modesto  Fenzo,  1781.     55  p.     16^"^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  composer,  Ferdinando  Bertoni, 
but  not  of  librettist,  Gaetano  Roccaforte.  On  p.  21-30, 43-49,  cast  and  ristretto  (synopsis) 
of  "L'orfano  della  China,  ballotragico  in  cinque  atti,"  and  "Laiu-etia,  ballo  eroicomico 
in  tre  atti,  inventati  e  composti  dal  Signor  Gaspero  Angiolini."  The  composers  are 
not  mentioned.  Schatz  909 

Cajo  Mario.  Dramma  per  musica  da  rappresentarsi  nel  real  Teatro 
di  S.  Carlo  nel  di  30  maggio  1784,  festeggiandosi  il  glorioso  nome  di 
Ferdinando  IV  .  .  . 

Napoli,  Vincenzo  Flauto,  1784.     H,  35  p.     15^"^. 

Three  acts.  Dedication,  dated  May,  30,  1784,  argument,  scenario,  cast,  and  name 
of  the  composer,  Francesco  Bianchi,  but  not  of  the  librettist,  Gaetano  Roccaforte. 
On  p.  12-22,  argument,  cast,  and  full  description  of "  11  ritomo  di  Rinaldo  presso  Armida, 
o  sia.  La  vendetta  di  Armida  vinta  dall'  amore,  ballo  eroico  in  tre  atti,  by  Domenico 
Le  F^vre,  music  ("tutta  nuova")  by  Antonio  Roesetti.  Schatz  995 

Cajo  Mario.     Dramima  per  musica  da  rappresentarsi  nel  Teatro  da 
S.  Agostino  il  carnovale  dell'  anno  1782  .  .  . 
Genova,  Stamperia  Gesiniana,  n.  d.     59  p.  [1  I.]     ISY^- 
Three  acts.    By  Gaetano  Roccaforte  (not  mentioned).     Dedicatory  p>oem,  argu- 
ment, cast,  and  name  of  the  composer,  Cimarosa. 

First  performed  at  Rome,  Teatro  delle  Dame,  carnival,  1780.  Schatz  1991 

Cajo  Mario.  Dramma  per  musica  del  Signor  abate  Gaetano  Rocca- 
forte Romano.  Da  rappresentarsi  nel  Teatro  Grimani  in  S.  Gio. 
Grisostomo  la  fiera  dell  Ascensione  dell'  anno  1764. 

Venezia,  Modesto  Fenzo,  1764.     ^4  P-     17^*^^. 

Three  acts.  Argument,  cast,  and  name  of  Galuppi  as  composer.  ("La  musica 
tutta  nuova.")  With  the  opera  were  performed  the  ballets,  "Ilgiudizio  di  Paride" 
and  "Li  amori  di  Tirsi  ed  Eurilla  interrotti  dalla  maga  Falsirena,"  both  by  Gaetano 
Cesari,  the  composers  of  the  music  not  being  mentioned. 

First  performed,  as  indicated,  May  31,  1764.  (Piovano)  Schatz  3502 

Cajo  Mario.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
alia  Canobiana  Testate  dell' anno  1791  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     4^  P-     ^^i*^™- 
Two  acts.    By  Graetano  Roccaforte,  who  is  not  mentioned.    Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.    With 
the  opera  was  performed  Urbano  Garzia's  ballet,  "La  villeggiatura  in  scompiglio 
oesia  II  falso  amico."     The  composer  of  the  music  is  not  mentioned. 

First  performed  at  Lodi,  Nuovo  Teatro,  August,  1789.  Schatz  3835 


246  LIBRARi'  OF   CONGRESS 

Cajo  Mario.  Drama  per  musica  da  rappresentarsi  in  Verona  nel 
Nuovo  Teatro  dell'  Accademia  Filarmonica  nel  carnovale  dell'  anno 
1762  .  .  . 

Verona,  Dionisio  Ramanzini,  1761.     51^.  p.     16^'^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Niccolo  Jonunelli  as  composer, 
and  dedication,  with  remark  that  this  is  the  first  performance  of  Gaetano  Roccaforte'a 
drama  at  Verona. 

First  performed  at  Rome,  Teatro  di  Torre  Argentina,  February  6,  1746. 

ScHATz  4896 

Cajo  Mario.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascensione  dell'  anno 
MDCCLXXVII. 

Venezia,  Modesto  Fenzo,  1777.     62  p.     17'^'^. 

Three  acta.  By  Gaetano  Roccaforte.  Argument,  cast,  scenario,  and  name  of 
Carlo  Monza  as  the  composer.  ("La  musica  tutta  nuova.")  On  p.  [23]-32,  cast 
and  description  of  Paolo  Franchi's  ballet,  "Lauso  e  Lidia,  ballo  eroico  pantomimo  in 
cinque  atti."    The  composer  of  the  music  is  not  mentioned.  Schatz  6617 

Caj o  Mario.  Dramma  per  musica  da  rappresentarsi  nel  Regio-Ducal 
Teatro  di  Milano  nel  carnovale  dell'  anno  1765  .  .  . 

Milano,  Giuseppe  RicJiino  Malatesta,  1765.     6  p.  I.,  1^8  p.     14'^'^. 

Three  acts.  Dedication,  argument,  scenario,  cast,  and  names  of  Gaetano  Rocca- 
forte as  the  author,  of  Giuseppe  Scolari  as  the  composer.  Schatz  9788 

Cajus  Fabricius.     Tr.  of  Hasse's  Cajo  Fabricio. 

Caj  us  Fabricius.     Ein  musicalisches  schau-spiel  welches  an  dam 

florreichen  hoechsten  nahmens-tag  Ihro  Churfuerstl.  Durchleucht  zu 
'faltz  .  .  .  auf^efuehret  worden  im  jahr  1760.  Die  poesie  ist  von 
dem  herrn  Mathias  Verazj  .  .  .  Die  music  ist  eine  neue  composition 
von  dem  beruehmten  herrn  Nicolaus  Jommelli  .  .  .  ausser  denen 
mit  einem  sternlein,  in  dem  italiaenischen  buechlein  bezeichneten 
arien,  so  von  dem  herrn  Joseph  CoUa  Parmesanischen  capell-meister 
neu  componiret  worden. 

Mannheim,  Hof-hucJidruckerey,  n.  d.     7  p.  I.,  117  p.     15'^. 

The  translator  is  not  mentioned.    Argument,  cast,  scenario. 

"Cajo  Fabricio"  was  first  performed  at  Mannheim,  Hoftheater,  November  4,  1760. 

Schatz  4846 

Cajus  Fabritius.     Tr.  of  Hasse's  Cajo  Fabricio. 

La  calami ta  de'  cuori. 

[103]-153  p.  Wi^'^.  (Carlo  Ooldoni,  Opere  drammatiche  giocose, 
t.  i,  Torino,  1757). 

Three  acts.  ML  49.A2G6 

—  La  calamita  de'  cuori.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v.  4^, 
[241]-293  p.     18^^.  PQ 

See  next  entry. 

La  calamita  de'  cuori.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Nuovo  di  S.  Samuele  ii  carnovale  dell'  anno 
1753  .  .  . 

Venezia,  Modesto  Fenzo,  1753.     56  p.     16^'^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Impresario's  dedication  dated 
Venice,  December  26,  1752,  cast,  but  without  the  name  of  the  composer,  Baldassare 
Galuppi.    (Read:  calamita,  not  calamity.)  Schatz  3476 


OPERA   LIBRETTOS  247 

La  calamita  de  cuori.  Dramma  giocoso.  Da  rappresentarsi  ne' 
Teatri  privilegiati  di  Vienna  nell'  anno  1774. 

[Vienna],  Giuse'p'pe  Kurzbok,  n.  d.     70  p.     15Y^. 

Three  acts.    By  Giovanni  de  Gamerra,  who  is  not  mentioned.     Scenjirio,  name  of 
Antonio  Salieri  as  the  composer  and  cast  added  in  red  pencil  to  the  list  of  characters. 
First  performed,  as  indicated,  January  1,  1774.  Schatz  9276 

—  La  calamita  de  cuori.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1776.     135  p.     16^"^. 

Three  acts.  Giov.  de  Gamerra,  the  author,  is  not  mentioned.  Scenario  and  name 
of  Antonio  Salieri  as  the  composer.  German  title  page  ' '  Der  magnetstein  der  herzen' ' 
and  text  face  the  Italian,  which  is  with  very  few  differences  the  same  as  that  in  the 
Vienna,  1774,  edition.  For  instance,  "Questa  del  sesso  nostro"  (I,  2)  has  become 
"Contro  di  quell'  audace."  Schatz  9277 

Calandrano.     Dramma  giocoso  per  musica  di  Giovanni  Bertati  da 
rappresentarsi  nel  Teatro  di  San  Samuel  I'autunno  dell'  anno  1771. 
Venezia,  Modesto  Fenzo,  n.  d.     61  p.     IS'^^. 

Three  acts.    Cast,  scenario,  and  name  of  Giuseppe  Gazzaniga  as  the  composer. 

Schatz  3658 

La  Calciope.     Drama  per  la  musica  di  me  Ercole  Bonacossi. 

Author's  autograph,  16—.     [o3]  I.     19'''^. 

Prologue  and  three  acts.    Argiunent.    Not  recorded  by  Schatz  or  Allacci. 

ML  95.B6 

Caleb  Quo  tern  and  his  wife.     See  Throw  physick  to  the  dogs! 

Calfurnia.     Drama  per  musica.     Da  rappresentarsi  nel  Teatro  di 

Sant'  Angelo  il  carnovale  dell'  anno  1713  .  .  . 

Venezia,  Marino  Rossetti,  1713.     59  p.     l^Y"^- 

Three  acts.    Dedication  by  the  author,  Grazio  Braccioli,  dated  Venice,  January 
26,  1713,  argument,  cast,  scenario,  and  name  of  "Giovanni  Heyninghen  di  Sassonia 
(Johann  David  Heinichen)  as  composer.  Schatz  4701 

—  Die  roemische  grossmuht,  oder  Calpurnia.  In  einem  musica- 
lischen  schau-spiele  im  monath  februar.  1716  auf  dem  Hamburgischen 
Theatro  aufgeruehret. 

Hamburg,  Friedrich  Conrad  Greijiinger,  n.  d.      Unpaged.     16Y^. 

Scenario  and  "Vorbericht"  by  the  translator,  Johann  Ulrich  Konig,  in  which  he 
mentions  Heinichen  as  the  composer,  and  remarks  that  the  translation  was  made  from 
the  score,  because  he  does  not  know  the  name  of  the  Italian  author  and  never  saw  a 
printed  copy  of  the  Venetian  libretto  of  1713.  He  also  states  that  he  has  done 
nothing 

"als  nebst  der  uebersetzung  hin  und  wieder  einige  stellen  den  hiesigen  liebhabem 
zu  gefallen,  geaendert  und  hin  und  wieder  etliche  taentze,  arien,  decorationen  oder 
auftritte  eingerueckt  ..." 

Such  arias  appear  with  German  text  only,  and  their  composer  la  not  mentioned. 
The  other  arias  na vie  the  Italian  text  added  to  the  German.  Schatz  4702 

II  Caligola.     L.  T.  of  Pagliardi's  Caligula  dehrante. 

Caligula  delirante.  Melodrama  da  rappresentarsi  in  musica,  nel 
Teatro  famoso  Grimano  di  SS.  Giovanni  e  raolo,  I'anno  MDCLXXII 

Venetia,  Francesco  Nicolini,  1672.    front.,  84,  [1]  p.     IW"^. 

Three  acts.  By  Domenico  Gisberti,  who  is  not  mentioned,  and  whose  title  origi- 
nally was  "La  pazzia  in  trono  owero  Caligola  delirante."    Publisher's  dedication, 


248  LIBRARY   OF  CONGRESS 

Caligula  delirante— Continued. 

dated  Venice,  December  18,  1672,  argument,  notice  to  the  reader,  scenario,  and  name 
of  "Giovanni  Maria  Pagliardi,  mastro  di  capella  del  sereniss.  Gran  Duca  di  Toscana," 
as  the  composer.  Schatz  7582 

—  II  Caligola.     Dramma  per  musica,  rappresentato  in  Roma  nel 
nuovo  Teatro  di  Tor  di  Nona  nel  presente  anno  1674  .  .  . 
Roma,  Stamparia  della  Rev.  C.  A.,  1674.     63  p.     13^"^. 

Three  acts.  Gisberti's  text,  with  noticeable  differences  from  the  version  of  Venice, 
1672.  For  instance,  I,  2  now  begins,  "O  Di  quanto  il  Sol  vede,"  instead  of  **Su  1  mia 
figlia  corraggio;"  I,  6,  "Nesbo  di  regal  ceppo,"  has  been  dropped  and  I,  7,  "De  la 
vaga  Teosena,"  has  become  I,  6,  etc.,  etc.  Schatz  7586 

Calimedonte,  rei  do  Epiro,  ou  Os  amores  de  Sisbe  e  Selene:  baile 
heroico-pantomimo  em  quatro  actos  para  se  executar  no  Real 
Theatro  de  S.  Carlos  em  beneficio  de  Theresa  Mellazzi  em  9  de  Janeiro 
de  1796. 

Lisboa,  Simao  Thaddeo  Ferreira,  1796.     21  p.     IS""^. 

Argument  and  detailed  description  of  the  single  acts.  Neither  the  composer  of  the 
music  is  mentioned  nor  the  "composer"  of  the  oallet.    Not  recorded  by  Schatz. 

ML  52.2.C2 

Callpso.  Dramma  per  musica.  Da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  30  maggio  1782  festeggiandosi  il  glorioso  nome  di 
Ferdinando  IV  .  .  . 

Napoli,  Vicenzo  Flauto,  1782.     56  p.     16'='^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  According  to  a  foot- 
note on  p.  20,  the  text  had  been  greatly  changed  to  adapt  it  to  this  theatre.  Dedi- 
cation dated  May  30,  1782,  argument,  scenario,  and  name  of  Giacomo  Insanguine, 
called  Monopoli,  as  composer.  On  p.  10-18,  argument,  cast,  and  description  of 
Paolo  Franchi's  "La  principessa  di  Tingi,  ballo  eroico  pantomimo  in  cinque  atti." 
The  second  ballet  was  Giuseppe  Trafieri's  comic  ballet,  "La  vendemia  ossia  La  conta- 
dina  impertinente."     Giuseppe  Giordani  is  mentioned  as  composer  of  both  ballets. 

Schatz  4839 

Calipso.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1777  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  58  p.     16Y'^' 

Three  acts.  By  Donzel  (who  is  not  mentioned),  with  a  few  alterations.  Argument, 
cast,  scenario,  and  name  of  Bemard(in)o  Ottani  as  the  composer.  Vittorio  Amedeo 
Canavaeso  is  mentioned  as  the  composer  of  the  music  for  the  ballets,  a  description  of 
which  was  to  follow  on  p.  59. 

First  performed  December  26,  1776,  as  indicated.  Schatz  7360 

Calipso  abbandonata,  ballet.     See  Mortellari's  Troja  distrutta. 

Calista.  An  opera.  As  it  was  designed  to  have  been  perform'd  at 
one  of  the  theatres  .  .  . 

London,  C.  Davies,  1731.     6  p.  l,  60  p.     18^"^. 

Three  acts  and  introduction.  Anonymous  dedication  and  table  of  the  39  tunes 
used  in  this  ballad-opera.    Author  not  recorded.  Longe  322 

La  Calisto.  Drama  per  musica  di  Giovanni  Faustini.  Favola 
decima. 

Venetia,  Giuliani,  1651.     82  p.     13^'^'^. 

Three  acts  with  prologue.  Author's  preface  and  argument.  The  composer, 
Pietro  Francesco  Cavalli,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Apollinare,  fall  of  1651.        Schatz  1744 


OPEEA   LIBRETTOS  249 

La  Calisto.     Intermezzi  printed  with  Sarro's  Candaule  re  di  Lidia. 

Calisto :  or,  The  chaste  nimph.  The  late  masque  at  court,  as  it  was 
frequently  presented  there,  by  several  persons  of  great  quality. 
With  the  prologue,  and  the  songs  betwixt  the  acts.  All  written  by 
J.  Crowne. 

London,  Printed  by  TTio.  Newcoirib,  for  James  Magnes  and  Richard 
Bentley,  1675.     12  p.  I,  81,  [1]  p.     21¥'^. 

Five  acts,  prologue  and  epilogue  (last,  unnumb.  p.).  Cast  of  "The  persons  of  the 
play,"  not  of  the  singers.  John  Crowne 's  dedication  and  his  preface  in  which  he  states 
that  he  was — 

"invaded,  on  the  sudden,  by  a  Powerful  Command,  to  prepare  an  entertainment 
for  the  court,  which  was  to  be  written,  learnt,  practised,  and  performed,  in  less  time 
than  was  necessary  for  the  writing  alone.  True,  it  was  not  performed,  till  some 
months  after  the  time  first  decreed,  but  that  hapned  from  the  discretion  of  those  on 
whom  the  dancing  and  musical  parts  depended,  who  found  it  required  time  to  do 
any  thing  in  perfection;  but  I  not  knowing  it  would  be  so  deferred,  finished  my 

Eart  within  time  first  alotted  me,  which  was  scarce  a  month;  not  only  for  the  play, 
ut  the  prologue,  and  songs,  the  nature  of  which  I  was  wholly  a  stranger  to,  having 
never  seen  any  thing  of  the  kind;  and  by  these  means,  I  was  forced  upon  a  brisk 
dullness,  writing  quick,  but  flat.  I  was  also  confined  in  the  number  6f  the  persons; 
I  had  but  seven  allow'd  me,  neither  more  nor  less:  those  seven  to  be  all  ladies,  and 
of  those  ladies,  two  onely  were  to  appear  in  men's  habits.  Next,  for  my  subject,  it 
was  not,  I  confess,  imposed  upon  me  by  command,  but  it  was  for  want  of  time  to 
find  a  better:  For  I  had  but  some  few  hours  allow'd  me  to  choose  one  .  .  . 

"Ha\dng  made  this  little  vidication  of  my  self,  I  were  now  bound  in  gratitude, 
(before  I  conclude)  to  record  the  due  praises  of  those  whose  admirable  performances 
in  their  several  kinds,  lent  this  entertainment  much  of  the  praise  it  had;  namely, 
the  singers,  and  the  composer  of  all  the  musick  both  vocal  and  instrumental  Mr. 

t Nicholas]  Staggins  ...  if  the  judgments  of  others,  and  those  the  most  skilful  too, 
)e  not  mistaken,  Mr.  Staggins  has  not  only  delighted  us  with  his  excellent  com- 
position, but  with  the  hopes  of  seeing  in  a  very  short  time  a  master  of  musick  in 
England,  equal  to  any  France  or  Italy  have  produced  ..." 

The  singers  evidently  were  professionals  in  the  king's  service;  their  names  are  not 
mentioned. 

Performed  1675,  as  indicated.  Lonoe  106 

Callias,  ou  Nature  et  patrie,  drame  heroique  en  un  acte  et  en  vers, 
mSle  de  musique.  Reprfeente,  pour  la  premiere  fois,  sur  le  TheS,tre 
de  rOpera  comique  national,  le  deuxieme  jour  complementaire,  I'an 
second  de  la  Republique  [September  18,  1794].  Paroles  du  citoyen 
Hoffman,  musique  du  cit.  Gretry. 

Paris,  Maradan,  Troisieme  annse  de  la  Republique,  1794-95.  2  p.  I., 
Sip.     21^"^.  SCHATZ4202 

Callirhoe,  tragedie  representee  par  I'Academie  royale  de  musique  Tan 
1712.  Les  paroles  sont  de  M.  Roy.  &  La  musique  de  M.  Destouches. 
LXXX.  opera.     Tome  x. 

n.  %.,  n.  d.  pi.,  p.  4SI-544  (Recueil  general  des  opera,  Paris,  1714). 
14^"^. 

Detached  copy.    With  argument.    Five  acts  with  prolc^e. 
First  performed,  as  indicated,  December  27,  1712.  Schatz"2544 

Second  copy.    ML  48. R4 

Calliroe.  Dramma  per  musica  da  rappresentarsi  nel  nuovo  Regie 
Ducal  Teatro  di  Milano  il  carnovale  dell  anno  1779  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     62  p.  {incl.  h.-t.),  [1]  p.  (errata). 

Three  acts.  Dedication,  scenario,  cast,  names  of  Mattia  Verazi  as  author  (on  h.-t.), 
of  Felice  Alessandii  as  composer,  and  argument,  at  end  of  which  this  is  called  a  com- 


250  LIBRARY   OF   CONGRESS 

Calliroe — Continued. 

pletely  remodeled  and  adapted  version  of  "auest'  opera  eteesa  .  ,  .  gik  .  .  .  la 
prima  volta  eepoeta  eul  Ducal  Teatro  di  Wirtemberc."  This  evidently  refers  to 
Sacchini's  setting  of  Verazi's  "Calliroe,"  first  performed  at  Stuttgart  January  10,  1779. 
With  Alessandri's  opera  was  performed  the  ballet,  "Porzia,"  by  either  Giuseppe 
Canziani  or  Sebastiano  Gallet. 

First  performed,  as  indicated,  December  26,  1778.  Schatz  142 

La  Calliroe.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  via  della  Pergola  il  carnevale  del  MDCCXCII  .  .  . 

Firenze,  Stamperia  Albizziniana,  1792.     44  P-     16^'^. 

Two  acts.  Argument,  cast,  and  name  of  Sebastiano  Najsolini  as  composer.  The 
author,  Mattia  Verazi,  is  not  mentioned.  On  p.  5-12,  ar^ment,  cast,  and  description, 
without  name  of  the  composer  of  the  music  of  Domenico  Ballon's  "Ino  e  Temisto, 
ballo  eroico  tragico  pantomimo."  The  second  ballet  was  by  Carlo  Taglioni,  and  was 
called  "La  pazza  per  amore."  ML  48.A5    v.  22 

La  Calliroe.  Dramma  per  musica  da  rappresentarsi  nel  nobile 
Teatro  di  Padova  la  fiera  di  giugno  dell'  anno  1776  .  ,  . 

Venezia,  n.  puhl.,  n.  d.    56p.     17*^. 

Three  acts.  By  Mattia  Verazi,  who  is  not  mentioned.  Onorato  Viganb's  dedica- 
tion as  impresario,  argument,  cast,  scenario,  and  name  of  Giacomo  Bust  as  the  com- 
poser.    ("La  musica  sark  tutta  nuova.")  Schatz  9173 

Calliroe.  Dramma  per  musica  da  rappresentarsi  nel  Gran  Teatro 
Ducale  di  Louisbour^  festeggiandosi  il  felicissimo  giorno  natalizio  di 
Sua  Altezza  Serenissima  Carlo  duca  regnante  di  Wirtemberg  et  Teck 
etc  etc.  La  musica  e  nuovamente  composta  dal  Signor  Antonio 
Sacchini  ... 

[Stuttgart],  Cotta,  1770.     167  p.     18^. 

On  half-title  Mattia  Verazi  is  mentioned  as  the  author.  Argument,  scenario,  cast. 
French  t.-p.  "Calliroe,"  and  text  face  Italian.  On  p.  162-167.  cast  and  description 
of  a  "ballo  allegorico  "  for  this  February  11, 1770,  the  duke's  birtnday.     Schatz  9210 

Calpurnia.     A.  T.  of  Heinichen's  Die  roemische  grossmuht. 

Calto.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
Venier  in  San  Benedetto  11  carnovale  dell'  anno  1788, 
Venezia,  Modesto  Fenzo,  1788.     Jfi  p.     17 Y"^- 

Two  acts.  Preface  by  the  author,  Giuseppe  Foppa,  who  calls  this  his  second 
drama  written  for  this  theatre,  argument,  cast,  scenario,  and  name  of  the  composer, 
Francesco  Bianchi.  The  first  ballet  was  called  "Le  ninfe  di  Diana,  ballo  anacre- 
ontico."  It  was  by  Domenico  Ballon.  The  composer  is  not  mentioned.  The  music 
is  called  "tutta  nuova."  Schatz  996 

Calypso;  a  masque:  In  three  acts.  As  it  is  performed  at  the 
Theatre-Royal  in  Covent-Garden.  Written  by  Richard  Cumber- 
land, Esq.     The  music  composed  by  T.  Butler  .  .  . 

London,  T.  Evans,  1779.     v,  [1],  48,  [2]  p.     21<^. 

The  [2]  p.  contain  publisher's  book-list. 

Cast  and  dedication. 

First  performed  March  20,  1779.  Longe  102 


OPERA   LIBRETTOS  251 

Calypso  oder  Sieg  der  weissheit  ueber  die  liebe.  In  einem  sing- 
spiele  auf  dem  Hamburgischen  Schau-Platze  im  jahr  1727  vorgestellet. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.      Unpaged. 

Cast,  names  of  Johann  Philipp  Praetorius  as  author,  of  Georg  Philipp  Telemaxin 
as  composer,  and  noteworthy  "  Vorbericht"  (incl.  argument),  which  reads,  in  part: 

"  Nachfolgendes  sing-spiel  ist  einigermassen  ein  versuch  zur  verbesserung  der 
theatralischen  musick  in  teutecher  sprache,  nach  dem  model  der  Italiaener  .  .  . 
Unser  schau-platz  hat  von  einigen  janren  her  einen  grossen  theil  der  musick  von 
ihnen  entlehnet;  verschiedene  Ihrer  beruehmtest'en  opem  sind  bey  uns  nicht  allein 
aufgefuehret  worden,  sondem  es  haben  auch  Tsestaendig  einige  ihrer  geschickten 
landes-leute  in  selbigen  gesungen  .  .  . 

"Nimmermehr  ist  der  vorsatz  derjenigen,  welche  die  italiaenische  opem  erstlich 
bey  uns  eingefuehrt,  dahin  gerichtet  gewesen,  daes  selbige  den  gaentzlichen  besitz 
unsers  theatri,  mit  aueschliessung  aller  ahrten,  so  wir  selbst  hervorbringen  moechten, 
einnehmen  solten.  Ich  weiss  auch  nicht  wie  einige  unter  uns  neulicher  zeit  zu  den 
gedancken  gekommen,  dass  die  teutschen  worte  zur  musick  untauglich  seyn:  Dass  die 
teutsche  sprache  nicht  so  weibisch,  und  mit  vocalen  angefuellet  sey,  als  die  italiaen- 
ische, solches  gestehe  ich  gem;  aber  damit  ist  es  noch  lange  nicht  ausgemacht,  dass 
sie  zur  harmonie  untuechtig  sey  .  .  . 

"Es  est  gewiss  von  viel  groesserer  folge  bey  schau-spielen,  dass  sie  in  einer  dem 
auditorio  verstaendlichen  sprache  aufgefuehret  werden.  Dieser  satz,  deucht  mich, 
braucht  eben  nicht  viel  beweises.  Das  groesste  vergnuegen,  so  man  bey  der  vocal- 
music  hat,  entstehet  aus  der  vereinigung  der  ideen,  welche  zu  gleicher  zeit  von  den 
worten  und  dem  klange  herruehren  ..."  Schatz  10257 

II  calzettaro  ossia  Tanto  va  la  gatta  al  lardo  chi  si  lascia  lo  zampino, 
ballet.     See  Paisiello's  Gli  schiavi  per  amore. 

La  calzolaja  tedesca,  ballet.     See  Fioravanti's  Le  cantatrici  villane. 

II  calzolajo,  ballet.     See  Cristiani's  La  citth,  nuova. 

Camaide,  imperatore  della  China  o  vero  Li  figliuoli  rivali  del 
padre.  Dramma  per  musica,  da  rappresentarsi  nel  Teatro  di  corte 
.  .  .  Poesia  del  Sig.  Domenico  Lalli.  Musica  del  Sig.  Antonio 
Caldara  .  .  . 

Salishurgo,  Giovanni  Gioseppe  Mayr,  n.  d.     4  P-  ^v  ^00,  [2]  p.     16'^. 

Three  acts  and  licenza.  Argument  and  scenario.  On  pages  23-29,  59-65  Domen- 
ico Lalli's  intermezzo  in  two  parts,  "La  marchesina  di  Nanchin  ed  il  conte  di 
Pelusio,"  which  were  performed  together  with  "Camaide"  at  Salzburg,  Hoftheater, 
May  9,  1722.  Schatz  1479 

II  cambio  felice  o  sia  Pulcinella  sposo  deluso,  ballet.  See  Curcio's 
La  Nitteti. 

Cambise.     Dramma  per  musica  di  Domenico  Lalli.     Da  rappresen- 
tarsi nel  Teatro  di  S.  Bartolomeo  nel  camevale  dell'  anno  1719  .  .  . 
Napoli,  MicheleLuigi  Muzio,  1719.     72  p.     13\<^. 

Three  acts.  Impresario's  dedication  dated  Naples,  Febmary  4,  1719,  argument, 
cast,  scenario,  and  name  of  Alessandro  Scarlatti  as  the  composer.        Schatz  9526 

Cambro-Britons,  an  historical  play,  in  three  acts.  First  performed 
at  the  Theatre  Royal,  Haymarket,  on  Saturday,  July  21,  1798. 
With  a  preface.     Written  by  James  Boaden  .  .  . 

London,  G.  G.  and  J.  Robinson,  1798.     vi,  [2],  88  p.     21""^. 

Cast.  The  preface,  inter  alia,  repudiates  the  charge  of  plagiarism  of  Lewie' 
"Castle  Spectre"  and  says  that  of  the  songs  two  are  by  George  Colman,  the  younger. 
The  comp<)6er,  Samuel  Arnold,  is  not  mentioned.  Longb  248 

Second  copy.    Lonoe  266 


252  LIBRARY  OF  CONGRESS 

La  cameriera  astuta.     A  new  comic  opera  in  two  acts.     As  per- 
formed at  the  King's  Theatre  in  the  Hay-Market.     The  music  en- 
tirely new  by  Mr.  Storace. 
London,  D.  Stuart,  1788.     1  p.l,  91  p.     18<='^. 

Cast.     English  prose  translation  faces  Italian  by  author,  who  is  not  mentioned. 
First  performed  March  4,  1788,  as  indicated.  Schatz  10078 

La  cameriera  per  amore.     Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Real  Teatro  di  Salvateira  nel  carnovale  dell'  anno  1776. 
[Lishona],  neJla  Stamperia  reale,  n.  d.     88, p.  incl.  h.-t.     jf^i'^"*- 
Three  acts.     By  Filippo  Liv-igni,  who  is  not  mentioned.    Caet,  scenario,  and 
name  of  Felice  Alessandri  as  composer. 

First  performed  at  Turin,  Teatro  Carignano,  fall  of  1774.        •  Schatz  152 

Camilla.     Tr.  of  M.  A.  Bononcini's  II  trionfo  di  Camilla. 

Camilla  ossia  La  sepolta  viva.  Tr.  of  Dalayrac's  Camille  ou  Le 
souteirain. 

Camilla,  regina  de'  Volsci.     Dramma  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  Cassiano.     II  carnovale  dell'  anno  1749. 
Venezia,  Modesto  Fenzo,  1749.     36  p.     15'='^. 

Three  acts.  By  Silvio  Stampiglia,  who  is  not  mentioned.  Argument,  cast, 
scenario.  Composers  not  mentioned  and  unknown  to  Schatz,  who  records  this  as  a 
pasticcio.  Schatz  11312 

Camilla,  regina  de'  Volsci.  L.  T.  of  M.  A.  Bononcini's  II  trionfo 
di  Camilla,  regina  de'  Volsci. 

Camille,  reine  des  Volsques,  tragedie  representee  pour  la  pre- 
miere fois  par  I'Academie  royale  de  musique  le  mardi  neuf  novembre 
1717. 

Paris,  Pierre  Rihou,  1717.     xviii,  60  p.     25""^. 

Five  acts  with  prologue  and  author's  Avertissement.  Neither  Danchet  nor  Caxapra 
mentioned.    Cast.  ML  50.2.C253C2 

—  Camille,  reine  des  Volsques,  tragedie,  representee  par  I'Academie 
royale  de  musique,  I'an  1717.  Paroles  de  Monsieur  Danchet.  Musique 
de  M.  Campra.    XCIII.     Opera. 

n.  i.,  n.  d.  187-258p.  14*^^.  {Recueil  general  des  opera,  Paris, 
1734,  t.  xii.) 

Detached  copy.    Five  acts  with  prologue  and  author's  Avertissement. 

First  performed  aa  indicated,  November  9,  1717.  Schatz  1546 

Second  copy.    ML  48. R4 

—  Camille,  reine  des  Volsques,  tragedie. 

{281]-350  p.     1 7^'='^.     (Antoine  Danchet,  Theatre,  Paris,  1 751 ,  t.  Hi.) 
Prologue  and  five  acts.     Preface.    The  composer,  Andr^  Campra,  is  not  men- 
tioned. PQ  1972.D2 

Camille  ou  Le  souterrain,  comedie  en  trois  actes,  en  prose,  m^lee  de 
musique,  par  M.  Marsollier,  repr6sent^  par  les  Comediens  italiens,  le 
19  mars  1791. 
Paris,  Brunei,  1791.     60  p.     i5<=™. 

Label  of  Vente  pasted  over  imprint. 

Cast.    The  composer,  Dalayrac,  is  not  mentioned.  ML  50.2.C25D2 


OPERA  LIBKETTOS  .  253 

Camille — Continued. 

—  Camille,  ou  Le  souterrain,  comedie  en  trois  actes  et  en  prose, 
melee  de  musique.  Par  M.  Marsollier.  Representee  par  les  Come- 
diens  italiens,  le  19  mars  1791. 

Paris,  Delalain,  1793.     37  p.     22<^^. 

Cast.     Dalayrac  is  not  mentioned.  ML  50.2.C25D22 

—  Camille,  of  Het  onderaardsch  gewelf.  Zangspel.  Gevolgd  naar 
het  fransch.     Door  N.  C.  Brinkman,  wed  C.  Van  Streek  [vignette] 

Amsterdam^  J .  Helders  en  A.  Mars,  1796.     87  p.     17'''". 

Two  acts.     Neither  Marsollier  nor  Dalayrac  mentioned. 

First  performed  at  Amsterdam,  Stads  Schouwburg,  1796.  Schatz  2392 

—  Camilla  ossia  La  sepolta  viva.  Commedia  tradotta  dal  francese 
con  musica  da  rappresentarsi  nel  Regio  Teatro  di  S.  Carlo  .  .  ,  nel 
giorno  29  novembre  dell'  anno  1799. 

Lishona,  Simone  Taddeo  Ferreira,  1799.     151  p.     15'''^. 
Translated  from  Marsollier  by  Giuseppe  Carpani.    Three  acts.    Cast,  names  of  the 
author,  and  the  composer,  Dalayrac.     Portuguese  and  Italian  text.    Schatz  2332 

Camillo  generoso,  drama  per  il  Teatro  del  Serenissimo  elettore  di 
Sassonia  Fanno  MDCXCIII — Camillas  der  Gross-muethige  .  .  . 

Dresden,  Hoff-huchdruckerey ,  gedruckt  durch  Immanuel  Bergen,  n.  d. 
Unpaged.     29'^'". 

Three  acts.  Argument,  scenario.  German  text  faces  Italian.  Neither  author  nor 
composer  mentioned  and  both  unknown  to  Furstenau.  The  "  Dekorationsbilder " 
mentioned  by  him  are  not  in  this  copy,  which  does  not  appear  to  lack  any. 

ML  50.2.C256 

The  camp,  a  musical  entertainment,  as  performed  at  the  Theatre 
Royal,  Drury  Lane.     By  R.  B.  Sheridan,  Esq. 

London,  n.  publ.,  1795.     28  p.     17 Y"^. 

Two  acts.    Cast.    The  composer,  Thomas  Linley,  is  not  mentioned. 

In  S.  and  A.  Thompson's  vocal  score  of  the  opera  Linley  printed  a  note  to  the 
effect  that  many  of  the  airs,  trios,  etc.,  in  the  The  Camp  were  taken  from  his  comic 
opera  of  "The  Royal  merchant,"  "some  of  the  musick  of  which  was  found  particu- 
larly applicable  to  the  subject  of  this  piece."  Also  we  know  from  the  vocal  score 
that  the  "March  spiritoso"  in  the  opera  was  not  by  Linley  but  by  Parke. 

First  performed  October  15,  1778.  Longe  233 

I  campi  Elisi  ossia  Le  spose  ricuperate.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  alia  Scala  la  primavera  dell' 
anno  1788  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     W'^. 

Two  acts.  By  Giovanni  Bertati.  Impresario's  dedication,  cast,  scenario,  and 
name  of  the  composer,  Luigi  Caruso,  but  not  of  the  author. 

First  performed  at  Venice,  Teatro  di  San  Samuele,  fall  of  1785.  Schatz  1662 

Candace.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  I'autunno  dell'  anno  1740  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     59  p.     14Y^- 

Three  acts.  Dedication  signed  by  Domenico  Lalli,  who,  according  to  Schatz, 
altered  "I  veri  amici,"  by  Francesco  Silvani  (not  mentioned),  argument,  cast, 
scenario,  and  name  of  Giovanni  Battista  Lampugnani  as  composer.      Schatz  5392 


254  .        LIBRARY   OF   CONGRESS 

La  Candace  o'siano  Li  veri  amici.  Drama  per  musica  da  rappre- 
sentarsi  nel  Teatro  Arciducale  di  Mantova  nel  camovale  dell'  anno 
MDCXDXX  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     60  p.     W^. 

Three  acts.  Lalli's  version  of  Francesco  Silvani's  "I  veri  amici"  (neither  of 
whom  mentioned).  Argument,  cast,  scenario  and  name  of  Antonio  Vivaldi  as  com- 
poser. ML  50.2.C26V3 

Candalide.  Dramma  per  musica  di  Bartolomeo  Vitturi  da  rappre- 
sentarsi  nel  Teatro  di  Sant'  Angelo.  Nel  camovale  dell'  anno 
MDCCXXXIV. 


cm 


Venezia,  Marino  Rossetti,  1734.     ^^  P-     ^^ 
Three  acts.    Arpomento,  cast,  and  name  of  Tommaso  Albinoni  as  composer,  whose 
eightieth  opera  this  is  called.  Schatz  174 

Candaspe,  reg^lna  de  Sciti.     Dramma  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  San  Angelo  il  carnovale  dell'  anno  1740, 
Venezia,  Marino  Rossetti,  llJfi.     ^8  p.     14'^"'. 

Three  acts.  By  Bartolomeo  Vitturi  (not  mentioned).  Argument,  scenario,  cast, 
and  name  of  the  composer,  Giovanni  Battista  Casali.  Schatz  1677 

/  Candaule.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Casciano  I'anno  1680  .  .  . 

Venetia,  Francesco  Nicolini,  1680.     64  p-     14¥^- 
Three  acts.     Dedication,  ai^ument,  and  scenario.     Neither  the  author,  Adriano 
Morselli,  nor  the  composer,  Pietro  Andrea  Ziani,  is  mentioned. 

First  performed,  as  indicated,  fall  of  1679.  Schatz  11219 

Candaule  re  di  Lidia.  Drama  per  musica  da  rappresentarsi  nel 
Nuovo  Teatro  di  S.  Giovanni  de'  Fiorentini  .  .  . 

Napoli,  Michele  Luigi  Mutio,  1706.     5  p.  I.,  50  p.     13^'^. 

Three  acts.  By  Adriano  Morselli,  who  is  not  mentioned.  At  end  of  second  act,  on 
p.  28-35,  apparently  as  intermezzo,  is  printed  the  text  of  the  one  act  "La  Calisto 
Scherzo  dramatico." 

Impresario's  dedication,  argument  of  "Candaule"  and  of  "La  Calisto,"  cast, 
scenario,  and  name  of  Domenico  Sarro  as  composer  of  "Candaule,"  list  of  characters, 
without  cast  and  without  name  of  composer  of  "La  Calisto,"  and  after  the  dedication 
a  notice  to  the  reader,  which  says,  in  part: 

"L'autore  del  presente  drama  e  incerto,  fii  per6  rappresentato  in  questa  medesima 
citt^  nell'  anno  1679,  vak  con  qualche  diversity  da  quel  ch'oggi  si  rappresenta  solamente 
intomo  alia  locuzione,  essendo  rimasto  in  tutto  I'intrico  delr  antica  favola. 

"Lo  scherzo  dramatico  ^  nuova  poesia,  m^  se  conoscerai,  che  il  persona^io  del 
Pastor  Napoletano  sia  fuor  di  costume,  compatisci  con  la  tua  bonti  il  mio  desiderio  di 
rendere  il  drama  piu  allegro. ' ' 

Neither  the  author  nor  the  composer  of  this  is  mentioned;  but  Schatz  attributes  the 
music  to  Sarro.  The  point  is  not  of  much  consequence,  in  view  of  this  note,  printed  at 
end  of  the  third  act: 

"Lo  scherzo  dramatico  intitolato  La  Calisto,  che  dovea  rappresentarsi  nella  fine 
dell'  atto  secondo  non  si  rappresenta  per  render  piu  breve  il  drama,  ed  invece  di  detto 
scherzo  si  vedri  altro  trattenimento  curioso."  Schatz  9417 

Canente,  tragedie  representee  par  I'Academie  royale  de  musique 
I'an  1700.  Les  paroles  de  M.  de  la  Mothe,  &  la  musique  de  M.  Col- 
lasse.     L.  opera. 

n,  i.,  n.  d.  p.  4^-108.  14^^-  (Recueil  general  des  opera,  Paris, 
1703,  t.  7.) 

Detached  copy.     Five  acts,  with  prologue. 

First  performed,  as  indicated,  Nov.  4,  1700.  Schatz  2098 

Second  copy.    ML  48. R4 


OPERA   LIBRETTOS    .  255 

Canope.     Entree  in  Rameau's  Les  f^tes  de  I'Himen  et  de  I'Amour. 

La  cantarina.  Commeddea  pe  mmuseca  da  rappresentarese  a  lo 
Tiatro  de  li  Sciorentine  nchisto  came  vale  de  lo  1728. 

Napole,  n.  puhl,  1728.     59  p.     IJ^Y"^. 

Three  acts.  Author  not  mentioned  and  iinknown  to  Schatz.  Notice  to  the  reader, 
cast  and  names  of  Mechele  Caballone  as  composer  of  act  I,  of  Costantino  Ruberto 
(Roberto)  of  acts  II-III.  ML  50.2.C265C2 

La  cantata  e  disfida  di  D.  Trastullo.  Intermezzi  per  music  a  a 
tre  voci  da  rappresentarsi  nel  Teatro  di  Tordinona  nel  carnevale  dell' 
anno  1756  .  .  . 

Roma,  Ottavio  Pucdnelli,  1756.     24  p.     15'^'^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  by 
Angelo  Lungi,  cast  and  name  of  Niccol6  Jonunelli  as  composer. 

Performed  with  same  title  in  the  same  year  at  Bologna,  Teatro  Marsigli  Rossi;  first 
performed,  perhaps  with  same  title,  at  Rome,  Teatro  della  Pace,  carnival  1746. 

ML  50.2.C266J6 

—  II  Don  Trastullo.  Intermezzi  per  musica  a  tre  voci  da  rappresen- 
tarsi nel  Pubblico  Teatro  di  Lucca  nel  carnevale  dell'  anno  1762.  In 
occasione  delle  recite  in  prosa  da  farsi  daU'  Accademia  de'  dilettanti 
della  Comica  .  .  . 

Lucca,  Filippo  Maria  Benedini,  1762.     24  p.     14^"^. 

Two  parte.  Cast  and  name  of  Niccol6  Jommelli  as  composer.  Author  not  men- 
tioned, and  unknown  to  Schatz.    Text  the  same  as  in  the  Rome,  1756  ed. 

Schatz  4882 

Le  cantatrici  villane.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  quart'  opera  del  cor- 
rente  anno  1798. 

Napoli,  n.  puhl,  1798.     47  p.     15^"^. 

Two  acts.  Cast  and  name  of  the  composer  Valentino  Fioravanti.  With  the 
opera  was  performed  "La  calzolaja  tedesca,  ballo  comico,  compoeto  .  .  .  dal  Sig. 
Gio.  Battista  Giannini."     The  composer  of  the  music  is  not  mentioned. 

Schatz  3122 

La  capanna  incantata,  ballet.     Bee  Gazzaniga's  Amor  per  oro. 

II  capitan  Galoppo.  Intermezzi  comici  musicaU  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  I'autunno  dell'  anno  MDCCXLI. 

YenezM,  Marino  Rossetti,  1741.     21  p.     W"^. 

Two  parts.  Cast.  Neither  the  author,  Bernardo  Saddumene,  is  mentioned,  nor 
the  composer,  Johann  Adolph  Hasse.  Originally  performed  as  "La  Fantesca"  at 
Naples,  Teatro  di  S.  Bartolomeo,  January  29,  1729.  Schatz  4588 

II  capitan  Tenaglia,  o  sia  La  muta  per  amore.  Dramma  giocoso 
per  musica  da  rappresentarsi  in  Firenze  I'autunno  dell'  anno  1784 
nel  nuovo  Regio  Teatro  degl'  Intrepidi  detto  La  Palla  a  Corda  .  .  . 
Firenze,  Stamperia  Bonducciana,  1784-  68  p.  16Y'^- 
Two  acts.  By  Cerilo  Orcomeno,  P.  A.,  who  is  not  mentioned  and  whose  real 
name  is  unknown  to  Schatz.  (Wotquenne  does  not  mention  this  P.  A.  at  all.)  Cast 
and  name  of  Giuseppe  Moneta  as  the  composer.  According  to  Schatz  the  O.  T.  of 
the  libretto  wa^the  present  A.  T.  Schatz  6556 

II  capitano.  Operette  comique  aus  dem  beschluss  des  carnevals  auf 
dem  Hamburgischen  Schau-Platze  abermahl  vorgestellet.  ,Im  mo- 
naht  Mertz,  anno  1726. 

[Hamburg],Gedruclct mit Stromerschen schrifften, n. d.    Unpaged.  IS'^^. 

Cast.  Neither  the  author,  Schwemschu,  nor  the  composer,  Georg  Philipp  Tele- 
zuann,  is  mentioned. 

First  performed,  as  indicated,  February,  1724.  Schatz  10270 


256  LIBRARY   OF   CONGRESS 

II  capitano  Cook  all'  isola  Ottaiti,  ballet.  See  Cimarosa's  L'im- 
presario  in  august ie,  (Milano,  1789). 

Capocchio  and  Dorina.  See  The  happy  captive  and  The  temple 
of  dullness. 

II  cappellaro,  ballet.     See  Tarchi's  La  Virginia. 

La  cappricciosa,  ballet.     See  Sarti's  Adriano  in  Siria. 

La  cappricciosa  raweduta.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  nobilissimo  Teatro  Giustiniani  in  San  Moisd  Tautunno 
dell'  anno  1794. 

Venezia,  Modesto  Fenzo,  1794.     ^9  p.     17 Y"^- 
Two  acts.     Scenario  and  name  of  composer,  Francesco  Bianchi. 
Schatz  says  that  the  text  is  a  later  version  of  Caterino  Mazzolk's  "II  Turco  in 
Italia."     On  p.  31-34  description  of  the  three  act  ballet  "I  riti  della  Baja  Duchy, 
composta  dal  Sig.  Lorenzo  Panzieri."    The  composer  of  the  music  is  not  mentioned. 

Schatz  976 

La  cappricciosa  umiliata.     A.  T.  of  the  ballet  Gh  amanti  ridicoli. 

La  cappriciosa  umiliata,  ballet.     See  Anfossi's  Le  gelosie  fortunate. 

I  capricci.  Farsa  per  musica  di  Giuseppe  Foppa  da  rappresentarsi 
nel  nobilissimo  Teatro  Venier  in  San  Benedetto  il  carnovale  dell' 
anno  1795. 

[Venezia],  n.  puhl,  n.  d.     30  p.     18""^. 

One  act.  Prefatory  note  by  the  author,  cast,  and  name  of  Vittorio  Trento  as  the 
composer.  Schatz  says  that  this  libretto  was  published  together  with  the  farce  "I 
raggiri  fortunati,"  Venice,  1795.  Schatz  10442 

I  capricci  di  Galatea,  ballet.     See  JommeUi's  L'Olimpiade. 

I  capricci  in  amore.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobilissimo  Teatro  della  nobil  Donna  Tron  Veronese  in  San 
Cassiano  I'autunno  dell'  anno  1791. 

Venezia,  Modesto  Fenzo,  1791.     56  p.     17^™. 

Two  acts.  Cast,  scenario,  and  name  of  Gennaro  Astaritta  as  composer.  Libret- 
tist unknown  to  Schatz,  who  says  that  the  title  of  the  libretto  originally  was  "La 
contadina  semplice."  Schatz  384 

II  capriccio  corretto.  Dramma  per  musica  da  rappresentarsi  nel 
Piccolo  Teatro  Elettorale,  composto  da  Caterino  Mazzola  .  .  . 

Dresda,  n.  puhl.,  1783.     125  p.     15^"^. 

Two  acts.  Franz  Seydelmann.  is  mentioned  as  the  composer.  German  title  page 
"Der  eigensinn  der  liebe"  and  text  face  Italian. 

First  performed  1783,  as  indicated.  Schatz  9843 

II  capriccio  drammatico.  Rappresentazione  per  musica  di 
Giovanni  Bertati  per  la  seconda  opera  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  Mois^  il  carnovale  deU'  anno  1787. 

Venezia,  Antonio  Casali,  n.  d.     71  p.     17 Y^- 

Two  plays  in  one  of  one  act  each.  The  second  is  (on  p.  31-71)  Bertati's  "Don 
Giovanni  o  sia  II  convitato  di  pietra."  No  cast  is  given  of  this,  nor  is  Giuseppe  Gaz- 
zaniga,  the  composer  of  the  music,  mentioned,  whereas  of  the  first  act  the  cast  is  given, 
and  a  note  reads:  "La  mueica  h  tutta  nuova  di  van  signori  maestri."  Schatz,  follow- 
ing Wiel,  attributes,  nevertheless,  the  "Capriccio  dramatico"  to  Giovanni  Valentini. 

Schatz  10580 


OPERA   LIBRETTOS  257 

La  capricciosa.     Drama  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  delle  Dame  nel  carnevale  dell'  anno  1776  .  .  . 
Roma,  Ciovanni  Bartolomicchi,  1776.     67  p.     15^'^™'. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario  and 
name  of  Nicole  Piccinni  as  composer. 

First  performed  as  indicated,  February  8,  1776.  ML  50.2.C267P4 

—  La  capricciosa.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Piccolo  Teatro  di  S.  A.  S.  E.  di  Sassonia  I'anno  1777. 
Dresda,  Stamperia  elettorale,  n.  d.     133  p.     16'^^. 

Three  acts.  German  title  page  ' '  Die  eigensinnige, ' '  and  text  face  Italian .  N .  Pic- 
cinni is  mentioned  as  the  composer.  The  author  is  not  mentioned,  and  is  unknown 
to  Schatz.  Schatz  8077 

La  capricciosa  corretta.     Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Bresda,  n.  puhl,  1796.     20  p.  I.,  64  p.     16'='^. 

Two  acts.  By  Lorenzo  da  Ponte,  who  is  not  mentioned.  German  title-page,  "So 
bessert  eie  sich,"  faces  Italian.  The  p.  1.  contain  also  a  detailed  description  of  the 
"Inhalt,"  which  precedes  the  Italian  text.  Vincenz  Martini  (Martin  y  Soler)  is 
mentioned  as  the  composer. 

First  performed  at  London,  Haymarket,  May  17,  1794.  Schatz  6008 

La  capricciosa  e  il  credulo,  intermezzi.  Die  geliebte  eigensinnige 
und  der  leicht-glaeubige  liebhaber,  in  einem  zwischen-spiele,  auf  dem 
Hamburgischen-Platze  fuergestellet  anno  1725. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.      Unpaged. 

Jgcm^ 

Three  parts.  Cast,  names  of  the  author,  resp.  translator,  Johann  Philip  Praetorius, 
and  of  the  composer,  Georg  Philipp  Telemann,  and  notice  to  the  reader,  in  which 
Praetorius  protests  that  his  frequent  use  of  "auslaendische  woerter  "  ("gegen  meine  bis 
herige  gewohnheit")  is  not  to  be  construed  as  an  admission  of  the  German  language's 
poverty  for  operatic  purposes.  On  the  contrary:  "Ich  bin  der  unvorgreialichen 
meinung,  die  sprach-vermengung  sey  unserer  mund-arth  eben  so  anstaendig,  als  ein 
buntes  pickel-haerings-kleid  einem  ehrbaren  und  ansehnlichen  manne,"  but  the  use 
of  foreign  technical  terms,  as  in  this  libretto,  he  considers  quite  proper. 

The  author  of  the  Italian  original  is  not  mentioned,  and  is  unknown  to  Schatz. 
The  Italian  words  of  the  arias  are  added  to  the  German.  Schatz  10271 

Le  caprice.     L.  T.  of  Piron's  text  Le  mariage  du  caprice. 

Le  caprice  amoureux  ou  Ninette  h  la  cour.  Parody  of  Ciampi's 
Bertoldo,  Bertoldino  e  Cacasenno. 

The  capricious  lovers.     O.  T.  of  Phillis  at  court. 

The  capricious  lovers:  A  musical  entertainment:   Taken  from  the 
opera  of  that  name.     Written  by  the  late  Mr.  R.  Lloyd.     The  music 
composed  by  Mr.  Rush. 
London,  R.  Withy,  W.  Griffin  [etc.],  1765.     2  p.  I.,  27  p.     20<^^. 
Two  acts.     Cast.    After  Favart's  "Le caprice  amoureux  ou  Ninette  a  la  cour." 
First  performed  at  London,  Drury  Lane,  November  28,  1764.  Longe  26 

The  captive,  a  comic  opera;  as  it  is  performed  at  the  Theatre-Royal 
in  the  Hay-Market. 
London,  W.  Griffin,  1769.     vi,  [2],  23  p.     19^"^. 

Two  acts.     Cast  and  prefatory  note,  with  remark: 

"The  dialogue  of  this  trifle  is  taken  [by  Isaac  Bickerstaffe?],  with  some  alterations, 
from  a  play  ol  Dryden's  [Don  Sebastian]  .  .  .  The  songs  .  .  .  have  been  selected 
with  great  care  ..." 

72251  "—VOL  1  —14 17 


258  LIBRARY   OF   CONGRESS 

The  captive — Continued. 

This  is  followed  by  a  "Table  of  the  eongs,  with  the  compoeere'  names:"  Ciampi, 
Cocchi,  Duni,  Galuppi,  Perez,  Vento,  Vinci,  and  Charles  Dibdin,  who  composed 
for  the  piece  the  songs,  "Ah,  how  sweet  the  rural  scene,"  "Poor  panting  heart,  "In 
emblem  I  am  like  a  cat,"  "But  pr'ythee  spare  me,"  and  "Now,  now,  my  fairest,  let 
us  go." 

First  performed  1769,  as  indicated.  Lonoe  37 

The  captive  of  Spilburg.  In  two  acts,  as  performed  at  the  Theatre 
Royal,  Drury  Lane,  altered  from  the  favourite  French  drama  called 
Le  Souterram,  with  a  preface  by  the  translator.  The  music  by 
Dussek  .  .  . 

London,  MacheU  Stace  and  J.  Eaichard,  1799.     x,  46  p.     21""^. 

Last  page  numbered  47  by  mistake.  Cast,  dedication,  and  preface,  with  sensible 
remarks  on  the  difficulties  of  a  librettist,  as,  for  instance: 

"The  principal  alteration  consists  in  the  airs,  which,  when  new  music  is  to  be  com- 
posed, it  is  selciom  of  any  advantage  to  translate." 

This  translation  of  Marsollier's  Camille,  ou,  Le  souterrain  "  is  generally  attributed 
to  Prince  Hoare. 

First  performed  November  14,  1798.  Lonob  249 

Caractacus,  a  dramatic  poem:  written  on  the  model  of  the  ancient 
Greek  tragedy.     By  the  author  of  Elfrida  .  .  .     The  scond  edition. 
London,  J.  Knapton  and  R.  and  J.  Dodsley,  1759.     vii,  [1],  96  p. 
19'='^. 

Dedication  by  the  author,  William  Mason,  dated  March  20,  1759.  Not  this,  but 
the  following  dramatized  version  was  composed  by  Thomas  Augustine  Ame  and 
first  performed  at  Covent  Garden,  December  6  (not  December  1)  1776.  (The  anony- 
mous "Caractacus"  music  generally  attributed  to  Ame,  is  certainly  not  his  work.) 

LONGE  42 

—  Caractacus.  A  dramatic  poem.  Written  on  the  model  of  the 
ancient  Greek  tragedy.  First  published  in  the  year  1759,  and  now 
altered  for  theatrical  representation.     By  W.  Mason  ... 

Yorlc,  Printed  hy  A.  Ward,  and  sold  by  R.  Eorsfield  and  J.  Dodsley, 
in  London,  1777.     4p.l.,  76  p.     19^"^. 

Five  acts.  Cast,  author's  dedicatory  poem  dated  Aston,  Nov.  12,  1776,  and  "Let- 
ter to  Thomas  Harris,  Esq.,"  the  manager,  dated  September  10,  1776,  in  which  Mason 
appreciates  Harris'  "very  fair  and  candid  behaviour  towards  me,  in  not  only  asking 
my  permission  to  bring  Caractacus  upon  the  stage,  but  in  thinking  me  capable  of 
making  the  alterations  in  it." 

(This  is  a  rebuke  between  the  lines  directed  at  George  Colman  for  his  imauthor- 
ized  dramatization  of  Mason's  "  Elfrida.") 

Mason  continues: 

"As  I  have  endeavoured,  in  fitting  it  for  the  stage,  not  to  leave  it  totally  unfit  for 
the  closet,  I  suspect  it  may  still  be  too  lonw  for  representation.  If,  therefore,  upon 
rehearsal  with  the  music,  you  should  find  this  to  be  the  case,  I  will  send  you  a  second 
copy,  in  which  several  other  lines  and  passages  shall  be  mark'd  with  inverted  com- 
mas, which  you  may  either  omit,  or  retain,  as  shall  then  seem  expedient.  But,  if  I 
print  the  tragedy,  these  passages  will  not  be  so  marked,  for  the  above  reason  ..." 

It  should  be  noted,  that  this  York  edition  of  the  text  appeared  later  than  the 
libretto  printed  for  the  performances.     Ame  is  not  mentioned  by  Mason. 

PR  3548.M2A65 

—  Caractacus.  A  dramatic  poem.  By  W.  Mason  .  .  .  Adapted 
for  theatrical  representation,  as  performed  at  the  Theatre-Royal, 
Covent-Garden.  Written  on  the  model  of  the  ancient  Greek  trag- 
edy ..  . 

London,  George  Cawthom,  1796.  front,  1  p.  l,  9,  [2],  12-106  p. 
15'^.     (J.  Bell,  British  Theatre,  London,  1791-1797,  v.  84.) 


OPEBA   LIBRETTOS  259 

Caractacus — Continued. 

The  front,  represents  Mr.  Caulfield  as  Arviragus  and  is  dated  October  29,  1796. 
The  p.  1.  (with  same  date)  is  an  added  engraved  title  page  with  a  pcene  from  the  play. 

Five  acts.  "Life  of  William  Mason"  with  editorial  comments  on  his  works.  Hie 
elegy  to  Rev.  Hurd,  March  20,  1759,  and  cast.  PR  1241.B4 

La  caravana  del  Cairo.     Tr.  of  Gr^try's  La  caravane  du  Caire. 

La  caravane  du  Caire,  opera  en  trois  actes,  representee  devant  Leurs 
Majestes  a  Fontainebleau. 

[Paris],  P.  R.  C.  Ballard,  1783.     5  p.  l,  46  p.     IB'"'. 

Cast  and  "Avertissement."  Gr^try  is  mentioned  as  the  composer.  Schatz 
attributes  the  text  to  the  comte  de  Provence  (Louis  XVIII)  and  Etienne  Morel  de 
Chefdeville. 

First  performed,  as  indicated,  Oct.  30,  1783;  at  Paris,  January,  1784. 

Schatz  4141 

—  La  caravana  del  Cairo.  Grand'  opera  in  tt-e  atti  e  per  musica, 
tolta  dal  francese.  Da  rappresentarsi  nel  Teatro  di  Monza  Fautunno 
1795  .  .  . 

Milano,  Gaetano  Motta,  n.  d.     4  V-  ^•>  ^^  P-     l^Y'^- 
Three  acts.    Italian  version  by  Giuseppe  Carpani,  who  is  not  mentioned.     Dedi- 
cation, short  notice  to  the  public,  cast,  scenario,  and  names  of  Gretry  as  composer 
and  of  Wenceslao  Pichel  as  composer  of  the  added  numbers.  Schatz  4200 

Cariselli.     See  Lully's  Fragments. 

Carlo  e  Carolina,  ballet.     See  Cimarosa's  Li  amanti  comici. 

^  Carlo  il  Grande.     Drama  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimano  di  S.  Gio.  Grisostomo  I'anno  1688  .  .  . 
Venetia,  Francesco  Nicolini,  1688.     72  p.     14*^"^- 

Three  acts.  By  Adriano  Morselli,  who  is  not  mentioned.  Publisher's  dedication, 
author's  notice  to  the  reader  with  Domenico  Gabrieli's  name  as  composer,  argument, 
and  scenario.  Schatz  3397 

Carlo  Magno,  festa  teatrale  in  occasione  della  nascita  del  Delfino 
offerta  alle  Sacre  Reali  Maesta  Cristianissiine  del  Re,  e  Regina  di 
Francia  dal  cardinale  Ottoboni,  Protettore  degl'  affari  della  corona. 

Roma,  Antonio  de'  Rossi,  1729.  front.,  11  p.  I.,  64  p.,  Ixii  pi. 
24^"^. 

Three  acts.  By  cardinal  Pietro  Ottoboni  himself,  with  "notizia  istorica,"  resp. 
"avertissement  historique,"  scenario,  and  name  of  the  composer,  Giovanni  Costaxizi. 
The  sixty-two  plates  were  designed  by  cav.  Nicol6  Michetti  and  engraved  by  different 
artists.  They  represent  the  scenes  of  the  opera  as  arranged  by  Michetti.  The  engr. 
front.,  not  numb,  as  a  pi.,  also  by  Michetti,  is  interesting  as  it  contains  a  picture  of 
the  opera  orchestra  of  the  time  with  two  cembalists  and  ten  other  players.  On  p. 
61-64  the  text  of  the  "Machina  che  termina  il  dramma,"  a  kind  of  licenza. 

First  performed  at  Rome,  Palazzo  Ottoboni,  October,  1729.  Schatz  2277 

^  Carlo  re  d'ltalia.  Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimano  in  S.  Gio.  Grisostomo.  L'anno  MDCLXXXII. 
Di  Matteo  Noris  .  .  . 

Venetia,  Francesco  Nicolini,  1682.     82  p.     14'^'". 

Three  acts.  Author's  dedication  and  preface,  argument,  and  scenario.  The  com- 
poser, Carlo  Failavicino,  is  not  mentioned.  Schatz  7733 


260  LIBRARY   OF   CONGRESS 

Le    camaval,    mascarade    representee    par   rAcademie    royale    de 
musiqiie  I'an  1675.     Les  paroles  de  differents  auteurs,  &  la  musique 
de  M.  de  LuUy.     VII.  opera. 
n.  i.,  n.  d.     14*^^.     pi.,  347-370  p.     {Recueil  general  des  opera,  t.  I, 

1703.) 

Detached  copy.     Nine  entr^.    On  p.  348  the  note: 

"  Loreque  cette  mascarade  a  ^t^  representee  sur  le  Theatre  de  I'Opera,  elle  a  todjoura 
et6  precede  de  quelque  autre  divertissement;  le  plus  eouvent  do  Veglogue  de  Ver- 
sailles, &  une  fois  seulement  du  ballet  de  Ville-Neuve  Saint-Georges.  Ce  dernier 
divertissement  occupera  ea  place  dans  le  iv.  tome  de  ce  recueil,  sous  I'annee  1692. 
Pour  Veglogue  de  Versailles,  elle  suivra  immediatement  V  Ydille  de  la  Paix,  dana  le 
iii.  volume:  Car  c'est  dans  cet  ordre  qu'en  1685  Monsieur  de  Lully  I'a  fait  imprimer 
en  musique." 

As  authors  are  mentioned  by  Schatz:  Moli^re,  Quinault,  and  Lully. 

First  performed  at  Saint-Germain  en  Laye,  before  the  King,  1675,  and  at  Paris,  as 
indicated,  October  17,  1675.  Schatz  5765 

Second  copy.    ML  48.R4- 

Le  carnaval  de  Venise,  ballet  represente  par  TAcademie  royale  de 
musique. 

Amsterdam,  chez  les  Mritiers  d'Aritoine  Schelte,  1699.     72  p.     IS"^. 

Contents  same  as  below.     Neither  Renard  nor  Campra  mentioned. 

First  performed,  as  indicated,  February  28,  1699.  ML  52.2.C23C3 

—  Le  camaval  de  Venise,  ballet.  Represente  par  I'Academie  royale 
de  musique  Tan  1699.  Les  paroles  sont  de  M.  Renard  &  la  musique 
de  M.  Campra.     XL VI.  opera. 

n.  i.,  n.  d.     291-354  V-     14^^-     {Recueil  general  des  opera,  Paris, 

1703,  t.  vi.) 

Detached  copy.  Three  acts,  with  prologue  and  an  interpolated  miniature  opera 
in  one  act  of  eight  scene?,  called  "Orfeo  ne'll  inferi,"  scil.  "Orphee  aux  enfers," 
French  title  and  text  facing  Italian.  Schatz  1547 

Second  copy.    ML  48. R4 

Le  camaval  et  la  folic,  comedie-ballet,  representee  par  I'Academie 
royale  de  musiqiie  Fan  1704.  Les  paroles  de  M.  de  la  Mothe  &  La 
musique  de  M.  Destouches.     LX.  opera. 

n.  i.,  n.  d.  front,  p.  181-232.  {Recueil  general  des  opera,  t.  viii, 
Paris,  1706.)     14-^^.     - 

Detached  copy.     Prologue  and  four  acts.    The  "Avertissement "  ends: 

"La  premiere  impression  de  cette  piece  est  dattee  du  27.  d^cembre  1703,  neanmoins 

elle  n'a  et6  representee  que  le  3.  Janvier  1704." 

This  date  refers  to  the  first  performance  at  Paris;  at  Fontainebleau,  in  the  King's 

private  theatre,  it  was  performed  October  14,  1703.  Schatz  2545 

Second  copy.    ML  48.R4 

—  La  rupture  du  carnaval  et  de  la  folic.  Parodie  du  ballet  des 
Amours  du  camaval,  &  de  la  folie.  Reprfeentee  pour  la  premiere 
fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  6.  juillet  1719. 

Les  Parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  a,  40  p.     WY'""- 

One  act.  The  airs  used  are  printed  at  the  end  of  the  volume  in  the  "Table  des 
airs"  (melodies  only.     60  p.).    By  Fuzelier,  who  is  not  mentioned. 

—  L'enfant  gate,  ou  Folette  et  Roger-Bontems,  parodie  du  Car- 
naval et  de  la  folie.  MMee  d'ariettes,  representee  sur  le  Theatre  de 
l'Op6ra-comique,  le  6.  septembre  1755.     Nouvelle  Edition. 

Paris,  Aux  depens  de  la  CommuTiarde  des  imprimeurs-lihraires,  1758. 
38,  [1]  p.     19'^'". 


OPERA   LIBRETTOS  261 

Le  Carnaval  et  la  folie — Continued. 

On  the  [1]  p.  the  approbation  of  1755.  On  cover  of  our  copy  the  music  is  attributed 
to  "F.  Krafft"  (Franyois  Krafft,  b.  1733?).  The  note  is  probably  based  on  F^tis, 
whose  data  are  corroborated  by  this  libretto  of  an  opera,  which  was  unknown  to  F6tis. 
{See  next  entry.)  ML  50.2.E45 

—  Folette  ou  L'enfant  g&t6,  parodie  du  Carnaval  &  la  folie.  Par 
M.  Vade.  Repr^sent^  pour  la  premiere  fois,  sur  le  Theatre  de 
I'Op^ra-comique  de  la  Foire  S.  Laurent,  le  6  septembre  1755. 

La  Hay e,  Pierre  Gosse  junior,  1759.  62  p.  W^^.  (Vade,  Oeuvres, 
La  Haye,  1759,  t.  Hi.) 

One  act,  en  vaudevilles.  Cast.  On  p.  58-62  the  ariette  notee,  "Une  jeune  dan- 
eeuse."  ML  49.A2V2 

Der  carneval  von  Venedig.  A.  T.  of  Reiser's  Der  angenehme 
betrug. 

Carolina  e  Mexicow,  ballet.     See  Sarti's  Giulio  Sabino. 

Carolina  e  Mexicow.  Tragedia  per  musica  di  Gaetano  Rossi  da 
rappresentarsi  nel  Teatro  La  Fenice  il  carnovale  dell'  anno  1798. 

Venezla,  Stamperia  Valvaseuse,  n.  d.     94  p.     18^^. 

Three  acts.  Cast  and  name  of  Nicola  Antonio  Zingarelli  as  the  composer.  On 
p.  {33J-46,  argument,  cast,  and  description  of  Lauchlin  Duquesney's  "Orlina  ossia  La 
lamiglia  riunita,  ballo  pantomimo  in  cinque  atti,"  music  (''tutta  nuova")  by  Erco- 
lani.  On  p.  79-88  cast  and  description,  without  name  of  the  composer  of  the  music  of 
the  comic  ballet  "L'avaro  burlato."  Schatz  11268 

Carolus  V.     A.  T.  of  Reiser's  Die  oesterreichische  grossmuht. 

Carrousel  des  quatre  elemens.  Tr.  of  Li  quattro  elementi,  with 
music  by  Lotti. 

II  Cartesiano  fantastico.  Commedia  per  musica  di  G.  M.  D.  Da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  prima  opera  di 
quest'  anno  1790. 

Napoli,  n.  puhl,  1790.     48  p.     15'='^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Cast  and  name  of  Giacomo  Tritto  as  the 
composer.  Schatz  10467 

O  casamento  inesperado.  A.  T.  of  Paisiello's  O  marquez  de 
Tulipano. 

La  Cascina.  Dramma  di  tre  atti  per  musica.  Rappresentato  per 
la  prima  volta  in  Venezia  il  carnovale  dell'  anno  MDCCLVI  con 
musica  dello  Scolari. 

Carlo  Goldoni,  Opere  teoirali,  Venezia,  Zatta  e  jlgli,  1788-95,  t.  4i} 
[299]-358  p.     18^"^. 

La  cascina.  Dramma  giocoso  per  musica  di  Polisseno  Fegeio  P.  A. 
Da  rappresentarsi  nel  Teatro  di  S.  Samuele  il  carnevale  dell'  anno 
MDCCLVI. 

Venezia,  Angiolo  Geremia,  n.  d.     52  p.     15^^. 

Three  acts.  By  Goldoni.  Cast,  scenario  and  name  of  Giuseppe  Scolari  as  the 
composer.  Schatz  9789 


262  LIBRARY   OF  CONGRESS 

La  cascina — Continued. 

—  La  cascina.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Regie  Teatro  di  Berlino  .  .  . 

Berlino,  Eaude  e  Spener,  1763.    85,  [3]  p.     W'^. 

Three  acts.  Scenario  and  name  of  Giuseppe  Scolari  as  the  composer.  German 
title-page  "  Der  meyerhof "  and  text  face  Italian,  which  is  strikingly  different  from  the 
Venetian  original,  in  which  the  first  act  has  eleven  scenes  and  the  third  nine  whereaa 
tiie  Berlin  ed.  has  only  five  in  either  act.  Schatz  9790* 

First  performed  1763  as  indicated. 

—  La  cascina.  Dramma  giocoso  per  musica  di  Polisseno  Fegejo, 
Pastore  Arcade.  Da  rappresentarsi  nel  Real  Teatro  di  Salvaterra  nel 
carnovale  dell'  anno  1766. 

Lishona,  Michele  Manescal  da  Costa,  n.  d.     78  p.     16'^'^. 

Three  acts.  Bv  Goldoni.  Cast,  scenario  and  name  of  Giuseppe  Scolari  as  the 
composer.  '  ML  50.2.C27S2 

Cassandra :  or,  The  virgin  prophetess.  An  opera,  as  it  is  now  per- 
form'd  at  the  Theatre  Roj^al  by  His  Majesty's  servants.  The  musical 
entertainments  being  inserted  in  their  proper  places. 
London,  A.  Roper  and  i?.  [?]  2  p.  l,  42  p.  21Y'^- 
Imprint  mutilated  in  binding.^  Five  acts.  Cast.  A  play  interspersed  with  some 
eongs,  etc.,  the  composers  not  being  mentioned.  Clarence  dates  the  work  1692  and 
mentions  Lagrange  as  author  of  the  text.  Is  this  an  English  version  of  Lagrange- 
Chancel's  "Cassandre"?  Lonoe  180 

La  Cassandra  indovina.  Drama  per  musica  da  rappresentarsi  nel 
nuovo  Teatro  de  Fiorentini  .  .  .  Poesia  di  Nicola  Gmvo  fra  Pastori 
di  Arcadia  detto  Eupidio. 

Napoli,  Michele  Luigi  Muzio,  1713.    5  p.  I.,  68  p.     13^"^. 

Three  acts.  Author's  dedication,  argument,  cast,  scenario,  and  name  of  com- 
poser "Nicol5  Fago  detto  il  Tarantino."  Schatz  2980 

Cassandre,  tragedie.  Representee  pour  la  premiere  fois  par  I'Aca- 
demie  royale  de  musique  le  vingtdeuxieme  jour.de  juin  1706. 

Amsterdam,  Henri  Schelte,  1707.     60  p.  {incl.  front.)     1^'^^. 

Five  acts  and  prologue.  Cast.  Neither  author,  La  Grange  nor  composers,  Bou- 
vard  and  Bertin  de  la  Dou6,  mentioned.  ML  50.2.C28B6 

—  Cassandre,  tragedie  representee  par  1' Academic  royale  de  musi- 

Sue  Tan  1706.     Les  paroles  de  M.  de  la  Grange,  la  musique  de  Mrs. 
•ouvard  Bertm.     LXVII.  opera. 

n.  i.,  n.  d.  p.  115-168.  l^-^'^.  (Recueil  general  des  opera,  Paris, 
1710,  t.  ix.) 

Detached  copy.    Prologue  and  five  acts.  Schatz  1275 

Second  copy.    ML  48. R4 

Li  castellani  burlati.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  publ.,  1788.     I4I  p.     16^'^. 

Two  acts.  By  Filippo  Livigni,  who  is  not  mentioned.  Vincenzo  Fabrizj  is  men- 
tioned as  the  composer.  German  text  and  title-pa£;e:  "Die  betrogenen  kastellane" 
face  Italian. 

First  performed  at  Bologna,  Teatro  Marsigli,  Rossi,  fall  of  1785  under  the  following 
title:  Schatz  2967 


OPERA   LIBRETTOS  263 

Li  castellani  burlati — Continued. 

—  Li  due  castellani  burlati.  Dranuna  giocoso  per  musica  in  un 
solo  atto  da  rappresentarsi  nel  Kegio  Teatro  di  S.  Carlo  della  Princi- 
pessa  Festate  dell'  anno  1797. 

Lishona,  Simone  Taddeo  Ferreira,  1797.     95  p.     15'^^. 

Cabt,  scenario,  and  name  of  Vincenzo  Fabri2!i  as  composer.  The  author,  Filippo 
Livigni,  is  not  mentioned.     Portuguese  text  faces  Italian.  ML  50.2. D7F2 

I  castellani  burlati.  Dramma  giocoso  per  musica  di  Filippo 
Livigni  da  rappresentarsi  nel  nobile  Teatro  Giustiniani  in  S.  Moise  il 
came  vale  dell'  anno  1785  .  .  . 

Veiiezia,  Antonio  Casali,  n.  d.     71  y.     17 Y'^. 

Two  acts.  Dedication,  cast,  scenario,  and  name  of  Giovanni  Valentini  as  the 
composer.  Schatz  10581 

H  castello  d'Atlante.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi da'  signori  dilettanti  di  Desenzano  per  il  secondo  nel  camovale 
1791. 
Brescia,  Pasini,  n.  d.     59  p.     16^'^"^. 

Two  acts.  By  Angelo  Anelli,  who  is  not  mentioned.  Dedication,  notice  to  the 
Bpectatore,  cast,  and  remark  on  p.  5: 

"La  musica  e  novissima  del  celebre  Sig.  Martini  d'Asturies  autor  della  Cosa  rara, 
[Maxtin  y  Soler]  eccetto  alcuni  pezzi  aggiunti,  che  sono  del  Sig.  Paisiello,  ed  altri 
piu  celebri  maestri."  Schatz  6029 

II  castigo  de'  bonzi,  ballet.     See  Anfossi's  Antigono,  1781. 

The  castle  of  Andalusia.     L.  T.  of  Arnold's  The  banditti. 

The  castle  of  Sorrento.  A  comick  opera  in  two  acts.  First  rep- 
resented at  the  Theatre  Royal  Haymarket,  on  Saturday  July  13tn, 
1799.  Altered  from  the  French,  and  adapted  to  the  Enghsh  stage, 
by  Henry  Heartwell,  Esq. 

London,  CadeU  and  Davies,  1799.     iv,  [2],  66  p.     21<''». 

Cast,  dedication,  and  prefatory  note,  stating  that  the  piece  is  based  on  the  one-act 
French  opera  "Le  prisonnier,  ou  La  resemblance"  (text  by  Duval,  music  by  Della 
Maria,  Paris,  1798).  He  alludes  to  his  own  translation,  which  was  published  in  one 
act  as  "The  prisoner,  or.  The  resemblance,"  1799,  by  the  same  publishers  (see  title), 
if  he  says : 

' '  The  translation  was  too  simple  for  an  English  stage,  and  to  produce  effect,  numer- 
ous changes  appeared  indispensible." 

He  mentions  George  Colman  as  responsible  "for  many  happy  alterations,"  but  not 
Thomas  Attrwood,  who  composed  (and  adapted)  the  music.  Long^256 

Castor  et  Pollux,  tragedie  representee  pour  la  premiere  fois,  par 
I'Academie  royale  de  musique;    le  vingt-quatrieme  jour  d'octobre 
1737. 
[Paris],  Jean  Baptiste  ChristopJie  Ballard,   1737.     xii,  4^,  [1]  p. 

Prologue  and  five  acts.  Cast.  Neither  the  author,  Pierre  Joseph  Justin  Bernard 
(called  Gentil-Bemard)  is  mentioned,  nor  the  compoeer,  Jean  Philippe  Raxaeau. 

ML  50.2.C29R2 

—  Castor  et  Pollux,  tragedie,  repr^ent6e  par  rAcad^mie  royale 
de  musique  I'an  1737.  Paroles  de  M*"  Bernard.  Musique  de  M*" 
Rameau.     CXXIX.  opera. 

n.i.,n.d.  479-538 p.  14Y^.  (Recueil generaldes  opera,  Paris,  1 745, 
t.  xvi.) 

Detached  copy.     Five  acta  and  prologue.     Cast.  ML  48. R4 


264  LIBBARY   OF   CONGRESS 

Castor  et  Pollux — Continued. 

—  Castor  et  Pollux,  trag^die  representee  sur  le  Theatre  de  la  Conr 
k  Parme  le  six  decembre  MDCCLVIII. 

[Parma],  Borsi,  n.  d.     103  p.     24"". 

Five  acts.  Bernard  ie  not  mentioned.  Arcument,  cast,  and  name  of  Baxueau  as 
the  composer.  Italian  title-page,  "Caetoree  Polluce,"  and  text  face  French.  The 
translation  is  said  to  be  literal : 

"Le  traducteur  .  .  .  s'est  attach^  a  rendre,  presque  vers  pour  vers  le  sens  de 
I'original.  On  sent  ce  qu'il  y  a  d'^pineux  dans  cet  engagement.  On  voudra  bien 
parser  eur  quelques  legeres  changemens,  que  Ton  a  tach6  de  ne  point  rendre  etrangers 
au  sujet:  On  ecait  que  chacque  langue  a  un  tour,  ou  un  caractere,  qui  lui  est  propre." 

ScHATz  8589 

—  Castor  et  Pollux,  trag^die  representee,  pour  la  premiere  fois, 
par  I'Academie  royale  de  musique  Je  24  octobre  1737.  Reprise  le  8 
Janvier  1754  et  remise  au  TheMre  le  mardi  24  Janvier  1764. 

Paris,  De  Lormel,  1764.     4^  V-     ^4""^- 

Five  acts.     Caat  and  names  of  Bernard  as  author,  of  Rameau  as  the  composer. 

The  approbation  at  end  is  dated  Dec.  19,  1763.  Schatz  8590 

—  Castor  et  Pollux,  tragedie.     Nouvelle  edition. 
Bordeaux,  Pierre  PhiUippot,  1782.     Sip.     20""^. 

Five  acts.    Neither  Gentil-Bemard  is  mentioned,  nor  Bameau.      ML  48.M2L 

—  Castor  et  Pollux,  tragedie-lyrique,  en  cinq  actes,  representee  sur 
le  Theatre  de  la  Republique  et  des  Arts.  Le  poeme  est  de  Bernard. 
La  musique  est  de  Rameau. 

Paris,  RouUet,  An  V  de  la  Republique  f ran foise,  [1796-97.]     31  p. 

ISY"^. 

Cast.  Schatz  8586 

—  Castor  et  Pollux,  tragedie-lyrique,  en  cinq  actes,  representee  sur 
le  Theatre  de  la  Republique  et  des  Arts.  Le  poeme  est  de  Bernard. 
La  musique  est  de  Kameau. 

Paris,  RouUet,  An  V  de  U  Republique  fran^.  [!]  [1796-97].    29  p. 

Cast.  The  text  is  the  same  as  in  the  edition  with  "Republique  frangoise"  in  the 
imprint.  Schatz  11751 

—  Castor  et  Pollux,  parodie  nouvelle,  representee  sur  le  Theatre 
de    *    *    *,  le  lundi  14  jan^ner  1754.     Premiere  et  derniere  edition. 

BruxeUes,  n.  publ,  1754.     4'^,  4  P-     IS^'"'^. 

Three  acts,  en  vaudevilles.  The  4  p.  contain  seven  airs  notes.  The  author  and 
musical  arranger  are  not  mentioned,  and  are  unknown  to  Wotquenne.  ML  48. P2 

Castore  e  Polluce.  Tragedia  lirica  in  tre  atti  da  rappresentarsi  in 
Monaco  nel  Nuovo  Teatro  di  Corte  .  .  .  nel  carnovale  dell'  anno 
MDCCLXXXVIII. 

n.  i.,  1788.     85  p.     loh''". 

Argument,  cast,  scenario,  and  name  of  Georg  Joseph  Vogler  as  the  composer. 

A  note  on  p.  [81  says: 

"Questa  tragedia  lirica  per  comodo  del  Teatro,  e  servizio  della  musica  da  cinque, 
che  era  prima  a  Parigi  b  stata  ridotta  in  tre  atti." 

The  explanation  of  this  somewhat  misleading  note  is  that  Carlo  Innocente  Frugoni 
translated  Pierre  Joseph  Justin  Bernard's  five-act  "Castor  et  Pollux^"  as  composed,  for 
instance,  by  Rameau,  into  Italian.  Georg  Joseph  Vogler,  who  is  mentioned  as  the 
composer,  then  reduced  Frugoni's  five-act  Italian  version  to  three  acts,  in  which 
form  the  opera  was  first  perforined  at  Munich  on  January  12,  1787. 

Schatz  10800 


OPERA  LIBRETTOS  265 

Castrini  padre  e  figlio.  Dramma  giocoso  per  musica  di  Florimondo 
Ermioneo  P.  A.  da  rappresentarsi  nel  nobile  Teatro  di  San  Samuele 
il  carnevale  delF  anno  MDCCLXXXVII. 

Venezia,  Modesto  Fenzo,  1787.     83  p.     17^"^. 

Two  acts.  By  Giovanni  Greppi.  Cast,  scenario,  and  name  of  Ferdinando 
Robuschi  as  the  composer.  On  p.  47-49,  arcument  and  name  of  Antonio  Capuzzi  as 
composer  of  the  music  of  Antonio  Muzzarelli's  "L'impoetore  punito,  ballo  tragico 
pantomimo."  The  other  ballet,  music  by  Santi,  was  called  "Le  baniffe  chiozzote, 
ballo  comico." 

First  performed  December  26,  1786,  as  indicated.  Schatz  8840 

—  Li  raggiri  fortunati.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Bologna  nel  nobile  Teatro  Marsigli  Rossi  la  prima  vera  dell' 
anno  1792  .  .  . 

Bologna,  Sassi,  n.  d.     4  p.  I.,  60  p.     i?*^'". 

The  imprimatur  is  dated  April  18,  1792.  Two  acts.  Impresario's  dedication,  cast, 
Bcenario  and  name  of  Ferdinando  Robuschi  as  the  composer.  Giovanni  Greppi 
whose  "Castrini  padre  e  figlio"  this  is,  is  not  mentioned.  With  the  opera  were  per- 
formed Carlo  Fiorillo's  ballets  "L'equivoco  ricompensato"  and  "Gl'uccellatori." 
The  composers  of  the  music  are  not  mentioned.  Schatz  8846 

II  Castruccio.     See  M.  Curzio, 

Les  catastrophes  liri-tragi-comiques. 

Paris,  Louis  Denis  Delatour,  1732.  '  12  p.     22^"^. 

One  act.  It  is  really  the  third  act  of  Riccoboni  fils  and  Romagnesi's  comedy  "Le, 
amusemens  a  la  mode,"  first  performed  at  the  Th^Stre  italien,  Paris,  April  21,  1732 
and  is  said  to  be  a  kind  of  parody  of  "Jephte"  and  "Eriphile."  ML  52.2.C25 

La  catena  d'Adone.     Favola  boschereccia  d'Ottavio  Tronsarelli. 

[Roma],  Francesco  CorheUetti,  1626.     81  p.     14^"^. 

The  curious  ornamental  t.-p.  showing  the  title  of  the  opera  on  a  chain  across  the 
chest  of  Adonis  is  defective,  but  only  in  this  that  the  place  of  publication  has  been 
torn  off.  On  p.  3-4  the  author's  dedication,  dated  Rome,  March  30,  1626,  to  Gio. 
Giorgio  Aldobrandino,  prince  of  Rossano,  on  p.  7  an  awertimento  and  the  imprimatur, 
on  p.  8  the  characters,  on  p.  9-10  the  argument,  on  p.  11-78  the  prologue  and  five 
acts,  on  p.  79-81  the  "Allegoria  della  favola,"  and  on  p.  5-6  this  publisher's  notice 
to  the  readers: 

"Questa  favola  descritta  nel  poema  del  cavalier  Marino  a  voi  s'appresenta  sparea 
di  pensieri,  e  ripiena  d'affetti;  alterato  pero  con  inventioni  dal  Signer  Ottavio  Tron- 
sarelli e  rietretta  nel  termine  d'lm  giro  di  Sole;  tra  lo  spatio  di  brevissimi  giomi  com- 
posta,  e  con  non  minore  velocity  di  tempo  d'alcune  machine  abbellita,  e  mirabil- 
mente  rappresentata  nel  palazzo  dell'  Illustriesimo  Sig.  Marchese  Euandro  Contij 
non  riempita  da  importuna  lunghezza  di  vani  intermedii,  che,  alienando  le  menti 
de  gli  uditori,  non  adornano,  ma  adombrano  le  attioni,  ordinata  con  singolare  accor- 
tezza  dal  Sig.  F'rancesco  de  Cuppis,  dalle  note  esquisite  del  Signer  Domenico  Msiz- 
zochi  raddolcita,  e  da  rare  voci  di  famoeispirai  cantori  eommamente  honorata.  Testi- 
monio  d'ogni  pio  detto  sono  i  principi,  e  le  principeeee  di  Roma,  che  con  lo  eplendore 
della  loro  presenza  illustrarono  il  theatro  di  quella  nobil  favola,  ove  comparve  I'ln- 
vidia  &  al  lavorevol  suono  dell'  amico  Plauso  [?]  se  cadde,  e  tacque."     Schatz  6222 

Caterina  e  Blech,  ballet.     See  Bernardini's  Furberia  e  puntiglio. 

Catherine,  ou  La  belle  fermiere,  com^die  en  trois  actes  et  en  prose, 

m^lee  de  chant.     Paroles  et  musique  de  Julie  Candeille.     Representee 

sur  le  Th^&tre  de  la  R6publique,  le  27  novembre  1792,  sous  le  titre  de 

la  Belle  fermiere. 

Paris,  Maraden,  1793.     92  p.     19^""". 

Cast.    According  to  a  prefatory  note  the  original  title  was  ' '  La  fermifere  de  quality." 

ML  50.2.C31C2 


266  LIBRARY  OF   CONGRESS 

Cato  in  Utica.    Tr.  of  Graun's  Catone  in  Utica. 
Der  Cato  in  Utica.     Tr.  of  Jommelli's  Catone  in  Utica. 
Cato  in  Utica.     Tr.  of  Piccinni's  Catone  in  Utica. 
Cato  in  Utika.     Tr.  of  Bach's  II  Catone  in  Utica. 
II  Catone.     See  M.  Curzio. 

II  Catone  in  Utica. 

[149]-241  p.  19*^^.  (Pietro  Metastasio,  Opere  drammatiche,  Vene- 
2ia,  Giuseppe  Bettinelli,  1733-37,  v.  2.) 

Three  acts.  Argument.  No  composer  mentioned.  On  p.  229-241  "Mutazione 
deir  atto  terzo  "  with  Awifeo: 

"Conoeoendo  I'autore  molto  pericoloso  ra\^enturare  in  iscena  il  personaggio  di 
Catone  ferito:  Cosi  a  riguardo  del  genio  delicato  del  modemo  teatro -poco  tollerante 
di  queir  orrore,  che  facea  Tomamento  dell'  antico:  come  per  la  dimcolt^  d'incon- 
trarei  in  attore,  che  degnamente  lo  rappresenti:  cambi6  in  gran  parte  I'atto  terzo  di 
questa  tragedia  ..." 

The  two  versions  may  be  identified  from  the  lines  preceding  the  three  last  lines 
which  are  the  same  in  both  versions.    In  the  original  tragic  version  these  lines  are 

{)receded  by  the  dying  Cato's  words:  "Spirar  .  .  .  con  me  ...  la  liberty  .  .  . 
atina";  in  the  later  version  by  Fulvio's  words:  "Quando  trionfi  /  Ogni  perdita  6 
lieve."  ML  49.A2M4 

—  Catone  in  Utica. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  Hi,  [217]-3d6  p. 

Three  acts.    Argument.    On  p.  [337]-356  the  later  version  of  the  third  act. 

ML  49.A2M42 

—  Catone  in  Utica.  Rappresentato,  con  musica  del  Vinci,  la  prima 
volta  in  Roma  nel  Teatro  detto  delle  Dame,  il  camevale  dell'  anno 
1727. 

pi.,  [3]-150  p.  26'^™'.  {Pietro  Metastasio,  Opere,  t.  4,  Parigi,  vedova 
Eerissant,  1780) 

Three  acts.     On  p.  129-150  the  later  version  of  the  third  act  added.    Argument. 

ML  49.A2M44 

Catone   in   Utica.     Dramma    per   musica    da   rappresentarsi   nel 
Teatro  di  Ldvomo  detto  degli  Armeni  V  autunno  dell  anno  1789  .  .  . 
Livomo,  Antonio  Land  e  comp.,  n.  d.     56  p.     l^Y'^- 
Two  acts.     By  Metastasio.    Ai^omento,  cast,  scenario,  and  name  of  composer, 
Gaetano  Andreozzi  ("musica  tutta  nuova"),  but  not  of  librettist. 

First  performed  at  Cremona,  Teatro  del  la  Society,  1786.  Schatz  195 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  S.  Carlo  nel  di  4  novembre  1784  per  festeggiarsi  i  gloriosi 
nomi  di  Sua  Maest^  Cattolica  .  .  . 

Napoli,  Vincenzo  Flauto,  1784.     4^  P-     i^'^™- 

Three  acts.  By  Metastasio.  Dedication  dated  Naples,  November  4,  1784,  argu- 
ment, cast,  scenario,  name  of  Francesco  Antonelli  Torre  as  composer,  and  note: 

"I  cambiamenti,  che  si  veggono  in  questo  dramma,  sono  gli  steasi,  che  vi  furono 
fatti  neir  anno  1777  per  uso  di  questo  Regal  Teatro." 

With  the  opera  were  performed  Domenico  Lefevre's  ballets,  "La  discesa  d'Ercole 
air  inferno  o  eia  Alceste  ed  Admeto.  Ballo  eroico  in  cinque  atti "  and  "Gli  amori  di 
Mirtillo  con  Silvanzia."    The  music  of  the  first  was  by  Carlo  Canobio.    Schatz  289 


OPERA   LIBRETTOS  267 

II  Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Omodeo  in  Pa  via  nel  carnovale  dell'  anno  1763  .  .  . 

Pavia,  Eredi  Ghidini,  n.  d.     56  p.     15'^"'. 

Three  acts.  By  Pietro  Metastasio.  Impresario's  dedication,  cast,  scenario,  and 
name  of  composer,  Johann  Christian  Bach. 

First  performed  at  Milan,  Regio  Ducal  Teatro,  summer,  1762;  at  Naples,  San  Carlo, 
November  4,  1761.  Schatz  526 

—  II  Catone  in  Utica.  Drama  per  musica  da  rappresentarsi  nel 
Gran  ducal  Teatro  di  Bronsevigo  per  festeggiare  il  glorioso  giorno 
natalizio  dell'  Altezza  Serenissima  di  Carlo,  duca  regnante  di 
Bronsevigo-Luneburgo  etc  etc.  il  primo  d'  agosto  MDCCLXVIII. 

n.  i.,  n.  d.     130  p.     ISi^"^. 

Scenario,  argument,  cast,  and  name  of  Johann  Christian  Bach  as  composer.  Ger- 
man title-page,  "Cato  in  Utika,"  and  text  face  Italian.  Schatz  527 

Catone  in  Utica.     Dramma  per  musica  da  rappresentarsi  nel  nuovo 
Teatro  Grimani  di  S.  Benedetto  il  carnovale  dell  anno  MDCCLVII. 
Venezia,  Modesto  Fenzo,  1757.     60  p.     14^"^. 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  the  composer, 
Vincenzo  Ciampi. 

First  performed,  as  indicated,  December  26,  1756.  Schatz  1884 

II  Catone  in  Utica  del  Si^nor  abate  Pietro  Metastasio.     Dramma 
per  musica  ra  rappresentarsi  nel  Teatro  di  Lucca  nell'  autunno  dell'- 
anno  MDCCXLIX. 
Lucca,  Filippo  Maria  Benedini,  1749.     88  p.     16^^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  the  composer,  "Sig.  Egidio 
Dtmi." 

First  performed  at  Florence,  Teatro  via  della  Pergola,  carnival,  1740. 

Schatz  2835 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuele  per  la  solita  fiera  dell'  Ascensione  dell'  anno 
MDCCLXI  .  .  . 

Venezia,  Modesto  Fenzo,  1761.     58  p.     15'^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
dated  Venice,  April  29,  1761,  argument,  caat,  Bcenari6,  and  name  of  Florian  Leopold 
Gassmaxm.  as  the  composer.  Schatz  3625 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlin©  .  .  . 

Berlino,Ambrogio  Haude,  1743.     159,  [4]  p.     16^"^. 

Three  acts.  Metastasio  is  mentioned  as  the  author,  Carl  Heinrich  Graun  as  the 
composer.  Argument  and  scenario.  German  title-page,  "Cato  in  Utica,"  and  text 
face  Italian. 

First  performed,  as  indicated,  January  24,  1744.  Schatz  4092 

Catone  in  Utica.  Drama  per  musica,  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1732  .  .  . 

Torino,  Gio.  Battista  Valetta,  1731.    4  p.  I.,  72  p.     iJJ^'". 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Johann  Adolph  Hasse  as  composer. 

First  performed,  as  indicated,  December  26,  1731.  Schatz  4586 

II  Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Ducale  di  Stutgart  festeggiandosi  il  felicissimo  giorno  natalizio 
di  Sua  Altezza  Serenissima  Elisabetta  Sofia  Federica  duchessa  di 


268  LIBRARY  OF  CONGRESS 

II  Catone  in  TTtica — Continued. 

Wirtemberg  e  Tech  ...  La  poesia  e  del  .  .  .  Pietro  Metastasio, 
...  la  musica  e  del  celebre  Sig.  Nicol6  Jonunelli  .  .  . 

Stutgart,  Giovanne  Georgia  Cotta,  1754-     99  p.     W^^. 

Three  acts.  Argument,  cast,  scenario.  German  title-page,  "Der  Cato  in  Utica," 
and  text  face  Italian. 

Whether  or  not  Jommelli  used  for  his  "Catone  in  Utica"  of  1749  any  of  the  music 
which  he  contributed  to  Leonardo  Vinci's  "II  Catone  in  Utica,"  Venice,  1747  {see 
Schatz  10754),  I  am  unable  to  tell.  Abert  is  6iler\t  on  this  Venice,  1747,  opera  by 
Vinci,  Jommelli,  and  others. 

First  performed,  as  indicated,  August  30, 1754;  at  Vienna,  Burgtheater,  1749. 

Schatz  4847 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel  carno- 
vale  dell'  anno  1747  nel  Teatro  Capranica  .  .  . 

Roma,  Genoroso  SaJomone,  1747.     72  p.     15^^. 

Three  acts.  Dedication  with  Metaetasio's  name  as  author,  argument,  scenario, 
cast,  name  of  Graetano  Latilla  as  composer,  and  apologies  "A'critici  discreti"  for  the 
liberties  taken  with  the  text  of  the  "dignissimo  autore": 

"Duo  Bono  state  le  necessarie  ragioni,  che  I'anno  portato  a  ci6  fare,  la  prima  ^  la 
brevita,  premendo  a  chi  la  fa  rappresentare,  che  sia  ossers'ata;  la  seconda  6  la  musica, 
la  quale  credendo  non  trovare  il  suo  conto  in  alcune  arie,  benchfe  bellissime,  ne  i, 
richiesta  la  mutazione.  E  cosa  chiara,  che  h  stata  fatta  in  peggio;  ma  non  v'era 
modo  di  evitarlo. 

"II  terzetto  aggiimto  h  forzato,  e  puo  dirsi,  come  di  colui,  che  dipinse  il  Cipresso 
nel  Mare,  che  non  era  quello  il  luogo,  ma  anche  di  ci5  e  cagione  la  musica^  e  la  volonti 
altrui,  come  altresi  d  ogn'  altra  cosa,  che  si  trovera  aggiunta  ...  Si  aggiunge  a 
tuttocio  il  consentimento  di  persona  a  cui  per  lo  stretto  vincolo  del  sangue  appartiene 
pill  che  ad  (^'  altro,  in  assenza  dell'  autore,  aver  cura  de  'riguardi  che  si  devono  al 
medesimo."  *      Schatz  5456 

Catone  in  Utica.  Tragedia  per  musica  di  Artino  Corasio  Past. 
Arcade  da  rappresentarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio. 
Grisostomo  neP  carnevale  del  1729.     Seconda  editione. 

Venezia,  Carlo  Buonarigo,  n.  d.    front,  60  p.     IS*^^. 

Three  acts.  By  Metastasio,  but  with  many  alterations  marked  in  fce  libretto. 
Dedication  signed  by  Domenico  Lalli,  argument,  scenario,  cast  and  name  of  Leo- 
nardo Leo  as  the  composer.  According  to  Leo,  Ricci  dates  the  first  performance, 
Rome,  1728,  but  Schatz  records  1729  as  above  and  Piovano  more  explicitly  December 
26,  1728  and  shows  at  the  same  time  that  the  Rome,  1728  opera  was  by  Vinci. 

Schatz  5557 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  neJ  carnevale  del  1763  ... 

Torino,  Gaspare  Bayno,  n.  d.     78,  [1]  p.     W^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario 
and  name  of  Giovanni  Francesco  de  Majo  as  composer.  On  p.  73-77  brief  descrip- 
tions of  Augueto  Huas'  ballets  "L'amore  vinto  dall  amicizia,'  and  "II  rapimento  di 
Proserpina,"  music  by  Giuseppe  Antonio  Le-Meseier. 

First  performed  at  Turin,  December  26,  1762.  Schatz  5860 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  alia  corte 
elettorale  Palatina  in  occasione  del  felicissimo  giorno  del  nome  del 
Serenissimo  Elettore  .  .  .  il  di  iv.  novembre  delT  anno  MDCCLXX. 

Mannheim,  Stamperia  deW  Accademia,  n.  d.     88  p.     16^'^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  the  author  and 
of  Niccol5  Picdnni  as  the  composer  ("La  musica  fe  nuova  composizione  .  .  .") 

According  to  Schatz  this  was  the  first  performance  of  the  opera.  Cametti,  follow- 
ing Florimo  (second  vol.  not  fourth)  mentions  "Napoli,  San  Carlo,  1770"  which  might, 
if  correct,  be  later  or  earlier  than  the  Mannheim  performance.  Schatz  8078 


OPEBA   LIBRETTOS  269 

II  Catone  in  Utica — Continued. 

—  Cato  in  Utica,  eiu  musicalisches  schauspiel,  velches  am  chnr- 
pfaelzischen  Hof  bei  gelegenheit  des  hoechstoeglueckten  nahmens- 
restes  des  durchlauchtigsten  Churfuersten  am  4.  November  1770, 
aufgefuehrt  worden. 

Mannheim,  Akademische  huchdruckerey ,  n.  d.     72  p.     15'=^. 

Argument,  cast,  scenario  and  names  of  Metastasio  and  Piccinni. 
On  p.  67-72  the" description  of  Fabiani's  ballets  "Ariadne  und  Theseus"  and  "Die 
liebe  und  Psiche."    The  composers  of  the  music  are  not  mentioned.     Schatz  8079 

Catone  in  Utica.  Tragedia  per  musica  di  Artino  Corasio  Pastore 
Arcade  da  rappresentarsi  nel  Teatro  detto  delle  Dame  nel  camovale 
dell'  anno  1728  ..  . 

Roma,  Bemahb,  1728.     84  p.     loY"^. 

Three  acts.  By  Metastasio.  Dedication,  argument,  cast,  scenario  and  name  of 
Leonardo  Vinci  as  the  composer. 

First  performed  December  27,  1727,  as  indicated.  Schatz  10746 

—  II  Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Iron  di  S.  Cassiano  il  camovale  deU'  anno  MDCCXLVII. 

n.  L,  n.  d.     75  p.     W'". 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario  and 
note: 

"La  musica  b  del  celebre  fu  Lunardo  Vinci,  eccettuate  le  arie  segnate.  Quelle 
che  eono  distinte  con  una  stelletta  sola  sono  del  Signor  Niccol5  Jomelli,  maestro  del 
Pio  Ospitale  de  Mendicanti." 

The  arias,  not  by  Vinci  and  retaining  an  asterisk  for  those  by  Jommelli  are :  ' '  Sperai 
vicino  il  lido"  (I,  4.  From  Metastasio's  Demofoonte),  *"Sol  mi  basta,  che  talora" 
(I,  7),  *"0  nel  sen  di  qualche  stella  "  (J,  8),  "Credi  mi  nel  euo  petto  "  (I,  13),  *"Ritoma 
al  tuo  sovrano"  (II,  2),  *"In  che  h  offende"  (II,  6),  *"Grata  eono  al  tuo  bel  core," 
*"Se  sdogliere  non  vvxyi"  (II,  15),  "Chi  mai  prov6  in  amore"  (II,  16),  *"Per  mancar 
a  te  di  fede"  (III,  1),  "M^nvoli  il  mio  tesoro"  (III,  3),  *"Per  il  mio  bene"  (III,  4), 
*"I)eh  placati  al  fine,"  *"Figlia,  amico,  io  vado  a  morte"  (III,  12). 

The  text  of  the  arias  in  italics  is  from  "Catone  in  LTtica;"  that  of  the  other  arias 
is  not  by  Metastasio.  Schatz  10754 

Catone  in  Utica.  Dramma  per  musica  da  rappresentarsi  nel  nobi- 
lissimo  Teatro  Venier  in  San  Benedetto  la  fiera  dell'  Ascensione  dell' 
anno  1791. 

Venetia,  Modesto  Fenzo,  1791.     51  p.     18^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario 
and  name  of  Peter  von  Winter  as  the  composer.  On  p.  20-30  argument  and  descrip- 
tion without  name  of  the  composer  of  the  music  of  Francesco  Clerico's  "Olimpia, 
ballo  tragico  in  cinque  atti."  The  title  of  the  second  baUet  was  "La  donna  bizzarra 
ossia  L' amore  politico."  .  Schatz  11027 

Catone  Uticense.  Drama  per  musica  da  recitarsi  nel  Teatro  Gri- 
mani  in  S.  Gio.  Grisostomo,  di  Matteo  Noris  I'anno  MDCCI  .  .  . 

Venetia,  Niccolini,  1701.     54  p.     (incl.  front.)     14'^^- 

Three  acts.  Author's  dedication,  notice  to  the  reader,  and  scenario.  Carlo  Fran- 
cesco Pollaxoli,  the  composer,  ia  not  mentioned.  Schatz  8276 

Catterina  di  Coluga.     A.  T.  of  the  ballet  11  sotteraneo. 

Der  cavalier  durch  die  liebe.  Tr.  of  Piccinni's  II  cavaliere  per 
amore. 


270  LIBRARY   OF   CONGRESS 

II  cavalier  magnifico.  Dramina  giocoso  per  music  a  da  rappresen- 
tarsi  nel  Nuovo  e  nobilissimo  Teatro  dell'  eccellentissima  casa  Balbi 
in  Mestre  nella  presonte  prima  vera  dell'  amio  1779  ,  .  . 

Venezia,  Modesto  Fenzo,  1789  [!]     56  p.     16^"^- 

Two  acts.  By  Niccolo  Tassi  (not  mentioned),  whose  text  originally  had  the  title 
"L'amante  che  epende."  Impresario's  dedication,  cast,  scenario  and  name  of  Carlo 
Caruso  (^ecte  Luigi  Caxuso)  as  the  composer.  On  p.  31-37  detailed  description  of 
the  "pnmo  ballo.  II  dieertore  francese  by  Alessandro  Guglielmi.  The  composer 
of  the  music  is  not  mentioned. 

First  i>erformed  at  Bologna,  Teatro  Formagliari,  carnival  1777.  Schatz  1657 

II  cavalier  Mignatta.  Intermezzi  per  musica  a  tre  voci  da  rappre- 
sentarsi  nel  Pubblico  Teatro  di  Lucca  nel  carnevale  dell'  anno 
MDCXJLXIII.  In  occasione  delle  recite  in  prosa  da  farsi  dall'  Acca- 
demia  de'  Dilettanti  della  Co  mica. 

Lucca,  Francesco  Antonio  BerchieUi,  1763.     22  p.     15'^^. 

Two  acts.  Author  unknown  to  Schatz.  Cast  and  name  of  the  comjKtser,  Binaldo 
di  Capua. 

First  performed  at  Rome,  Teatro  Capranica,  carnival  1751.  Schatz  8800 

II  cavalier  parigino.     L.  T.  of  Monza's  II  finto  cavaliere  parigino. 

II  cavalier  per  amore  e  la  contadina  dama.  A.  T.  of  Piccinni's  II 
fumo  villano. 

II  cavaliere  errante.     Drama  giocoso  per  musica  da  rappresentarsi 
nel  Regio-ducal  Teatro  di  Parma  il  carnovale  dell'  anno  MDCCLXXX. 
Parma,  Reale  stamperia,  n.  d.     5If.  p.     20'^'^. 

Two  acts.  Cast  and  name  of  Tommaso  Trajetta  as  composer,  but  not  of  librettist, 
Giovanni  Bertati.  Two  ballets  were  performed  with  the  opera,  "Gli  amanti  protetti 
da  Amore"  and  "La  feeta  da  ballo  disturbata  dalla  famiglia  dei  Covielli,"  both  by 
Antonio  Marliani,  the  composer  of  the  music  not  being  mentioned. 

First  performed,  as  indicated,  December  26,  1779;  at  Venice,  Teatro  di  San  Mois^, 
spring,  1778.  Schatz  10389 

—  II  cavaliero  errante.  Dramma  eroicomico  per  musica  da  rappre- 
sentarsi nel  Piccolo  Teatro  Elettorale  in  Dresda  Fanno  1780. 

n.  pi.,  Nella  stamperia  elettorale,  n.  d.     I4I  P-     16^'^^. 
Two  acts.    German   title-page,   "Der    irrende  ritter,"    and  text  face  Italian. 
Tommaso  Trajetta  is  mentioned  as  composer.  Schatz  10390 

II  cavaliere  per  amore.  Azione  comica  da  rappresentarsi  ne' 
Teatri  privilegiati  di  Vienna  Fanno  1766. 

Vienna,  Ghelen,  n.  d.     44  P-     16'^^. 

Two  parte.  Cast  and  names  of  "Pietro  Sellini"  (Giuseppe  Petrosellini)  as  the 
author  and  of  Niccol6  Piccinni  as  the  composer. 

First  performed  at  Rome,  Teatro  Valle,  carnival,  1763  (Schatz);  at  Naples,  Teatro 
Nuovo,  winter,  1762  (Cametti,  resp.  Florimo).  Schatz  8080 

—  II  cavaliere  per  amore.  Azzione  comica  per  musica,  da  rappre- 
sentarsi nel  Piccolo  Teatro  di  S.  A.  .E.  di  Sassonia. 

Dresda,  nel  carnevale  deW  anno  1766,  n.  puhl.     107  p.     15'^^. 

Two  acts.  Cast  and  names  of  Piccinni  and  of  H.  A.  Busius,  the  translator.  His 
German  title-page,  "Der  cavalier  durch  die  liebe,"  and  text  face  Italian. 

First  performed,  as  indicated,  February  22,  1766.  Schatz  8081 


OPERA   LIBRETTOS  271 

II  cavaliere  per  amore — Continued. 

—  II  fumo  villano.  Dramma  giocoso  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  Moise  Fautunno  dell'  anno  1766. 

Venezia,  Modesto  Fenzo,  1766.     60  p.     16^"". 

Three  acts.  Cast,  Bcenario,  and  note,  "La  mueica  e  del  Sig.  maestro  Niccol6 
Piccinni,  ed  alcune  arie,  ed  il  duetto  ["Se  da  voi  non  poeeo,'  III,  4.]  del  Sig.  maestro 
Bernardino  Ottani,  Accademico  Filarmonico  di  Bologna." 

The  text  is  that  of  Giusejipe  Petrosellini's  "II  cavaliere  per  amore"  expanded  to 
three  acts,  and  many  alterations  in  the  arias.  For  instance,  the  aria,  "Una  damina 
nobile"  (I,  1),  does  not  appear  in  this  scene  in  "II  fumo  villano."         Schatz  8156 

—  II  fumo  viUano  o  sia  II  cavalier  per  amore,  e  la  contadina  dama. 
Dramma  giocbso  per  musica,  da  rappresentarsi  nel  Regio  Teatro 
Danese. — ^Bondehovmod  eller  Ki^bmanden  som  Adelsmand,  og 
bondepigen  som  fr0ken. 

Ki0henhavn,  Lars  Nielsen  Svare,  1769.     167  p.     17"'^. 

Caet  and  name  of  Piccinni  as  the  composer.     Danish  text  faces  Italian. 

Schatz  8082 

Li  cavalieri  lunatici,  farsa  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  San  Cassiano  nelF  autunno  dell'  anno  1774, 

VenezixL,  n.  publ.,  1774-     52  p.     17'^'^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Scenario  and  name 
of  Giacomo  Rust  as  the  composer.  Schatz  9169 

La  caverne,  drame  lyrique  en  trojs  actes,  represente  pour  la  premiere 
fois  sur  ie  Theatre  de  la  rue  Feideau,  le  16  fevrier  1793,  (v.  st.)  I'an 
ler  de  la  R6publique;  paroles  de  Dercis  musique  de  Le  Sueur;  re- 
presents a  Liege  par  la  Troupe  d'artistes  dramatiques.  le  16  fructidor, 
an  3me.  de  la  Kepublique  Franpaise,  ou  27^*  1795,  (v.  st.) 

Liege,  BoUen,  Van  guatrieme  de  la  Repuhlique  [1795-96].  44  V' 
21^"^. 

Cast.     Dercy's  original  title  eeeme  to  have  been  "La  caverne  ou  Les  voleurs." 

ML  50.2.C34L2 

Cecile,  comSdie  en  trois  actes,  en  prose,  m^lSe  d'ariettes;  par  M. 
M  *  *  *,  mise  en  musique  par  M.  Dezedes.  Corrigee  &  imprimee 
suivant  la  representation,  au  Theatre  les  Comediens  Itahens  ordi- 
naires  du  roi,  le  jeudi  4  Janvier  1781. 

Paris,  Vente,  1781.     56  p.     WY"^- 

By  Mabille.  The  melody  of  the  "Barcarole.  Par  un  beau  jour"  (II,  3)  is  printed 
in  the  text. 

Originally  performed  at  Versailles,  Th^Atre  de  la  cour,  February  24,  1780;  at  Paris, 
Com^die  italienne,  February  26,  1780.  Schatz  2516 

Cefalo  e  Procri,  ballet.     See  Sarti's  Scipione. 

Cefalo  e  Procri,  ballet.     See  Tritto's  L'Arminio. 

La  ceinturede  Venus.     Piece  en  deux  actes.     ParM.  leS    *     *     *. 
Representee  a  la  Foire  de  S.  Germain  1715. 
Le  Theatre  de  U  foire,  Paris,  17S7,  t.  I,  pi.,  [287]-349  p.     17"^. 

By  Alain  Ren^  Le  Sage.  En  vaudevilles.  The  melodies  are  printed  in  the  " Table 
des  airs,"  at  the  end  of  the  volume.  They  were  selected  or  composed  and  arranged  by 
Jean  Claude  G-iUier,  the  "compositeur"  of  the  theatre.  ML  48.L2I 


272  LIBRARY  OF   CONGRESS 

Celio.  Drama  musicale  del  dottor  Giacinto  Andrea  Cicognini 
Fiorentino  .  .  . 

Roma,  Jacomo  Drdgondello,  166 4.  10 4,  UJ  V-  H"^- 
Three  acta  and  Prologue.  Scenario  and  dedication  by  the  bookseller,  Bartolomeo 
Lupardi,  according  to  whom  this  is  a  new  edition  of  "  II  Celio."  He  does  not  mention 
the  composers,  nor  does  Schatz  know  them,  though  he  records  performances  of  Cico- 
gnini's  text  at  Florence,  1646,  and  at  Rome,  Teatro  di  Tordinona.  The  [4]  p.  of  the 
ubretto  contain  the  Protesta  and  a  list  of  the  "Comedie  del  Cicc^nini  che  n  ritrova 
nella  sua  botega  Bartolomeo  Lupardi  .  .  ."  ML  50.2.C34 

Cendrillon,  opera  comique  de  Mr.  Anseaume;  repr^sent^  pour  la 
premiere  fois  sur  le  Theatre  de  la  foire  S.  Germain,  le  20  f^vrier  1759. 

Paris,  N.  B.  Duchesne,  1759.     63,  [1]  p.     ^O*"". 

One  act.  Cast.  Composed,  reep.  arranged  by  Jean  Louis  LaB-uette  who  is  not 
mentioned.  On  p.  54  the  air  "Des  rigueurs  d'un  cruel  destin  "  and  r^citatif  by  "de  la 
Ruette,"  "J'ai  joui  cette  nuit"  (I,  1),  on  p.  55-58  "Ah!  dans  quel  ^tat  je  vous  voi" 
(I,  2),  on  p.  58-59  "Je  le  s^ais  bien"  "air  de  M.  La  Ruette"  (I,  2),  on  p.  59-61  "Lea 
yeux  vers  moi  toum^s"  (I,  2)  by  the  same,  as  also  on  p.  61-63  "Amour,  dont  je 
ressens  la  flamme"  (I,  7).  Schatz  5436 

Cephal  und  Procris,  ballet.    See  Holzbauer's  Hadrian  in  Syrien. 

Cephale,  et  Procris,  ou  L'amour  conjugal,  trag^die-lyrique,  en  trois 
actes,  representee,  devant  Sa  Majesty,  a  Versailles,  le  30  d^cembre 
1773. 

Paris,  Pierre  RobeH  Christophe  Ballard,  1773.  1  p.  l,  4,  [6\,  76  p. 
lOY"^. 

Argument,  cast,  and  names  of  Marmontel  as  the  author,  of  Gretry  as  the  com- 
poser. 

First  performed  at  Paris,  May  2,  1775.  Schatz  4198 

Cephale  et  Procris,  tragedie  representee  par  I'Academie  Tojdle  de 
musique  Fan  1694.  Les  paroles  sont  de  M.  Duche,  &  la  musique  de 
M"«  de  la  Guerre.     XXXII.     Opera. 

n.  i.,  n.  d.  front.,  4^1~4^^  V-  (Recueil  general  des  opera,  t.  iv, 
Paris,  1703.)     14<^. 

Detached  copy.    Five  acts  and  prologue. 

First  performed,  as  indicated,  March  15,  1694.  Schatz  5376 

Second  copy.     ML  48. R4 

Cephalus  und  Prokris.  Ein  melodrama  von  herrn  professor 
Rammler.  Die  musik  vom  koenigl.  preussischen  kapellmeister  herrn 
Reichardt. 

p.  16-27.  18*^.  (T7ieater~JoumalfuerDeutschland,fuenftesstuec]c 
Gotha,  1778.) 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  July  7, 1777.    Schatz  11754 

—  Procris  et  Cephale.     Melodrame  pour  ^tre  represents  devant 
S.  A.  R.  Monsieur  le  prince  Henri  de  Prusse  frere  du  roi.     La  musique 
du  prologue  e  du  melo-drame  est  compos  ee  par  Mr.  Reichard  .  .  . 
Berlin,  G.  J.  Decker,  1777.    26  p.     19^"". 

One  act.  A  french  translation  of  'Carl  Wilhelm  Ramler's  text  for  Reichardt'a 
"Cephalus  und  Prokris." 

The  French  version  was  first  performed  at  Rheinsberg  in  1777,  as  indicated. 

Schatz  8639 

Ce  qui  plait  aux  dames.     A.  T.  of  Duni's  La  fee  Urg^le. 


OPERA   LIBRETTOS  273 

Le  cercle  ou  La  soiree  a  la  mode,  comedie  lyrique  en  un  acte  &  en 
prose.     Par   M.    Poinsinet   de   FAcademie    des   Arcades   de   Rome. 
Kepresentee  pour  la  premiere  fois  par  les  Comediens  fran^ais  ordi- 
naires  du  roi  le  7  septembre  1764. 
Paris,  Duchesne,  1764.     71  p.     W'^K 

Dedication  and  cast.  The  title  "comedie  lyrique"  is  misleading,  since  the  play 
contains  but  one  piece  of  music,  the  vaudeville  "Serait-il  vrai,  jeune  berg^re,"  the 
air  of  which  ie  printed  on  p.  70.     Not  recorded  bv  CI.  &  L.  or  Schatz. 

ML  48. M2 

La  Cerere.  Componimento  per  musica  da  cantarsi  nel  giorno  nata- 
lizio  della  Sa^ra  Real  Maestk  di  Carlo  Borbone  r^  delle  due  Sicilie 
&  .  .  .  Musica  del  Signor  Domenico  Terradellas  detto  lo  Spagnolo 
[vignette] 

Roma,  Koinarelc,  17 /fi.     16  p.     25'^'". 

Two  parts.  Author  not  mentioned  and  unknown  to  me.  Work  not  recorded  by 
Schatz  or  Carreras  i  Bulbena.  ML  50.2,C36T2 

Cerere  e  Trittolemo,  ballet.     See  Calderara's  Ricimero. 

Cerere  placata.  Festa  teatrale  data  in  occasione  di  celebrarsi  la 
solenne  funzione,  in  cui  in  nome  di  S.  M.  C.  Carlo  Terzo  si  tiene  al 
sagro  fonte  la  real  principessa  Maria  Teresa  Carolina  .  .  .  da  S.  E. 
11  Signor  duca  d'Arcos  .  .  .  e  rappresentata  in  Napoli  il  giorno  14 
settembre  1772  in  casa  di  detto  eccmo  Sig.  duca. 
n.  i.,  n.  d.     5  p.  l,  54  p.     25'''". 

On  vereo  of  second  p.  1.:  "Edizione  fatta  in  Napoli  nella  Stamperia  Simoniana." 
Two  acts  with  ballets.    Cast,  ai^ument,  and  names  of  Michele  Sarcone  as  author, 
of  Niccoia  Jommelli  as  composer.  Schatz  4876 

Cerere  racconsolata.     Dramma  musicale. 

Girolamo  Bartolommei  Smeducci,  Drammi  musicali  morali,  Firenze, 
1656,  V.  i,  p.  {l]-58.     28'^^. 

Prologue  and  five  acts.    Dedication,  argument,  allegoria.  ML  49.A2B3 

Ceres.     Ein  musikalisches  vorspiel.     Aufgefuehrt  in  Hannover,  am 
geburtsfeste  des  koenigs,  den  4  Junius,  1773. 
n.  L,  n.  d.     31  p.     18^"^. 

Prologue  and  one  act.  Neither  the  author,  Friedrich  Hildebrand  von  Einsiedel, 
nor  the  composer,  Ernst  Wilhelm  Wolf,  is  mentioned.  Schatz  11076 

Cesare  al  Rubicone.  Melodramma  per  musica  .  .  .  cantato  in 
Cesena  in  casa  Loccatelli  in  occasione  di  aver  Sua  Eminenza  levato  al 
sacro  fonte  il  Sig.  conte  Giuseppe.  Li  20  agosto  1725.  Operetta  del 
Sig.  Co.  Vincenzio  Masini. 

Faenza,  Gioseffantonio  Archi,  1725.     32  p.     18^"^. 

Dedication,  dated  Cesena,  August,  1725,  and  signed  Fabio  Loccatelli,  to  whom 
Schatz  attributes  the  libretto,  argument  and  author's  notice  to  the  reader. 

Schatz  6063 

II  Cesare  amante.  Drama  per  musica  di  Ardio  Rivarota  [ana- 
gram] Accademico  fra'  Delfici  II  Volonteroso.  Da  rappresentarsi  nel 
Theatro  Grimano. 

Venetia,  Giuliani,  1651.     99  p.     13^"^. 

Three  acts  with  prologue.  By  Dario  Varotari.  Dedicatory  ode,  notice  to  the 
reader  (p.  9-10  missing  but  supplied  in  ms.)  with  name  of  Marc'  Antonio  Cesti  as 

722.51°— VOL  1—14 18 


274  UBRARY   OF  CONGRESS 

II  Cesare  amante — Continued. 

composer.    The  reader  is  informed  that  the  "so^etto"  and  "il  modo  di  Bceneggiare" 

of  this  "operetta"  are  by  the  conte  Maiolino  Bisaccioni  with  convenient  alterations. 

First  performed,  as  indicated,  fall  of  1651.  Schatz  1783 

Cesare  in  Egitto.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  a  S.  Samuelle  per  la  fiera  dell'  Ascensione  I'anno  1744  .  .  . 
n.  i.,  n.  d.     1  p.l.,  48  p.     IS""^. 

Three  acts.  By  Giacomo  Francesco  Bussani  (not  mentioned).  Dedicatory  sonnet, 
argument,  scenario,  cast,  and  name  of  the  compJoeer,  Antonio  Colombo. 

First  performed,  as  indicated.  May  13,  1744.  Schatz  2115 

Cesare  in  Egitto.  Drama  da  rappresentarsi  nel  Eegio-Ducal  Teatro 
di  Milano  .  .  .  nel  carnevale  dell  anno  1735. 

Milano,  Giuseppe  Richino  Malatesta,  n.  d.     52,  [1]  p.     IJ^h'^^' 
Three  acts.    By  Giacomo  Francesco  Bussani,  who  is  not  mentioned.    Cast,  argu- 
ment, scenario,  and  name  of  Geminiano  Giacomelli  as  the  composer.    On  the  addi- 
tional page,  the  substitute  aria  (II,  9)  "Barbaro  non  pensar."  Schatz  3806 

Cesare  in  Egitto.  Dramma  per  musica  da  rappresentarsi  in  Argen- 
tina Fanno  1751  .  .  . 

Argentina,  Giovanni  Henrico  Heitz,  1751.     55  p.     15'^'^. 

Three  acts.  By  Giacomo  Francesco  Bussani,  who  is  not  mentioned.  Argument, 
cast,  and  name  of  Niccolo  Joromelli  as  composer.     (This  opera  mentioned  by  Abert?) 

First  performed  .at  Strassburg,  as  indicated.  Schatz  4848 

—  Cesar  en  Egipte.  Opera- tragique  italien  represents  a  Stras- 
bourg Fan  1751.  Sous  les  auspices  de  Son  Excellence  Monsieur  le 
preteur  roial,  Traduit,  par  Mr.  Adam,  ancien  senateur  de  la  ville  de 
Strasbourg. 

Strasbourg,  Jean  Henri  Heitz,  1751.     48,  [2]  p.     16^"^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Niccol6  JommeUi  as  composer, 
and  "avis"  that  contrary  to  "la  politesse  de  la  langue  franyoise"  the  "Tu,  Toi "  has 
been  retained  partly  to  make  the  translation  more  literal,  partly  "parceque  c'^toit 
assez  le  stile  de  s'enoncer  des  anciens."  Schatz  4902 

Cesare  in  Egitto,  dramma  per  musica  da  rappresentarsi  nel  Regie 
Ducal  Teatro  di  Milano  nel  camovale  dell'  anno  1770  .  .  . 
Milano,  Giovanni  Montani,  1770.     5  p.  I.,  43  p.     14'^'^- 
Three  acts.     Dedication,  argument,  scenario,  cast,  and  name  of  Niccol6  Picclimi 
as  the  composer.     The  text  is  by  Giacomo  Francesco  Bussani,  retouched  by  Carlo 
Goldoni,  neither  of  whom  is  mentioned.  Schatz  8083 

Cesare  in  Egitto.  Dramma  per  musica,  da  rappresentarsi  sul  Regie 
Teatro  Danese,  I'autumio  dell  anno  1763. — Julius  Caesar  i  Aegypten 
.  .  .  oversadt  paa  dansk  af  R.  Soelberg  .  .  . 

Ki^henhavn,  Lars  Nielsen  Svare,  n.  d.     93  p.     16'^'^. 

Three  acts.  By  Giacomo  Francesco  Bussani,  who  is  not  mentioned.  Argument, 
cast,  and  name  of  Giuseppe  Sarti  as  the  composer,     ("La  musica  h  tutta  nuova.") 

Schatz  9427 

Cesare  nella  Brettagna.    See  M.  Curzio. 

Cesare  trionfante.     See  Freschi's  Giulio  Cesare  trionfante. 

Cha-Qian  in  Dely,  ballet.     See  Cimarosa's  Gli  Orazi  e  i  Curiazi. 


OPEBA   LIBEETTOS  275 

The  chamber-maid.  A  ballad  opera  of  one  act.  As  it  is  per- 
form'd  at  the  Theatre-Royal,  by  His  Majesty's  servants  .  .  . 

London,  J.  Watts,  1730.     2p.l.,  34  p.     21'^^. 

By  Edward  Phillips,  who  is  not  mentioned.  Cast  and  table  of  the  28  songs.  The 
corresponding  airs  are  printed  in  the  text,  with  their  titles. 

First  performed  at  Drury  Lane  February  10,  1730.  ML  50.5.C3 

The  cjhangellngs.     A.  T.  of  Court  and  country. 

The  chaplet.     A  musical  entertainment.     As  it  is  perform'd  by  His 
Majesty's  company  of  comedians  at  the  Theatre-Koyal  in  Drury- 
Lane.     The  music  compos'd  by  Dr.  Boyce. 
London,  M.  Cowper,  1750.    22  p.    20^"^. 

Two  acts.    By  Moees  Mendez,  who  is  not  mentioned.    Cast. 

First  performed  December  2,  1749,  as  indicated  (Genest).        AC  901.M5    v.  519 

—  The  chaplet.  A  musical  entertainment.  As  it  is  perform'd  by 
His  Majesty's  company  of  comedians,  at  the  Theatre-Royal  in 
Covent-Garden.     The  music  compos'd  by  Dr.  Boyce. 

Lmdon,  T.  Lowndes,  T.  Caslon  [etc],  1767.    frmit.,  35,  [1]  p.     W"". 

Two  acts.    By  Moses  Mendez,  who  is  not  mentioned.    Covent-Garden  cast  of  1767. 

LONGE  73 

—  The  chaplet.  A  musical  entertainment.  In  two  parts.  By 
Moses  Mendez,  Esq. 

Edinburgh,  Silvester  Doig  and  WiUiam  Anderson,  1792.  {A  collec- 
tion of  the  most  esteemed  farces  and  entertainments,  v.  i,  p.  [329]-339.) 

Boyce  is  not  mentioned.  Schatz  11753 

La  chasse  du  cerf ,  divertissement. 

Jean  Baptiste  Morin's  score,  Paris,  Christophe  Ballard,  1709",  contains  also  the 
libretto  (on  p.  3-7),  the  author  of  which  I  have  not  found.  M  1520. M8C4 

The  chaste  nimph.     A.  T.  of  Butler's  Calisto. 

Le  chateau  de  Montenero.     A.  T.  of  Dalayrac's  Leon. 

Che  fingendo  si  prova  un  vero  affetto.  A.  T.  of  Moratelli's  I  giochi 
olimpici. 

The  Chelsea  pensioner:   A  comic  opera.     In  two  acts.    As  it  is 
performed  at  the  Theatre-Royal,  Covent-Garden. 
Lcmdon,  G.  Kearsley,  1779.    2  p.  I,  4O  p.    21'^'^. 

Cast.    The  author-composer,  Charles  Dibdin,  is  not  mentioned. 
Tufts,  quoting  E.  R.  Dibdin,  says:    "Overture  and  six  other  items  appeared  in 
the  Monthly  Lyriet,  etc.,  1781." 

First  penormed  May  6,  1779,  as  indicated.  Longe  164 

La  chercheuse  d'esprit,  opera  comique  de  Monsieur  Favart.     Sui- 
vant  la  copie  imprim^e  a  Paris,  MDCCaLIV. 
n.  i.,  n.  d.    48  p.     16'^'^. 

One  act.  Text  ie  in  prose  and  vaudevilles.  No  music  printed  with  the  text. 
Comp.  next  entry.  ML  50.2.C4 


276  LIBRARY   OF  CONGRESS 

La  chercheuse  d'esprit — Continued. 

—  La  chercheuse  d'esprit,  opera  comique.     De  Monsieur  Favart. 
Paris,  PrauUjlls,  1756.     1  p.  I.,  59,  4  p.     W"^.     {Theatre  de  M. 

Favart,  Paris,  Duchesne,  1763-77,  t.  vi.) 

One  act.  Text  is  in  proee  and  vaudevilles.  The  4  p.  contain  13  engraved  aire 
only  (with  "Pin"),  whereas  Font  says  "suivi  de  tous  les  aira  grav6s  (70  num^ros)." 
This  can  apply  only  to  a  reissue  of  Veuve  AUouel's  ed.  of  1741,  not  to  the  ed.  of  Prault 
file.  Font  does  not  mention  Favart's  musical  collaborator.  F^tis  attributes  th^  music 
to  Duni  (before  his  arrival  at  Paris  in  1757),  but  Duni  can  only  have  arranged  the 
music  anew.  Eitner  lists  a  ms.  score  by  Duni  of  this  title  as  in  the  Brussels  Conserva- 
tory library,  but  Wotquenne's  catalogue  shows  no  such  score. 

First  performed  at  Paris,  Foire  St.  Germain,  February  20,  1741.        ML  49.A2F1 

—  La  chercheuse  d'esprit,  op^ra-comique,  en  un  acte,  de  Monsieur 
Favart. 

Paris,  Prault,  1772.     47,  [1]  p.     W"^.  ML  48.M2N 

La  chercheuse  d'esprit,  ballet-pantomime,  par  M.  Gardel  I'ain^. 
Represents  a  Choisy  pour  la  premiere  fois  et  k  Fontainebleau,  en 
1777. 

Paris,  les  Marchands  de  pieces  de  Theatre,  1777.     1  p.  I.,  8  p.     W^. 

One  act.  Cast  and  detailed  synopsis  of  plot,  which  is  clearly  based  on  Favart. 
Composer  not  mentioned  in  libretto  or  by  Lajarte  who  dates  the  first  performance  at 
Paris,  Academie  royale  de  musique  as  March  1,  1778.  ML  52.2. C28 

The  Cherokee,  an  opera,  as  performed  at  the  Theatre-Royal,  Drury- 
Lane.     By  the  author  of  the  Haunted  tower. 
London,  n.  publ.,  1795.     47,  [1]  p.     17^'"'^. 

Three  acts.  Cast.  Neither  the  author,  James  Cobb,  is  mentioned,  nor  the  com- 
poser, Stephen  Storace.  Revived  in  1802  with  alterations  and  new  music  by 
Michael  Kelly  as  '^Algonah." 

First  performed  December  20,  1794,  as  indicated.  Longe  233 

La  che Valerie.     Entree  in  Michel's  Les  romans. 

Chi  dell'  altrui  si  veste,  presto  si  spoglia.  Commedia  per  musica 
di  Giuseppe  Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  per 
terza  opera  di  quest'  anno  1783. 

Napoli,  n.  publ.,  1783.     55  p.     15'^'^. 

Three  acts.    Argument,  cast,  and  name  of  Domenico  Cimarosa  as  composer. 

ML  50.2.C42C3 

—  Chi  dell'  altrui  si  veste,  presto  si  spoglia.  Commedia  per 
musica  di  Giuseppe  Palomba  da  rappresentarsi  nel  Teatro  de'  Fioren- 
tini per  seconda  opera  del  corrente  anno  1787. 

Napoli,  n.  pull.,  1787.     52  p.     15'^. 

Three  acts.  Argument,  cast,  name  of  the  composer,  Cimarosa,  and  this  note  by 
the  author: 

"Ritoma  sulle  scene  questa  mia  commedia  non  di  versa  da  quella  rappresentata 
nel  1783  [at  Naples,  same  theatre],  se  non  se  nelle  sole  parti  di  Martuffo,  e  Gabba- 
mondo,  con  traeportale  dal  dialetto  Toscano  in  Napolitano.  Se  si  h  fatta  mutazione 
in  qualche  aria,  e  finale  e  stata  per  maggiormente  adattarla  all'  ability  di  alcuni 
novelli  attori,  ma  non  si  h  uscito  da  musica,  e  parole  tanto  mie,  quanto  del  rinomato 
maestro  di  capella,  da  cui  fii  scritta  ..."  Schatz  1913 


OPEEA   LIBEETTOS  277 

Chi  e  cagion  del  suo  mal,  pianga  se  stesso.     Dramma  giocoso 

{)er  musica  da  rappresentarsi  nel  Regio  Teatro  di  via  della  Pergola 
a  primavera  del  MDCCLXXXV  .  .  . 
Firenze,  Giovanni  Risaliti,  1785.     48  p.     16^*^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  note:  "La 
mueica  e  di  Dalindo  Stinfalido  Accademico  Filarmonico."  Real  name  unknown  to 
Schatz  and  this  academic  name  not  recorded  by  Wotquenne.  With  the  opera  was 
performed,  composer  of  the  music  not  mentioned,  Federigo  Terrades'  ballet  "Gli 
epoei  riuniti  da  Bacco."  Schatz  11313 

Chi  e  cagion  del  suo  mal  pianga  se  stesso.  Dramma  burlesco, 
poesia  d'Ovidio,  e  musica  d'Orfeo,  rappresentato  in  Roma  I'anno  1682. 

Roma,  (Francesco  Tizzoni),  1682.     64,  [1]  p.     15^. 

Three  acts.    Text  and  music,  according  to  Schatz,  by  Filippo  AcciajoU. 

First  performed  at  the  Palazzo  Colonna,  as  indicated.  ML  50.2.C43A2 

Chi  la  dura  la  vince  ossia  La  finta  cantatrice.  L.  T.  of  P.  Gug- 
lielmi's  La  virtuosa  in  Mergellina. 

Chi  la  dura,  la  vince.  Commedia  per  musica  di  Domenico  Piccinni 
da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  second'  opera 
di  quest'  anno  1798. 

Napoli,  n.  puU.,  1798.     48  p.     15*^. 

Two  acta.    Cast  and  name  of  Pietro  Carlo  Guglielmi  as  the  composer. 

Schatz  4337 

Chi  la  fa  I'aspetta,  ballet.     See  Astaritta's  D  curioso  accidente. 

Chi  la  fa,  I'aspetta.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  alia  Scala  la  primavera  dell'  anno  1788  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     60  p.     16^'^'^. 

Two  acts.  By  Filippo  Livigni,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  scenario,  and  name  of  the  composer,  Vincenzo  Fabrizj.  The  first  ballet  was 
called  "II  convitato  di  pietra,"  the  second  "II  finto  giardiniere  Chinese."  Both 
were  by  Luigi  Dupen.    The  composer  of  the  music  is  not  mentioned. 

First  performed  at  Bologna,  Teatro  Zagnoni,  fall  of  1786,  Schatz  2968 

Chi  la  fa,  I'aspetta.  Drama-comico  da  rappresentarsi  in  musica 
nel  Teatro  di  San  Fantino.     II  carnovale  dell'  anno  1717. 

Venezia,  Antonio  Bortoli,  1717.     36  p.     15^"^. 

Three  acts.  Neither  the  author,  Francesco  Passarini,  nor  the  composer,  Girolamo 
Polani,  is  mentioned.  Schatz  8249 

Chi  la  fa  I'aspetta,  ballet.     See  Tarchi's  Ifigenia  in  Aulide. 

Chi  la  fa  I'aspetta,  ballet.     See  Zingarelli's  La  morte  di  Alitridate. 

Chi  la  fa  I'aspetti.     A.  T.  of  G.  Giordani's  L'impegno. 

Chi  la  fa  se  I'aspetti,  favola  pastorale,  per  musica. 
Viterho,  Girolamo  DiotaUevi,  n.  d.     1  p.  I.,  60  p.     14'^^- 
Three  acts.    Publisher's  dedication  dated  Viterbo,  November  26,  1659,    Neither 
author  nor  composer  mentioned  and  both  xmknown  to  Allacci.    Not  recorded  by 
Schatz,  Wotquenne.  ML  50.2.C44 


278  LIBRARY  OF  CONGRESS 

Chi   mal   fa   mal   aspetti   owero   Lo   scroccatore   smascherato. 
Drdmma  tragicomico  in  miisica  da  rappresentarsi  nel  nobilissimo 
Teatro  Giustiniani  in  San  MoisS  I'autunno  dell'  anno  1792. 
Venezia,  Modesto  Fenzo,  1792.     62  p.     17^''"'. 

Two  acts.  Author  not  nieutioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Silvestro  di  Palma  as  the  composer.  Schatz  7748 

Chi  ne  fa  ne  aspetta,  ballet.     See  Cimarosa's  Volodomiro. 

Chi  non  fa,  non  falla.  Divertimento  comico,  per  musica.  Da 
rappresentarsi  nel  Teatro  di  Sant'  Angelo  per  I'A^nsa  dell'  anno 
1732. 

Venezia,  Carlo  Buonart^igo,  n.  d.     1^.8  p.     15^^. 

Three  acts.  By  the  composer,  Giuseppe  Maria  Buini  (Schatz).  Notice  to  the 
reader,  without  names  of  the  librettist  and  the  composer. 

First  performed  at  Bologna,  Teatro  Marsigli  Rossi,  carnival,  1729.      Schatz  1391 

Chi  piu  sa  manco  Tintende,  overo  Gli  amori  di  Clodio  e  Pompea. 
Dranima  messo  in  musica  da  Antonio  Draghi,  vice  maestro  di  cap- 
pella  della  Sac.  Ces.  Real  Maestk  dell'  imperatrice  Eleonora. 

Vienna  d' Austria,  Matteo  Cosmeromo,  1669.     8  p.  I.,  72  p.     15'^^. 

Three  acts.  By  Cav.  Ximenez,  who  does  not  sign  the  lengthy  preface,  "Ser.™» 
Muse,"  a  notice  to  the  "Amico  lettore,"  argument,  and  scenario. '  The  author  men- 
tions Lodovico  Brunacina  [recte  Bumacini]  as  the  designer  of  the  scenery,  etc.,  and 
says  that  most  of  the  ballet  airs  were  composed  by  Santo  Ventura,  but  some  by  Giov. 
Enrico  Schmelzer. 

First  performed  at  Vienna,  Theater  der  Kaiserl.  Bui^,  1669,  with  arias  by  emperor 
Leopold  I.  Schatz  2805 

Argomento  et  allegoria  della  comedia  musicale  intitolata  Chi  soffre 
speri. 
Roma,  Stamperia  delta  Rev.  Camera  Apostolica,  1639.     16  p.     20'^^. 

Three  acts,  with  prologue.  Neither  the  author,  cardinal  Giulio  Rospigliosi,  nor  the 
composers,  Virgilio  Mazzocchi  and  Marco  Marazzoli,  are  mentioned,  nor  the  date  of 
performance,  Rome,  Palazzo  Barberini,  February  27,  1639.  Schatz  6223 

Chi  sta  ben  non  si  muova.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Regio  Teatro  di  via  della  Pergola  la  primavera  del 
MDCCLXXXVII  .  .  . 

Fienze,  Stamperia  gia  Albizziniana,  1787.     36  p.     W^''^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Cast  and  name  of  Ferdi- 
nando  Bobusclu  as  the  composer.  Schatz  8843 

Chi  tutto  abbraccia  nulla  stringe.  Dramma  giocoso  per  musica 
da  rappresentarsi  nel  Teatro  Giustiniani  di  San  Moise  I'autunno  dell' 
anno  1573  [!]. 

Venezia,  Modesto  Fenzo,  1753.     47  p.     IS*""^. 

Three  acts.  By  Bartolomeo  Vitturi,  who  is  not  mentioned.  Argument,  scenario, 
cast,  and  name  of  Giuseppe  Scolari  as  the  composer.  Schatz  9791 

Chi  vuol  non  puole.  Dramma  »iocoso  per  musica  da  rappresen- 
tarsi nel  nuovo  Teatro  di  Vicenza  restate  dell'  anno  1795  .  .  . 

Vicenza,  Vendramini  Mosca,  n.  d.     5 4  p.     17 Y'^. 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Domenico  Delia 
Maria  as  composer.  Author  unknown  to  Schatz,  who  claims  that  the  libretto  origi- 
nally was  called  "II  vecchio  burlato."  With  the  opera  were  performed  the  ballets, 
"La  presa  de  Marochini"  and  "Le  reclute  per  inganno,"  both  by  Innocenzo  Parrodi, 
and  a  third  ballet,  the  title  of  which  is  not  given.  The  composers  of  the  music  are 
not  mentioned.  Schatz  2493 


OPERA  LIBRETTOS  279 

Le  chiajese  cantarine.  Pazzia  pe  mmuseca  de  nota  Pietro  Trin- 
chiera.  Da  rappresentarese  a  lo  Teatro  Nuovo  a  Monte  Cravario 
nchisto  came  vale  venture  de  chisto  corrente  anno  1754. 

Nnapole,  Se  venneno  a  la  porta  de  lo  teatro,  n.  d.     2  p.  I.,  72  p. 

Three  acts.  Cast  and  note  that  the  arias  "Doje  note  solamente"  (I,  2),  "Mo  h  no 
tiempo  de  campare"  (I,  10),  "lo  vorria,  bellezza  cara"  (II,  4),  etc.,  (the  majority) 
were  composed  by  Nicola  Logroscino,  "Bene  mio,  ca  gi^  mme  pare"  (I,  1),  "Si  la 
tempesta  vide  scetata"  (I,  4),  "Oh  che  gusto,  che  sente  sto  core"  (I,  9),  etc.,  by 
Domenico  Fischietti,  "Sii  le  piume  de'  soapiri"  (I,  5),  "lo  tradirti!  e  con  qual 
cuore?"  (II,  2),  etc.,  by  Giacomo  Maraucci.  According  to  Schatz  the  title  of  the 
text  originally  was  "L'abate  CoUarone."  ML  50.2.C45 

II  chiamantesi  filosofo.     A.  T.  of  Portugal's  Non  irritare  le  donne. 

La  Chiarina.     Intermezzi  in  musica  a  tre  voci  da  rappresentarsi  nel 
Teatro  della  Pace  il  carnevale  dell'  anno  1754  ,  .  . 
Roma,  neUa  libraria  di  S.   Michele  a  Ripa  Grande,  1754.     23  p. 

Two  parte.  Author  not  mentioned  and  unknown  to  Schatz.  Impresarios'  dedi- 
cation, cast  and  name  of  Binaldo  di  Capua  as  composer.  ML  50.2.C46R3 

The  children  in  the  wood,  an  opera,  in  two  acts,  as  performed  at 
the  Royal  Theatres  of  Drury-Lane  and  the  Hay-market. 

London,  Printed  for  the  curious  and  not  sold  hy  the  hooTcseUers  in 
general,  1794.     36  p.     18""^. 

Cast.  Neither  the  author,  Thomas  Morton,  is  mentioned,  nor  the  composer, 
Samuel  Arnold. 

First  performed  at  the  Haymarket,  October  1,  1793.  Longe  233 

—  The  children  in  the  wood.  A  musical  piece,  in  two  acts.  With 
the  additions  and  alterations,  as  performed  by  the  Old  American 
Company. 

New  York,  Printed  at  the  Columbian  Press  for  Benjamin  Gomez, 
1795.    fr(mt.,57p.     17<^'^. 

The  front,  represents  Mr.  Hodgkinson  as  Walter,  and  Mr.  Lee  as  Oliver. 

Two  acts.    Cast.    Neither  the  author  is  mentioned,  nor  the  composer. 

First  performed  at  New  York  December  26,  1794;  at  Philadelphia,  South wark 
Theatre,  November  24,  1794,  with  the  additional  music  by  Benjamin  Carr. 

PR  1241.D7     V.  4 

Chilonida.  Dramma  per  musica  da  rappresentarsi  il  carnevale  dell' 
anno  MDCCX.     Posto  m  musica  dal  Sig.  Marc'  Antonio  Ziani  .  .  . 

Vienna  d^ Austria,  gli  Heredi  Cosmeroviani,  n.  d.     83  p.     l^-Y'^- 

Three  acts.    Argument,  scenario,  and  notice  to  the  reader: 

"Per  un  sovrano  comando  h  stata  forza  il  mutare  diverse  ariete  nel  presente  dramma, 
che  fii  composto  molti  anni  sono  dal  conte  Nicol5  Minato.  Volendo  perci6  chi  h^ 
avuto  la  commissione  di  cambiarle,  far  conoscere  di  non  aver  posto  mano  nelle  opere 
degli  altri,  che  per  motivo  d'ubbidienza,  h^  segnato  con  due  virgolette  al  capo  di  ogni 
verso  le  composte  da  lui,  perche  non  siano  attribuiti  all'  autore  del  drama  gli  altrui 
difetti.  Sappi  dunque,  che  toltene  le  arietta  sopraccennate,  e  qualche  piccola  muta- 
zione,  fattasi  necessariamente  nella  scena  X  dell'  atto  secondo,  tutto  il  restante  si  h 
rifitampato  fedelmente  secondo  la  prima  Impressione,  e  vivi  felice." 

First  performed  at  Vienna,  Burgtheater,  April  21,  1709.  Schatz  11204 

Chimene  ou  Le  Cid.     French  version  of  Sacchini's  II  Cidde. 


280  LIBRARY   OF  CONGRESS 

Les  chimeres,  op^ra-comique,  en  deux  actes.  Pr6c6d6  d'un  pro- 
logue, &  suivi  d'un  divertissement.  Jou6  h  la  Foire  Saint-Germain 
en  1726. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  4,  [115\-25S  p. 

En  vaudevilles.  Parfaict,  without  mentioning  the  composer,  enters  this  as  "Les 
chimeres  ou  Le  bonheur  de  I'illusion  .  .  .  representee  le  Samedi,  3  fevrier  1725. 
non  imp."  PQ  2019. P6 

H  chimico.  Commedia  in  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuele  nel  carnovale  1757. 

Veneda,  Modesto  Fenzo,  1757.     69  p.     l^Y"^. 

Three  acts.  Cast,  scenario,  and  name  of  the  composer,  Legrenzio  Vincenzo  Ciampi. 
The  author  is  unknown  to  Schatz.     The  text  is  not  that  by  Antonio  Palomba. 

SCHATZ  1885 

II  chimico.  Commedia  per  musica  di  Antonio  Palomba  Napolitano 
da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nell'  inverno  di 
quest  anno  1742  .  .  . 

Napoli,  Nicolo  de  Biaso,  174£.     66  p.     i5'="'. 

Three  acts.  Impresario's  dedication,  argument,  cast,  and  name  of  Antonio  Palella 
as  the  composer.  Schatz  7711 

Chinafarerne.     Syngestykke  i  to  acter,  med  en  mellem-act. 
n.i.,n.d.     p.  287-374.     17^"^. 

Detached  copy.  Neither  the  author,  Peter  Andreas  Heiberg,  nor  the  composer, 
Claus  Schall,  is  mentioned. 

First  performed  at  Copenhagen,  Royal  Theater,  March  2,  1792.  Schatz  9583 

II  Chinese,  ballet.     See  Luigi  Piccinni's  L'amante  statua. 
II  Chinese,  ballet.     See  Trento's  La  finta  amalata. 

II  Chinese  in  Italia.  Dramma  giocoso  per  musica  di  Alessandro 
Pepoli  da  rappresentarsi  nel  nobile  Teatro  Giustiniani  di  San  MoisS 
I'autunno  dell  anno  1793. 

Venezia,  Modesto  Fenzo,  1793.     60  p.     8°. 

Two  acts.  Cast,  scenario,  and  name  of  Francesco  Bianchi  aa  composer.  The 
two  ballets,  by  Urbano  Garzia,  composer  not  mentioned,  were  callea  "Giulia  e 
BUnval"  and  "II  matrimonio  per  aetuzia."  Schatz  977 

The  Chinese  orphan:  An  historical  tragedy.    Alter'd  from  a  speci- 
men of  the  Chinese  tragedy  in  Du  Halde  s  History  of  China.     Inter- 
sper'd  with  songs,  after  the  Chinese  manner  .  .  . 
London,  Charles  Corhett,  1741.     vii,  [1],  75,  [1]  p.     20'='^. 

Five  acts.     Dedication  signed  by  the  author,  William  Hatchett. 

Performance  not  recorded.  Longe  125 

Die  Chineser.  Ein  musicalisches  sing-gedicht,  so  auf  dem  Chur- 
fuerstl.  Theatro  aufgefuehret  in  Mannheim  an  1756. 

[Mannheim],  Churfuerstl.  huchdruckerey ,  n.  d.     1  p.  I.,  53  p.     16^^. 

One  act.  Dedicatory  sonnet,  cast,  and  name  of  Ignaz  Holtzbauer  as  the  com- 
poser ("eine  neue  composition").  Apparently  the  translation  of  Metastasio's  "Le 
Cinesi,"  Schatz  4780 


OPERA   LIBRETTOS  281 

Der  chinesische  held,  ein  musicalisches  schauspiel  des  herrn  abt 
Peter  Metastasio  .  .  .  welches  an  dem  kaiserlichen  hof  von  dameu 
und  cavaliers  im  jahre  1752.  Waelsch  gesungener  vorgestellt,  anjetso 
aber  in  das  teutsche  uebersetzt  worden  von  L.  L.  von  C. 

Wienn,  zujinden  in  Krausens  huchladen,  1755.     64  p.     Jf7*"". 

Three  acts.  Argument.  A  translation  of  Metaetaeio's  "L'Eroe  cineee,"  which 
wae  firet  performed  with  mueic  by  Giuseppe  Baptista  (Joeephue  Johannes  Bonno), 
who  is  not  mentioned  in  the  translation,  at  Schonbrunn,  May  13, 1752.     Schatz  1197 

Der  chinesische  held.     Tr.  of  Hasse's  L'eroe  cinese. 

Der  chinesische  held.     Tr.  of  Sacchini's  L'eroe  cinese. 

Den  chinesiske  helt.     Tr.  of  Sacchini's  L'eroe  cinese. 

Les  Chinois.     See  II  Cinese  rimpatriato. 

Le  Chinois  poli  en  Prance.     See  II  Cinese  rimpatriato. 

The  choice  of  Harlequin;  or,  The  Indian  chief.  A  pantomimical 
entertainment;  in  two  parts;  as  it  is  acted  with  the  highest  applause, 
at  the  Theatre  Royal,  Covent  Garden. 

London,  Sold  at  No.  38,  ClerkenweU  Close,  and  hy  Mr.  G.  Riley,  1782. 
32  p.    21'^'^. 

Cast,  "Order  of  the  procession,"  and  editor's  dedication  to  Thomas  Harris,  in  which 
he  claims: 

"That  the  Choice  of  Harlequin  has  succeeded  beyond  any  modem  pantomime  is 
not  to  be  wondered  at,  when  we  consider  the  pomp  of  the  scenes,  and  the  marked 
originality  with  which  they  are  displayed." 

The  composer,  Michael  Ame,  is  not  mentioned.  Biog.  Dram,  attributes  the  text 
to  Messink. 

First  performed,  as  indicated,  December  26,  1781.  Longe  102 

—  Songs,  etc  in  the  new  pantomime  called  The  choice  of  Harlequin. 

n.  %.,  n.  d.     16  p.     20'^'^. 

Two  parts.  ML  52.2.C3 

The  choleric  fathers.     A  comic  opera.     Performed  at  the  Theatre- 
Royal  in  Covent-Garden.     By  Thomas  Holcroft. 
London,  G.  G.  J.  and  J.  Robinson,  1785.     2  p.  I.,  70,  {1\  p.     21^"^. 

Three  acts.  Cast,  and  on  the  last  (unnumb.)  p.  the  note  that  "the  third  song  in 
the  third  act  ('Cupid,  sure,  of  cunning  knaves')  is  written  by  a  friend  of  the  author's, 
and  two  others  have  before  appeared  in  print."  The  composer,  William  Shield,  is 
not  mentioned. 

First  performed  November  10,  1785,  as  indicated.  Longe  96 

Les  chouans  de  vitre,  fait  historique,  en  un  acte,  en  prose,  par  F.  G. 
Desfontaines.  Represent e  pour  la  premiere  fois  sur  le  Theatre  du 
Vaudeville,  le  24  Prairial  ae  I'an  second  de  la  R^publique  une  et 
indivisible.     [June  12,  1794] 

Paris,  Au  Theatre  du  Vaudeville,  an  deuxieme  [1793-94].     4'^  P-  20'^'^. 

Cast.  Interspersed  with  vaudevilles  and  airs,  some  of  which  are  printed  in  the  text. 
Not  recorded  by  CI.  &  L.  or  Schatz.  ML  48.M2L 

Gesaenge  aus  der  christlichen  Judenbraut.     Eine  komische  oper 
in  zwey  aufzuegen.     Die  musik  dazu  ist  von  herrn  Panek.     Au%e- 
fuehrt  von  der  Mihuleschen  gesellschaft. 
Augsburg,  n.  publ,  1793.    48  p.     W"^. 

By  Franz  Xavier  Girzik,  who  is  not  mentioned. 

First  performed  at  Augebui^,  Stadtschauepielhaus;  at  Preseburg,  Private  theater 
of  Count  Erdody,  1788.  Schatz  7762 


282  LIBRARY  OF   CONGRESS 

A  new  dramatic  entertainment,  called  A  Christmas  tale.     In  five 
parts.     As  it  is  performed  at  the  Theatre  Royal  in  Drury-Lane. 
Embellished  with  an  etching,  by  Mr.  Loutherbourg. 
Londcm,  T.  Becket,  177 4.     5  p.  I,  (incl  front.) ,  76  p.     W'^. 

Cast,  prologue,  prefatory  note,  and  name  of  Charles  Dibdin  as  composer.    The  text 
was  imitated  from  "La  f6e  Urg^le,"  by  David  Garrick,  who  is  not  mentioned. 
First  performed  at  London,  Drur>'  Lane,  October  27, 1773.  Lonoe  16 

Chrononhotonthologos.     See  The  tragedy  of  .  .  . 

Ciana.     L.  T.  of  Latilla's  Madama  Ciana. 

U  ciarlatano.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  MoisS  nell  autunno  dell'  anno  MDCCLIX. 
Venezia,  Modesto  Fenzo,  1759.     70  p.     15^"^. 

Three  acts.  By  Carlo  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  Giuseppe  Scolari  as  composer.  Schatz  9793 

II  ciarlone.     L.  T.  of  d'Avossa's  La  papilla  ed  il  ciarlone. 

II  Ciclope. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755.  t.  vii,  [391]- 
898  p.     16^"^. 

One  act.  ML  49C.A2M42 

—  H  Ciclope.  Breve  cantata  a  due,  scritta  dall'  autore  in  Vienna,  ed 
eseguita  privatamente  in  corte  I'anno  1754,  d'ordine  dell'  imperator 
Francesco  I,  desideroso  di  far  prova  della  distinta  voce  di  basso  d'un 
suo  confidente  domestico. 

[429]-4S4  p-  26'^'^.  {Pietro  Metastasio,  Opere,  t.  ii,  Parigi,  vedova 
Eerissant,  1780.) 

HL  49.82M44 

II  Cid.     L.  T.  of  Sacchmi's  II  Cidde. 

Le  Cid.     A.  T.  of  Sacchini's  Chimene. 

II  Cidde.     Dramma  per  musica  da  rappresentarsi  in  Lisbona  nel 
Teatro  della  rua  dos  Condes  nell'  inverno  dell'  anno  1773. 
[Lishona],  Stamperia  reale,  n.  d.     76  p.     15Y^. 

Three  acts.  Argument,  cast  and  names  of  Giovacchini  Pizzi  as  the  author,  of 
Antonio  Sacchini  as  the  composer. 

First  performed  at  Rome,  Teatro  di  Torre  Argentina,  carnival  1769.  Wotquenne 
(Brussels  catalogue)  speaks  of  a  "Chimena,"  firet  performed  at  Rome  in  1762  but 
Buch  a  work  is  not  recorded  by  Schatz.  Schatz  9223 

—  II  Cid,  an  opera;  as  performed  at  the  King's  Theatre  in  the  Hay- 
market.     The  music  by  Signor  Antonio  Sacchini,  a  Neapolitan  com- 

Eoser.     The  poetry  by  Giovan  Gualberto  BottarelU.     The  translation 
y  Botarelli,  jun.  .  .  . 
Lmdon,  W.  Griffin,  1773.     VIII,  47,  [1]  p.     19'='^. 

Three  acts.  The  VIII  p.  contain  a  dedication  by  the  author,  to  the  count  de 
Lauraguais,  dated  London,  January  14,  1773,  just  as  flattering  to  the  recipient  as  to 
Sacchini  and  the  danseuse  Heinel.  This  is  followed  by  a  rather  self-adulatory  letter 
sent  by  the  count  de  Lauraguaisto  BottarelU  in  response  to  one  from  this  gentleman. 
It  is  dated  Brompton,  January  15,  1773,  and  in  it  the  count  says: 

"car  lorsque  Shakespear  etoit  barbare  et  sublime,  tout  le  reste  I'^toit  barbare  et 
ridicule.  J'ai  b^ti  le  theatre  que  les  gens  de  goiit  desiroient  depuis  long-tems.  Si 
e'est  le  motif  du  tribut  que  voua  me  rendez,  il  est  raisonnable." 


OPERA   LIBRETTOS  283 

II  Cidde — Continued. 

In  his  notice  to  the  reader  Bottarelli  eays  "that  no  longer  than  five  weeka  were 
employed  in  the  composing  of  this  piece,"  meaning  of  course,  his  "composing"  not 
the  composition  of  Sacchini  in  which  part  of  the  original  1769  score  was  used.  Not 
the  same  as  Pizzi's  text. 

First  performed  as  indicated  in  January  1773.  Schatz  9246 

—  Chimene,  ou  Le  Cid,  trag^die  en  trois  actes,  representee  devant 
Leurs  Majestes  a  Fontaine bleau. 

Paris,  P.  R.  C.  Ballard,  1783.     3  p.  ?.,  47  p.     18'=^. 

Cast  and  names  of  Guillard  as  the  author,  of  Sacchini  as  the  composer.  Several 
numbers  of  Sacchini 's  Italian  version  are  known  to  have  been  retained. 

First  performed  as  indicated  November  18,  1783,  at  the  Academie  royale  de 
musique,  February  9,  1784.  Schatz  9224 

^Cidippe.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Cana- 
reggio.     L'anno  MDCLXXXIII. 

Venetia,  Francesco  Nicolini,  1683.     57  p.     14*^^. 

Three  acts.  By  conte  Niccol6  Minato,  but  with  the  addition  of  "alcune  canzonette  " 
printed  with  quotation  marks,  as  for  instance  the  very  first  "Giri  pure  la  Fortuna." 
Argument,  notice  to  the  reader  and  scenario.  Neither  the  author,  nor  the  com- 
poser Antonio  Draghi  is  mentioned. 

In  its  original  form  first  performed  at  Vienna,  Hoftheater,  November  18,  1671 
with  one  aria  by  the  emperor  Leopold  I.  Schatz  2807 

II  cieco  d'acuta  vista.     A.  T.  of  C.  F.  Pollaroli's  II  Licurgo. 

La  Cifra.     Dramma  giocoso  per  musica  da  rappresentarsi  nel  Teatro 
Grande  alia  Scala  I'autunno  aell'  anno  1790  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     76  p.     15Y™'. 

Two  acts.  Impresario's  dedication  dated  Milan,  October  16,  1790,  cast,  scenario 
and  name  of  Antonio  SaJieri  as  the  composer.  The  text  was  by  Giuseppe  Petrosellini, 
with  alterations  by  Lorenzo  da  Ponte,  neither  of  whom  is  mentioned.  With  the 
opera  was  performed  Pietro  Angiolini's  ballo  eroico  "Rinaldo  e  Armida,"  the  com- 
poser of  the  music  not  being  mentioned. 

First  performed  at  Vienna,  Hoftheater,  December  11,  1789,  as  "La  dama  pasto- 
rella",  at  Rome,  Teatro  Valle,  carnival  1780.  Schatz  9281 

—  La  cifra.  Dramma  giocoso  per  musica  da  rappresentarsi  nel  Reg- 
gio  Teatro  di  S.  Carlo,  della  Principessa  la  prima  vera  dell'  anno  1796. 

Lishona,  Simone  Taddeo  Ferreira,  1796.     183  p.     15'^^. 

Two  acts.  Lorenzo  Da  Ponte  is  mentioned  as  author,  Antonio  Salieri  as  com- 
poser. Portuguese  translation  faces  Italian.  With  the  opera  was  performed,  com- 
poser of  the  music  not  mentioned,  Pietro  Angiolini's  ballet  "Gli  studi  interotti." 

ML  48.C6II 

—  Arien  und  gesaenge  aus  der  komischen  oper  in  zwey  aufzuegen 
Das  kaestchen  mit  der  chiffer.  Die  composition  ist  von  herm 
capellmeister  Salieri. 

Berlin,  n.  puhl,  1793.     55  p.     15'='^. 

Caet.    The  translator,  Christian  August  Vulpius,  is  not  mentioned. 

First  performed  at  Berlin,  kgl.  Nationaltheater,  February  25, 1793.    Schatz  9282 

—  Die  entzifferung,  eine  komische  oper  in  zwey  aufzuegen.  Die 
musik  ist  vom  kapellmeister  Salieri. 

n.  i.,  1795.    55  p.     15^"^- 

The  translator,  Heinrich  Gottlieb  Schmieder,  is  not  mentioned. 

First  performed  at  Hannover,  Schlosstheater,  June  5,  1792.  Schatz  9283 


284  LIBRARY   OF   CONGRESS 

Cimene.  Tragedia  da  cantarsi  nel  Te^tro  in  S.  Angelo  nelle  notte 
autuimali  I'anno  MDCCXXI. 

Venezia,  Marino  Rossetti,  1721.     48  p.     15'^'^. 

Five  acts.  By  Benedetto  Paequaligo.  Argument,  cast,  scenario,  but  without 
names  of  composers  Girolamo  Bassajxi,  and  Marco  Zucchini,  or  librettist. 

SCHATZ  637 

II  Cinese  rimpatriato. 

Intermezzo  by  Giuseppe  Sellitti,  first  performed  at  Paris,  June  19,  1753. 

Libretto  not  in  L.  of  C. 

According  to  de  La  Laurencie  in  S.  I.  M.  1912,  nos.  7/8,  p.  14  "II  Cinese  rimpa- 
triato "  was  given  with  an  overture  by  Jommelli  and  contained  among  others  the  ariaa 
"Mi  sta  d'incanto,"  "Gi^  colmo  di  piacere,"  "lo  sono  una  donzella"  and  "Zerbi- 
notti  d'oggidi." 

-:-  Le  chinois  poll  en  France,  parodie  du  Chinois  de  retour,  inter- 
mede  italien.     En  un  acte.     Representee  pour  la  premiere  fois  sur 
le  The&tre  de  la  Foire  S.  Laurent,  le  samedi  20  juillet  1754.     Par  M. 
Anseaume. 
Paris,  Duchesne,  1754.     48  p.     21  <=^. 

Parodied  from  SeUitti's  "II  Cinese  rimpatriato." 

On  p.  33^8,  the  melodies  of  the  three  "Ariettes"  and  the  Duo,  "L'amour  d'un 
trait  vainqueur."  Of  these  "  Petits  maitres  sans  cervelle"  was  the  same  as  Sellitti's 
"2ierbinettid'o^di."  The  "Airs"  are  indicated  by  title  or  first  words.  Schatz9828 

—  Les  Chinois,  comedie  en  nn  act,  en  vers,  mesl^e  d'ariettes ; 
parodie  del  Cinese:  representee  pour  la  premiere  fois  par  les  Come- 
diens  italiens  ordinaires  du  roi,  le  18  marc  1756.     Nouvelle  edition. 

Paris,  N.  B.  Duchesne,  1759.  80  p.  19""^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  Hi.) 

Cast.  On  p.  [40],  a  "Catalogue  de  musiques  nouvelles  relatives  aux  pieces  de 
theatres,  &  autres."     On  p.  41-80,  eleven  "Ariettes  du  Chinois,  intermede. 

The  text  was  not  wholly  by  Favart.  He  wrote  it  "avec  M.  Naigeon,  1756,"  as 
appears  from  p.  xix  of  the  preface  of  the  first  volume  of  his  "Theatre."  As  the  text 
gives  the  source  of  most  of  the  ariettes,  we  know  that  the  music  of  "Je  vais,  grace  k  ma 
fiUe"  was  the  same  as  of  "Gik  colmo  di  piacer,"  in  Sellitti's  "Cinese,"  likewise  of 
"Que  je  baise  cette  main"  (="Zerbinetti  d'oggidi"),  and  of  "Avec  adresse,  a  ta 
maitresee"  (="Mi  st^  d'accanto")  and  that  "Qu'une  fete  pour  ce  soir"  (="Que8to 
foglio"),  and  "Qu'il  tombe  qu'il  meure"  (="Lo  voglio  scannare")  are  from  Pergo- 
lesi's  TracoUo.  "Ma  fiUe,  ma  chere  fiUe"  has  been  identified  by  Wotquenne  as 
"Ricerca  il  caro  bene"  in  Cocchi's  "La  scaltra  govematrice,"  and  "Sous  votre 
empire"  as  "Non  son  piccina"  in  the  same  opera.  "II  m'a  d^mis  I'alouette"  is  a 
vaudeville.  The  final  chorus  "Epouse  aimante"  and  the  air  "  Son  coeur  d'abord 
palpite"  (=Mh'a  detto  la  mia  mama)  have  not  been  identified  by  Wotquenne. 

ML  49.A2F1 

—  Les  Chinois,  comedie  en  un  acte,  en  vers,  m^l^e  d'ariettes, 
parodie  del  Cinese,  par  Mr.  Naigeon. 

Amsterdam,  la  veuve  de  J.  F.  Jolly,  1760.     45,  [3]  p.     16""^. 

Cast,  which  is  the  same  as  in  the  preceding  entry.  The  three  additional  pages  con- 
tain "Divers  pieces  de  theatre  separ^." 

On  p.  [331-45,  the  melodies  of  three  "Airs  choisis  des  Chinois." 
First  performed  at  Amsterdam,  1760. 

ScHATZ  9825 

Le  Cinesi.     Componimento  drammatico  che  introduce  ad  un  ballo. 
Meta^tasio,  Poesie,  Parigi,  vedova  Quillau,  1755,  t.  iv,  [441]-463  p. 

One  act.    See  also  Un  ballo  cinese.  ML  49.A2M42 


OPERA  LIBRETTOS  285 

Le  Cinesi — Continued. 

—  Le  Cinesi.  Questa  azione  teatrale  fu  scritta  in  Vienna  dall'  autore 
per  tre  soli  personaggi,  I'anno  1735  .  .  .  per  servir  d'introduzione  ad 
un  ballo  cinese:  e  venne  rappresentato  con  musica  del  Reiitter,  fra 
i  trattenimenti  del  carnevale  negF  interni  appartamenti  imperial!, 
dalle  AA.  RR.  delle  arciduchesse  Maria  Teresa  (poi  Imperatrice 
regina)  e  Marianna  di  lei  sorella,  e  da  una  dama  della  corte  Cesarea. 
Fu  poi  replicata  da  musici,  e  cantatrici,  Tanno  1753,  col  quarto  per- 
sonag^io  aggiuntovi  dalF  autore  ad  altrui  istanza,  in  una  signorile 
abitazione  di  campagna  di  S.  A.  S.  il  principe  Giuseppe  di  Saxen- 
Hildburghausen,  fra  gli  altri  magnifici  divertimenti  dati  dal  mede- 
simo  alia  Maesta  imperiali  di  Francesco  I  e  Maria  Teresa,  ne'  giorni 
in  cui  piacque  loro  di  far  ivi  dimora. 

[379]-404  P-  26'^^.  (Pietro  Metastasio,  Opere,  t.  ii,  Parigi,  vedova 
Herissant,  1780.)  ^ 

One  act.    I  have  seen  it  stated  that  Caldara  was  the  composer.     ML  49.A2M44 

Cinna.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scaia  il  carnevale  dell'  anno  1793  .  .  . 

Milano  Gio.  Batista  Bianchi,  n.  d.    5^  p.    8^. 

Three  acts.  By  Angelo  Anelli,  who  is  not  mentioned.  Impresario's  dedication, 
dated  Milan,  December  26,  1792,  argument,  cast,  scenario,  and  name  of  Bonifazio 
Asioli  as  composer.  The  libretto  of  the  opera  is  followed  (1  p.  1.,  8  unnumb.  p.)  by 
ai^ument,  cast,  and  detailed  description  of  "Gli  Sciti,  ballo  tragico  pantomimo  in 
cinque  atti  inventato,  e  diretto  dal  Sig.  Filippo  Beretti  da  eseguirsi  nel  Teatro  alia 
Scala  di  Milano  il  carnevale  dell'  anno  1793."    Composer  of  the  music  not  mentioned 

SCHATZ  348 

II  Cinna.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Nuovo  Teatro  di  Padova  la  fiera  di  Giugno  an.  1795  .  .  . 
Padova,  li  Fratelli  Conzatti,  n.  d.     Jfi,  15  p.     8° 

Two  acts.  By  Angelo  Anelli,  who  is  not  mentioned.  Dedication,  argument, 
scenario,  cast,  and  name  of  Ferdinando  Per  (Paer)  ae  the  composer.  With  the  opera 
were  performed  Gaspare  Ronzi's  ballets,  "La  morte  di  Calisto'  and  "L'equivoco,"  of 
which  the  15  additional  p.  contain  argument,  cast,  description  of  the  five  acts,  name  of 
Vittorio  Trento  as  composer  of  the  music  ("tutta  nuova"),  and  Ronzi's  dedication, 
dated  Padova,  Jime  13, 1795.  Schatz  7560 

Li  cinque  pretendenti.     L.  T.  of  Bernardini's  La  donna  di  spirito. 

A  new  opera,  call'd  Cinthia  and  Endimion:   or,  The  loves  of  the 
deities.     As  it  was  designed  to  be  acted  at  court,  before  the  late 
queen;   and  now  acted  at  the  Theatre  Royal,  by  His  Majesty's  ser- 
vants.    Written  by  Mr.  D'Urfey. 
London,  Sam.  Briscoe  and  R.  Wellington,  1697.     4  P-  ^-i  4^  P-     21V'^. 

Errors  in  paging  between  p.  10  and  17. 

Five  acts.  Prologue,  epilogue,  dedication.  The  composer,  Daniel  Purcell,  is 
not  mentioned.  Longe  224 

Circe.     A  tragedy.     As  it  is  acted  at  His  Royal  Highness  the  duke  of 
York's  Theatre.     By  Charles  D'Avenant  .  .  .     The  third  edition. 
London,  Jacob  Touson,  1703.     2  p.  I.,  55,  [1\  p.    22'^'^. 

Five  acts.  Entered  because  of  the  more  than  customary  space  given  to  songs  and 
incidental  music.    The  composer,  John  Banister,  is  not  mentioned. 

First  performed  1677,  as  indicated.  Longe  128 


286  LIBRARY  OP  CONGRESS 

La  Circe.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Grande 
alia  Scala  di  Milano  il  camevale  dell'  anno  1 783  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     64  p-     W*^"^. 

Three  acte.  By  Domenico  Perelli,  duca  di  Monestarace  (not  mentioned).  Dedica- 
tion, argument,  cast,  scenario,  and  name  of  the  composer,  Cimarosa.  With  the  opera 
were  performed  Domenico  Rossi's  ballets:  "Alessandro  nell'  Indie,"  "II  giardino  cfelle 
Tuillerie  in  Parigi,"  and  "Ciacona."    The  composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  December  26,  1782.  Schatz  2005 

Second  copy,    ML  48. A5  v.  8 

Circe.     Tragedie  en  musique.     Representee  par  I'Academie  roj^alle 
de  musique.     Suivant  la  copie  imprim^e  k  Paris. 
Amsterdam,  Antoine  Schelte,  1695.     59  p.  Unci,  front.).     14^. 

Prologue  and  five  acts.  Neither  the  author,  M™®  de  Saintonge,  nor  the  composer, 
Desmarets,  is  mentioned. 

First  performed,  as  indicated,  October  1,  1694.  ML  50.2.C5D2 

—  Circ6,  tragedie  representee  par  PAcademie  royale  de  musique  I'an 
1694.  Les  paroles  de  Mad.  Xaintonge,  &  la  musique  de  M.  Des- 
marets.    XaXIII.  opera.     Tome  V. 

n.  i.,  n.  d.  v.  front,  p.  1-66  {Jtecueil  general  des  opera,  Paris,  1703), 
IJi.""^. 

Detached  copy.    Prologue  and  five  acts.  Schatz  2530 

ML  48. R4    Second  copy. 

La  Circe.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  I'anno  MDCLXXIX  .  .  . 

Venetia,  Francesco  Nicolini,  1679.  6  p.  I.,  46,  [1]  p.  14*^^- 
Three  acts.  By  Cristoforo  Ivanovich,  who  dates  his  dedication,  Venice,  January 
23,  1679.  Argument,  scenario,  and  printer's  notice  to  the  reader,  in  which  he  says: 
"...  per  farti  piu  delitioso  il  periodo  camovalesco,  k  Sant'  Angelo,  fk  rappre- 
eentar  questo  scherzo  di  penna  il  Signor  Francesco  Santurini.  La  riforma  datali  dal 
Buo  autore  per  conformarlo  all'  uso  corrente,  h  stata  causa  di  vestirlo  di  nuova  musica, 
fatta  dal  Signor  Freschi  ..."  Schatz  3347 

Circe.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  S.  Benedetto  la  fiera  dell'  Ascensione  dell'  anno  1786. 
Venezia,  Modesto  Fenzo,  1786.     52  p.     17""^. 

Two  acts.  By  Domenico  Perelli,  duca  di  Monestarace,  who  is  not  mentioned. 
Cast,  argument,  scenario,  and  name  of  tlie  composer,  Giuseppe  Oazzaniga.  On 
p.  23-40  cast,  preface,  and  minute  description  of  Sebastiano  Gallet's  "II  Vologeso, 
ballo  eroico  pantomimo  in  cinque  atti."    The  comp>oser  of  the  music  is  not  mentioned. 

First  performed,  aa  indicated.  May  20,  1786.  Schatz  3659 

Circe  oder  des  Ulisses  erster  theil,  in  einem  singe-spiel  vorgestellet, 
auf  dem  Hamburgischen  Schau-platz. 

Hamburg,  Nicolaus  Spieringlc,  1702.     Unpaged.     18Y'^. 

Three  acts.  Neither  the  author,  Friedrich  Christian  Bressand,  is  mentioned,  nor 
the  composer,  Reinhard  Keiser. 

First  performed  at  Brunswick,  February,  1696.  Schatz  5082 

Circe,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau-platze 
fuergestellet. 

[Hamburg],  mit  Spieringischen  schrifften,  1734-     Unpaged.     19'^^. 

Five  acts.    The  "Vorbericht"  reads  in  part: 

"Man  hat  in  gegenwaertiger  neuen  opera  Circe  .  .  .  welche  mit  der  vor  vielen 
jahren  allhier  ebenmaessig  aufgefuehrten,  keine  verwandtschafft  hat,  sich  gewisslich 
recht  beflissen,  denen  zuechauem  eine  lust  und  vergnuegung  zu  verschaffen.     Eine 


OPERA  LIBRETTOS  287 

Circe — Continu  ed . 

auglaendische  standes-pereon,  (mehr  von  Ihm  zu  ruehmen  verbeut  uns  seine  beschei- 
denheit)  [the  Dutch  minister  Johann  Mauricius]  hat  eich  die  muehe  genommen,  das 
gantze  etueck  von  anfang  biss  zum  ende,  halb  in  frantzoeischer,  halb  in  einer  andem 
frembden  sprache,  zu  heffem,  und  verschiedene  echoene  etellen  aus  den  besten 
spanischen,  frantzoesischen  und  hoUaendischen  echau-spielen,  welthe  allesammt  in 
ihrem  lande  beyfall  gefimden,  auszusuchen.  Die  uebereetzung  ist  von  einem  der 
besten  dichter  hiesiger  gegenden  [Johann  Philipp  Praetorius]  .  .  .  Die  italiaenische 
arien  sind  auf  unsrer  echaubuehne  noch  alle  neu,  und  von  den  besten  meistern  in 
Europa  .  .  .  Die  anderen  arien,  choere  und  recitative  sind  die  arbeit  des  ruhm- 
bekannten  herm  capellmeisters  Keisers  .  .  .  Uebrigena  hat  man  eein  bestee 
gethan,  durch  und  durch  daejenige,  was  dem  zuschauer  lange  weile  machen  duerffte, 
eo^aeltig  zu  vermeyden,  und  zu  dem  ende  alle  lange  recitative  eingezogen  ..." 
First  performed,  as  indicated,  March  1,  1734.  Schatz  5081 

Circe.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  San  Samuele  il  carnovale  dell'  anno  1792. 
Vmezia,  Modesto  Fenzo,  1792,     45  p.     17Y'\ 

Three  acts.  By  Domenico  Perelli,  duca  di  Monestarace,  who  is  not  mentioned. 
Argimient,  cast,  scenario,  and  name  of  Ferdinando  Per  (Paer)  as  the  composer. 
("La  musica  tutta  nuova.")  Schatz  7487 

'\  Circe  abbandonata  da  XJlisse.     Drama  per  musica  di  Aurelio 
Aureli  da  rappresentarsi  nel  famoso  Teatro  Grimano  a  SS.  Gio.  Paolo. 
Posto  in  miisica  dal  Signer  Carlo  Francesco  Polarolo  .  .  . 
Vmetia,  Nicolini,  1697.    1^8  p.     IJ^V'^. 

Three  acts.  Author's  dedication  dated  Venice,  November  12,  1697,  argument, 
and  scenario. 

First  performed  at  Piacenza,  Nuovo  Teatro  Ducale  della  Cittadella,  1692. 

Schatz  8324 

Circe  delusa.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  nel  carnovale  dell'  anno  1711  .  .  . 
Venetia,  Gio.  Battista  Tuccato,  1711.    48  p.     14^"^. 

Three  acts.  Dedication,  "notizie,  che  si  hanno  in  proposito  di  Circe,"  and 
scenario.  Neither  the  composer,  Giuseppe  Boniventi,  nor  the  librettist,  Giorgio 
Antonio  Falier,  is  mentioned.  Schatz  1186 

Cirene.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  il  carnovale  1742  ... 

Venezia,  Marino  Rossetti,  n.  d.     4^  P-     15'^^. 

Three  acts.  By  Silvio  Stampiglia,  who  is  not  mentioned.  Impresario's  dedica- 
tion dated  Venice,  January  30,  1742,  argument,  cast,  scenario,  and  name  of  Pietro 
PellegTim  as  the  composer.  Schatz  7860 

Ciro.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di  San 

Cassano  nel  carnovale  dell'  anno  1709  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.    62  p.     15*^^. 

Three  acts.  Dedication  signed  by  the  author,  P[ietrol  P[ariatil,  argument,  scena- 
rio, caet,  and  name  of  Tommaso  Albinoni  as  composer.  Schatz  115 

II  Ciro.  Drama  per  musica  del  Signor  Giulio  Cesare  Sorentino 
napoletano.  Con  prologo,  aggiunte,  mutationi  &  aggiustamenti  all' 
uso  di  questa  cittk  fatte  da  altro  soggetto  con  permissione  dell' 
autore.  Arrichite  poi  dalla  sempre  ammirabile  musica  del  Sig.  Fran- 
cesco Cavalli.  Dedicata  ...  da  Gio.  Battista  Balbi,  direttore  delle 
scene,  machine,  e  balli. 

Venetia,  Gio.  Pietro  Pinelli,  I6S4.     96  p.     IS""^. 

Three  acts,  with  prologue.  Balbi's  dedication,  dated  Janxiary  30,  1653  (i.  e.  1654), 
argument,  preface,  and  scenario. 


288  LIBRARY  OF  CONGRESS 

II  Giro — Continued. 

The  reader  is  told : 

"Questo  drama  ha  eortito  i  suoi  natali  in  Napoli,  sotto  felice  influsso  di  servire  alle 
scene  di  Venetia:  lak  quando  ^li  e'e  ritrovato  ai  qui  s'avvide,  che  non  haveva  adobbi 
air  U80  di  questa  citti.  La  dinerenza  del  costume  I'haveva,  ei  nelle  parole,  come  nel 
B(^getto,  allevato.  con  maniere  differenti  dal  genio  Veneto  delicatiseimo  in  ogni  senti- 
mento:  I'hh  preveduto  la  virth,  e  la  prudenza  dell'  auttore,  che  gli  fii  padre,  onde  hJi 
concesea  facolt^  di  regolarlo,  accrescerlo,  e  eminuirlo  .  .  .  Le  mutationi,  che  egli  hk 
fatte  nel  soggetto  poco  rileva,  che  ei  sappiano;  basta  che  sono  state  approvate,  e  conoa- 
ciute  neceesarie  per  eeguire  lo  stile  delle  nostre  scene.  Molti  eono  li  versi  mutati,  mil 
ritenuto  il  concetto,  che  vi  era  prima,  e  questi  non  importa  il  conoscerli.  Li  altri,  che 
vedrai  segnati  nel  margine  con  questo  segno  ,,  sono  quelli  che  intieramente  sono  stati 
a^ionti,  si  come  anco  il  prologo  h  d'inventione  di  questo  sogetto  gisi  qualche  tempo 
discorsa  anco  d^  lui  &.  qualche  suo  confidente:  e  hora  gli  hk  fatta  la  poesia  .  .  .  Per 
ispi^arti  la  fretta,  con  che  egli  h^  composto,  basta  che  lo  ti  giuri,  che  in  due  soli  giomi 
ha  aggiiustato  il  terzo  atto,  e  fattivi  li  versi,  che  in  quello  vedi  s^nati ,,  come  ti  h6  gii 
detto;  havendo  variato  anco  I'ordine  del  sogetto,  cn'^  molto  dinerente  dk  quello  che 
era  prima.  Egli  per6  proteeta,  e  ei  dichiara,  che  queste  mutazioni,  si  come  le  hk  fatte 
con  permissione  dell'  auttore  del  drama,  cosi  ha  mutato  non  per  migliorare,  mk  per 
accommodarsi  al  costume.  A  tutti  li  versi  aggiunti,  6  mutati  h^  fatta  la  musica  il 
Signer  Francesco  CavaHi  Apollo  dell'  armonia:  ti  direi  i  luochi  particolari  dove  la 
sentirai,  m^  basta,  che  I'ascolti,  che  senza  altra  notitia  la  riconoscerai,  per  I'esperienza 
della  sua  iequieitezza  .  .  ." 

This  would  imply  that  only  the  new  text  was  composed  by  Cavalli.  The  original 
composer  is  not  mentioned,  and  is  unknown  to  Schatz. 

First  performed  at  Venice,  Teatro  Grimani  a  SS.  Gio.  e  Paolo,  carnival,  1654. 

Schatz  1736 

—  Giro.  Drama  per  musica  nel  Teatro  a  SS.  Gio.  e  Paolo  I'anno 
1665  .  .  . 

Venetia,  Giuliani,  1665.     84  p.     14""'. 

Three  acts,  with  prologue.  Scenario,  argument,  publisher's  note  to  the  reader,  and 
his  dedication,  dated  Venice,  February  4,  1665. 

The  reader  is  informed : 

"Toma  di  nuovo  questo  drama  k  ricalcar  le  scene  del  famosissimo  Theatre  Grimani, 
dove  prima  fece  pompa  de  euoi  splendori  .  .  .  lo  troverai  fecondato  di  nuove  ariette, 
per  meglio  compiacerti.  A  queete  h^  fatta  la  musica  il  virtuoeieeimo  Signor  Andrea 
Mattioli  maetro  di  capella  dell'  A.  Sereniss.  di  Mantoa,  che  gi^  famoeo  per  molte  com- 
poeitioni  arrichite  in  altre  cittS.  col  freggio  delle  eue  note,  doppo  I'haverti  fatta  ammirar 
nel  Perseo  la  sua  virtu,  e  etato  anco  pregato  ad  illustrar  con  queste  gioie  il  presente 
drama  per  fartelo  con  nuove  gemme  comparir  pi  11  pompoeo  ..." 

As  the  text  is  practically  the  same  as  in  the  1654  ed.,  this  can  mean  only  that  music 
by  Mattioli  was  substituted  for  some  of  Cavalli's  arias.  Schatz  1753 

Giro,  musicalisches  schau-spiel  umb  wegen  der  hohen  gegenwarth 
S^  churfuerstl.  Durchl.  Clemens  Augusts,  hertzog  in  Bayern  .  .  .  im 
jahr  1733  vorgestellet  zu  werden.     Aus  dem  welschen  uebersetzet. 

Muenchen,  gedruckt  hey  Maria  Magdalena  Riedlin,  wittih.  4  V-  ^-f 
95  p.     16""^. 

Three  acts.  Italian  original  by  Leopoldo  de  Villati.  Neither  he  nor  the  com- 
poser, Giovanni  Ferrandirn',  is  mentioned.  With  "Innhalt"  and  cast.  The  dia- 
Ic^ue  is  in  German.    The  arias  are  in  Italian  with  added  German  prose  translation. 

First  performed  at  Munich,  as  indicated.  Schatz  3064 

Giro  in  Armenia,  dranuna  per  musica  da  rappresentarsi  nel  Regio- 
Ducal  Teatro  di  Milano,  nell  carnovale  dell'  anno  1754  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1753.     5  p.  I.,  59  p.     14h^™' 

Three  acts.  Dedication,  argument,  scenario,  and  cast.  The  composer,  Maria 
Teresia  Agnesi,  is  not  mentioned,  and  the  author  is  unknown  to  Schatz. 

First  performed,  as  indicated,  Dec.  26,  1753.  Schatz  61 

Giro  in  Timbraja,  ballet.    See  Guglielmi's  Gli  amanti  della  dote. 


OPERA   LIBRETTOS  289 

Ciro  in  Timbraja,  ballet.  See  Guglielmi's  Lo  sciocco'  poeta  di 
campagna. 

II  Ciro  riconosciuto. 

72  p.  19'^'^.  {Pietro  Metastasio,  Opere  drammatiche,  Venezia,  Giu- 
seppe  BeUinelli,  1733-37,  v.  4.) 

Three  acts  and  licenza.    Argument.    No  composer  mentioned.        ML  49,A2M4 

—  Giro  riconosciuto. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1765,  t.  iv,  [187]-300  p. 

Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Ciro  riconoscinto.  Rappresentato  con  musica  del  Caldara  la 
prima  volta  nel  giardino  dell'  Imperial  Favorita  ,  .  .  il  di  28  agosto 
1736,  per  festeggiareilgiomodinascitadeirimperatriceElisabetta  .  .  . 

J)Z.,  [lll]-234  p.     26'^"'.     {Pietro   Metastasio,  Opere,  t.  v,  Parigi, 
ova  Herissant,  1780.) 
Three  acts,  with  licenza.    Argument.  ML  49.A2M44 

—  Cyrus. 

Metastasio,  Tragedies-opera,  Vienne,  1751,  v.  I,  185  p.     l^*^^. 
Three  acts.     Richelet's  translation  of  "II  Ciro  riconosciuto."        ML  49.A2M47 

Ciro  riconosciuto.  Del  Signer  Pietro  Metastasio.  Dramma  per 
musica  da  rappresentarsi  nel  Teatro  di  S.  Angelo  il  camovale  dell' 
anno  1737  .  .  .     Seconda  impressione. 

Venezia,  Marino  RosseUi,  1737.     72  p.     W"^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  notice  to  the  reader  in 
which  is  said : 

"Come  h  indispensabile  la  brevity  per  il  buon  ordine  di  cotesto  Teatro,  cosi  con- 
venne,  anche  doppo  che  fu  composto  m  musica  cotesto  dramma,  per  fatale  necessita 
abbreviarlo  di  molto.  Vero  e,  che  restano  stampati  tutti  li  recitativi,  e  postilati 
quelli,  che  non  si  dicono  ...  Si  sono  pur  mutate  le  parole  di  molte  arie,  ma  nell' 
incontro  presente  non  si  b  potuto  far  k  meno  ..." 

The  composer  is  not  mentioned.  Wiel  and  Schatz  attribute  the  music  to  Galuppi, 
Allacci  and  Groppo  have  "Musica  da  diverei." 

Therefore  Wotquenne  and  with  him  Piovano  believes  that  at  least  part  of  the 
music  was  interpolated  from  Caldara's  opera  of  the  same  title,  Vienna,  August  28, 1736. 

P'irst  performed  at  Venice,  January  5,  1737.  Schatz  3517 

—  Ciro  riconosciuto.  Dramma  per  musica  da  rappresentarsi  nel 
Regio-Ducal  Teatro  di  Milano  nel  camovale  dell'  anno  1746  ...  in 
occasione  del  compimento  degli  anni  di  Sua  Maestk  Cattolica  che 
Dio  guardi. 

Milano,  Giuseppe  Richino  Malatesta,  n.  d.     4  P-  ^-j  ^^  V-     14*^- 

Three  acts.     Argument,  scenario,  cast,  and  name  of  Galuppi  as  composer. 
First  performed,  as  indicated,  December  26,  1745.  ML  50.2.C53G3 

—  Ciro  riconosciuto.  Dramma  per  musica  da  rappresentarsi  nel 
camovale  dell'  anno  1759.     Nel  nobil  Teatro  di  Torre  Argentina  .  .  . 

Roma,  Gio.  Zempel,  n.  d.     69  p.     15''^. 

Three  acts.  By  Metastasio  with  alterations  "per  accomodarsi  al  genio  presente." 
Dedication,  argument,  proteste,  scenario,  cast,  name  of  the  author  and  the  composer, 
Baldassare  Galuppi.  Schatz  3445 

72251°— VOL  1—14 19 


290  LIBRARY  OF  CONGRESS 

.  II  Giro  riconosciuto.  Drarnma  per  musica  da  rappresentarsi  nel 
Teatro  Ducale  di  Stutgart  nel  camovale  dell'  anno  1752  ...  La 
poesia  ^  del  Si^nor  aboate  Pietro  Metastasio  ...  la  musica  h  del 
Signor  Gio.  Adolf o  Hasse  .  .  . 

Stutgart,  Giovanne  Georgia  Cotta,  n.  d.     135  p.     18^'^"'. 

Three  acts.  Argument,  caet,  scenario,  German  title  page  "Der  erkennte  Cyruo" 
and  text  face  Italian. 

First  performed  at  Stuttgart,  February  11,  1752;  at  Dresden,  Hoftheater,  January 
20,  1751.  SCHATZ  4525 

Giro  riconosciuto.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Formagliari  la  primavera  dell'  anno  MDCCXLIV. 

(At  end)  Bologna,  Maria  Sassi,  1744-     1  V-  ^-i  ^^>  [-^l  V-     ^'^''"'• 
Three  acts.     Impresario's  dedication,  dated  Bologna,  May  4,  1744,  argument,  caet. 
scenario,  and  names  of  Metastasio  as  author  (with  apologies  for  the  cute  in  his  text) 
and  of  Nifjcolo  JorameUi  as  composer.  Schatz  4879 

Giro  riconosciuto.     Dramma  per  musica  da  rappresentarsi  nell' 
antico  Teatro  di  Tordinona  nel  came  vale  dell'  anno  1737  .  .  . 
Roma,  Giovanni  Zempel,  1737.     88  p.     W^^. 

Three  acte,  with  licenza.  Dedicatory  preface  by  the  impresario  Giuseppe  Pol  vino 
Falliconti,  argument,  cast,  scenario,  names  of  Metastasio,  the  author,  and  of  the  com- 
poser, Binaldo  di  Capua. 

First  performed  at  Rome,  Teatro  Tordinona,  January  19,  1737.        Schatz  8795 

II  Giro  riconosciuto.  Drama  per  musica  da  rappresentarsi  sul 
famosissimo  Teatro  di  Brunsviga  nella  fiera  d'  inverno  1'  anno  1746, — 
Der  wiedererkannte  Cyrus  .  .  . 

Braunschweig,  Friedrich  Wilhelm  Meyer,  n.  d.     Unpaged.     18*"^. 

Three  acte.  By  Metastasio,  who  is  not  mentioned.  German  text  faces  Italian. 
Note: 

"Die  feinfonie  und  arien  dieser  opera  sind  componirt  von  Sign.  Giovanni  Verocai, 
hochfuerstl.  Braunschweig.-Lueneburgischen  Concert-meister  zu  Wolff enbiittel." 

The  composer  of  the  recitatives  not  known  to  Schatz. 

First  performed  February,  1746,  as  indicated.  Schatz  10718 

La  citta  feUce.     See  M.  Curzio. 

La  citta  nuova.  Commedia  per  musica  da  rappresentarsi  nel  Teatro 
alia  Scala  1'  autimno  dell'  anno  1798,  v.  s.  entrando  1'  anno  VII. 
repubblicano. 

Milano,  Gio.  Batista  Bianchi,  n.  d.     4'^  p.     16Y^. 

Two  acte.  Cast  and  name  of  the  composer,  Stefano  Cristiani  ("musica  tutta 
nuova").  The  author  is  unknown  to  Schatz.  "Dopo  alcune  recite"  were  to  be 
performed  with  the  opera  Filippo  Beretti's  ballete  "La  moglie  virtuosa"  and  "II 
calzolajo."    The  composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  September,  1798.  Schatz  2292 

Gittadini  di  Sinope  festeggianti  le  nozze  di  Mitridate,  ballet. 
See  Piccinni's  Tigrane. 

II  cittadino  rinnobilito.    A.  T.  of  Pasque's  L'  albergia  smascherata. 

Der  civilisirte  bauer.     Tr.  of  Anfossi's  II  zotico  incivilito. 

Le  Glaperman,  opera-comique,  en  deux  actes,  en  prose  &  en  vaude- 
villes, precede  d'un  prologue,  &  suivi  d'un  divertissement. 
Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  3,  [149]-222  p. 

First  performed,  according  to  Parfaict,  who  does  not  record  the  composer,  February 
3,  1724.  PQ  2019.P6 


OPERA   LIBRETTOS  29l 

Clarisse,  oder  Das  unbekannte  dienstmaedgen.  Eine  komische 
operette  in  drey  aufzuegen. 

Leipzig,  Christian  GoUlob  Hihchem,  1772.     136  p.     W"^. 

Neither  the  author,  Johann  Chrietoph  Bock,  nor  the  compoeer,  Carl  Leopold 
Boellig:,  is  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gaeneemarkt,  October  10,  1771. 

ScHATz  8856 

Claudine  on  Le  petit  commissionnaire,  comedie  en  un  acte,  et  en 

prose  m^lee  d'ariettes,  par  le  C.  Jacques  Marie  Deschamps.     Musique 

du  C.  Bruni. 

Paris,  Huet,  andeuxieme,  [1793-94].     36  p.     21'''^. 

Cast. 

First  i)erformed  at  Paris,  Theatre  Feydeau,  March  6, 1794.  ML  50.2.C57B7 

Claudine  von  Villa  Bella.     Ein  singspiel.     Von  Goethe.     Achte 
ausgabe. 
Leipzig,  Georg  Joadiim  Goschen,  1788.     1  p.L,  126  p.     17^"^. 

Three  acts.  Edition  without  " Goschen 's  Schriften,"  and  with  "Pedro  von 
Rovero"  in  the  list  of  characters  instead  of  "Sebastian  von  Rovero." 

PT  1915.02  1788 

Claudine  von  Villa  Bella.  Ein  schauspiel  mit  gesang  von  J.  W. 
Goethe.     Aufgefuelirt  im  K.  K.  Nationaltneater. 

Wien,  zujlndenheym  Logenmeister,  1780.     71  p.     15Y^' 

The  composer,  Ignaz  von  Be(e)cke,  is  not  mentioned. 

First  performed,  ae  indicated,  on  June  13,  1780.  Schatz  677 

Claudine  af  Villa  Bella,  et  syngestykke  i  tre  handlinger,  af  J.  W. 
Goethe.  Til  brug  for  den  Kongl.  danske  Skueplads,  oversat  af 
N.  H.  Weinwich.  Musikkeu  er  af  hr.  C.  Schall  .  .  .  Opf0rt  f0rste 
gang  paa  Hs.  Majestaet  Kongens  f0dselsdag,  d.  29  Jan.  1787. 

Ki0henhavn,  TryJct  paa  S.  S0nnichsens  hekostning,  n.  d.  1  p.  I., 
125  p.     16"^.  Schatz  9584 

Arien  und  gesaenge  aus  dem  singspiel  Claudine  von  Villa  Bella. 

Berlin,  n.  pull.,  1789.     Ifi  p.     W"^. 

Three  acts.  Neither  the  author,  Goethe,  nor  the  composer,  Johann  t'riedrich 
Beichaxdt,  is  mentioned. 

First  performed  at  Charlottenburg,  Schloeetheater,  July  29,  1789;  at  Berlin,  Kgl. 
Nationaltheater,  August  3,  1789.  Schatz  8640 

Claudio  Cesare.  Dramma  per  musica.  Nel  Teatro  Vendramino  "h. 
San  Salvatore.  L'anno  MDCLXXII  di  Aurelio  Aureli,  opera  decima 
sesta  ristampata  .  .  . 

Yenezia,  Francesco  Nicolini,  1672.    front.,  69,  [7]  p.     13'^'^. 

Three  acts.  Author's  dedication,  dated  Venice,  December  27,  1672,  and  notice  to 
the  reader,  mentioning  Claudio  Cesare  Boretti  as  composer  of  this  text,  and  also  of 
Aureli's  "Eliogabalo"  and  "Ercole  in  Tebe."    Argximent  and  scenario. 

Schatz  1216 

Claudius.     See  Reiser's  Die  verdammte  staat-siicht. 

Claudius,  roemisclier  Kaeyser.  li.  T.  of  Kaiser's  Die  verdammte 
staat-sucht. 


292  LIBKARY   OF  CONGRESS 

Cleante.  Dramma  per  musica  da  rappresentarsi  in  Roma  nel  nobil 
Teatro  di  Torre  Argentina  nel  corrente  came  vale  dell'  anno 
MDCCLII  .  .  . 

Roma,  Fausto  Amidei,  n.  d.     6/^  p.     15^''"'. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Dedication,  argu- 
ment, caet,  Bcenario,  and  name  of  Niccoio  Sabatini  as  the  composer.      Schatz  9200 

v/Clearco  in  Negroponte.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  Zane  a  San  Mois6.     L'anno  1685  .  .  . 
Venetia,  Francesco  Nicolini,  1685.     69  p.     13^""*. 

Three  acts.  By  Antonio  Arcoleo,  who  signs  the  dedication  with  his  initials.  Argu- 
ment, scenario,  and  notice  to  the  reader,  with  name  of  Domeyico  Gabrieli  as  composer. 

Schatz  3402 

The  clemency  of  Titus.     An  opera  as  performed  at  the  Theatre 
Royal  in  the  Hay-Market.     Composed  by  Frances  Veracini  .  .  . 
London,  J.  Chrichley,  1737.     63  p.     17'"^. 

Three  acts.  Metastasio's  "La  clemenza  di  Tito,"  with  an  English  translation,  per- 
haps by  Aneelo  Cori,  who  si^s  the  dedication.    Argument  and  cast. 

First  performed  1737,  as  indicated.  Schatz  10618 

Clementine,  ou  La  belle-m^re,  com6die  en  un  acte  et  en  prose, 
m§l^e  d'ariettes:  paroles  de  J.  B.  C.  Vial;  musique  de  Fay.     Repre- 
sentee, pour  la  premiere  fois,  au  Th6§,tre  Feydeau,  le  2^  jour  compl6- 
mentaire,  an  VII  de  la  R^publique  franpaise. 
Paris,  Huet,  Charon,  an  VIII  [1799-1800].    56  p.     18'=^. 

Cast. 

First  performed,  as  indicated,  September  18,  1799.  Schatz  3037 

La  clemenza  di  Scipione;  a  new  serious  opera:  as  performed  at 
the  King's  Theatre,  in  the  Haymarket.  The  music  composed  by  Mr. 
Bach.     The  translation  by  F.  Bottarelli,  A.  M. 

London,  T.  Cadell,  1778.     53,  [1]  p.     18^"^- 

Three  acts.  Argument  and  cast.  Librettist  unknown  to  Schatz.  English  text 
faces  Italian. 

First  performed,  as  indicated,  in  1778;  but  previously  in  1775  (Pohl), 

Schatz  528 

La  clemenza  di  Tito. 

72  p.  W'^^.  (Pietro  Metastasio,  Opere  drammaticJie ,  Venezia,  Giu- 
seppe Bettinelli,  1733-37,  v.  4.) 

Three  acts  and  licenza.    Argument.    No  composer  mentioned.        ML  49.A2M4 

—  La  clemenza  di  Tito. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  Hi,  109  p.     16^^. 
Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  La  clemenza  di  Tito.  Dramma  rappresentato  con  musica  del 
Caldara  la  prima  volta  in  Vienna  nell'  interno  gran  Teatro  della  Corte 
Cesarea,  alia  presenza  degli  augustissimi  sovrani,  il  di  4  novembre 
1734,  per  festeggiare  il  nome  dell'  imperator  Carlo  VI  .  .  . 

pi.,  [109'\-222  p.  26'^'^.  (Pietro  Metastasio,  Opere,  t.  Hi,  Parigi, 
vedova  Herissant,  1780.) 

Three  acts  and  licenza.    Argument.  ML  49.A2M44 


OPEBA   LIBRETTOS  293 

La  clemenza  di  Tito — Continued. 
—  Titus. 

Metastasio,    Tragedies   opera,    Vienne,   1761,   v.   ii,   p.    [125]-237. 

14""*. 

Three  acts.     Riohelet's  translation  of  "La  clemenza  di  Tito."         ML  49.A2M47 

La  clemenza  di  Tito.     Dramma  per  musica,  da  rappresentarsi  nel 
Real  Teatro  di  S.  Carlo,  nel  di  30.  di  maggio  1772  .  .  . 
Napoli,  Francesco  Morelli,  17  f^.     51  p.     W'^. 

Three  acte.  By  Metastatic  Impresario's  dedication,  with  same  date,  argument, 
ecenario,  cast,  and  name  of  composer,  Pasquale  Anfossi,  but  not  of  librettist. 

SCHATZ  273 

La  clemenza  di  Tito.  Drama  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  camovale  del  1739  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  ejigliuolo,  n.  d.  4  V-  ^v  '^U  [^1  V- 
IGY"^. 

Three  acte.  By  Metastasio.  Argument,  ecenario,  cast,  and  name  of  the  compoeer> 
Giuseppe  Arena,  but  not  of  librettist.  Aleseio  Rasetti  is  mentioned  as  composer  of 
the  ballet  music. 

First  performed,  as  indicated,  December  26,  1738.  Schatz  309 

La  clemenza  di  Tito.  Dramma  per  musica  da  rappresentarsi  nel 
Nuovo  Teatro  di  Corte  .  .  .  nel  camevale  dell'  anno  MDCCLXVIIL 
La  poesia  ^  delF  Sig.  abbate  Pietro  Metastasio  ...  La  musica  e 
del  sig.  Andrea  de  Bernasconi  .  .  . 

Monaco,  Mar.  Magdal.  Mayrin,  n.  d.     231,  [21]  p.     lo^'^"'. 

Three  acts.  Argument,  cast,  ecenario.  German  title-page  "Die  guetigkeit  des 
Titus"  and  text  face  Italian.  The  unnumb.  p.  contain  ecenario,  cast,  and  description 
in  French  and  German  of  the  two  ballets  "L 'amour  clairvoyant"  ("Der  sehende 
Cupido")  and  "La  reconciliation  g^n^reuse."  Neither  authors  nor  composers  are 
mentioned. 

First  performed  at  Munich,  January,  1768.  Schatz  856 

La  clemenza  di  Tito.  Dranmia  per  musica,  da  rappresentarsi  nella 
cesarea  corte  per  il  nome  gloriosissimo  della  Sac.  Ces.  e  Catt.  Real 
Maesta  di  Carlo  VI  .  .  .  L'anno  MDCCXXXIIII.  La  poesia  e  del 
Sig.  abbate  Pietro  Metastasio  ...  La  musica  ^  del  Sig.  Antonio 
Caldara  ... 

Vienna  d' Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.     4  V-  ^-y  ^-^j  t-'l  V- 

Three  acte  and  licenza.  Argument  and  scenario.  Niccola  Matteis  is  mentioned 
as  composer  of  the  ballet  music. 

First  performed,  as  indicated,  November  4,  1734.  Schatz  1498 

La  clemenza  di  Tito.  Dramma  per  musica  da  rappresentarsi  per  le 
felice  nozze  dell'  Altezza  Serenissima  Elettorale  di  Massimiliano  Giu- 
seppe .  .  .  con  I'Altezza  Serenissima  Elettorale  Maria  Anna  ...  La 
poesia  e  del  Sig.  abbate  Pietro  Metastasio  ...  La  musica  e  del  Sig. 
Giuseppe  Camerlocher  .  .  . 

[Monaco],  Giov.  Giac.  Vdtter,n.d.     6  p.  I.,  132  p.    20""'. 

Three  acts.  Argument,  cast,  and  scenario.  German  title  page  "Die  guetigkeit 
des  Titue"  and  text  face  Italian.  The  anonymous  German  translator  has  added  an 
"Unumgaengliche  vorrede  "  about  the  difficulties  of  translation  of  Italian  librettos  into 
German  and  he  says : 

"Entschuldige,  dase  ich  mich  wenig  oder  gamicht  an  die  worte  der  welschen  feder 
gebunden,  allein  weil  ee  fast  eine  unmoeglichkeit  scheinen,  eolcher  satzuug  mit  aller 


294  LIBRARY   OF   CONGRESS 

La  clemenza  di  Tito — Continued. 

echaerffe  iiachzukommen,  indem  einem  jeden  aprach-kuendigen  nicht  unbewiist,  wie 
daee  mancher  unzuvorbeseeren  seyender  gedancken  durch  die  ubersetzung  (wenn 
solche  von  wort  zu  worte  zusammen  gekuenetlet)  Beinen  gantzen  werth  verliehre: 
Jedoch  suchte  ich  (wo  ee  ohne  zcrgliederung  der  wohlredenheit  seyn  koennen)  meinen 
woerter-schatz  der  welschen  schreib-arth  knapp  an  die  eeithe  zu  setzen  ..." 
First  performed  at  Munich,  Hoftheater,  July,  1747.  Schatz  152.'^ 

La  clemenza  di  Tito.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  dell'  illustrissimo  pubblico  di  Reggie  per  la  nera  dell'  anno 
1759  ... 
Reggio,  Giuseppe  Davolio,  n.  d.    4  pJ-7  '^0,  [2]  p.     17^''"'. 

Three  acts.  By  Metastaeio.  Impresario's  dedication  dated  Reggio,  April  28, 1759, 
argument,  caet,  scenario,  and  name  of  the  composer,  Legrenzio  Vinccnzo  Ciampi. 
The  first  additional  p.  contains  the  substitute  arias  (I,  5)  "Si  spande  al  Sole  in  faccia" 
and  (I,  7)  "Di  questo  core  amante."  The  words  of  the  first  are  from  Metastasio's 
"II  re  pastore,"  whereas  those  of  the  second  are  not  listed  by  Wotquenne  as  from 
Metastaieio. 

First  performed  at  Venice,  Teatro  di  S.  Moise,  carnival  1757.  Schatz  1880 

La  clemenza  di  Tito.     Drama  per  musica  del  Sig.  abbate  Pietro 
Metastasio  da  recitarsi  nel  Teatro  del  Falcone  in  Genova  ,  .  . 
Genova,  FrancheUi,  1736.     4  p.  I.,  72  p.     l^Y"^. 

Three  acts.  By  Metastasio.  Impresario's  dedication,  areument,  cast,  scenario, 
and  name  of  the  composer,  Pietro  Vincenzo  Ciochetti.  The  imprimatur  is  dated 
January  14,  173G.  Schatz  2011 

La  clemenza  di  Tito.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  Camerino  pel  carnovale  del  1757  .  .  . 
Camerino,  Gahrielli,  n.  d.     71  p.     16Y^. 

Three  acts.  By  Metastasio.  Impresario's  dedication,  argument,  cast,  and  name 
of  the  composer,  Carlo  Antonio  Cristiani.  Schatz  2291 

La  clemenza  di  Tito.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  carnevale  del  1760  alia  presenza  di  S.  S. 
R.M. 

Torino,  Giacomo  Giuseppe  Avondo,  n.  d.     79,  [1]  p.     IS'^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Galuppi  as  composer.  With  the  opera  wero  performed  three  ballets, 
the  first  of  which  called  "Orfeo  e  Euridice."  The  plot  was  by  Giuseppe  Salomoni, 
detto  di  Portugallo,"  the  music  by  Giuseppe  Antonio  Le  Messier. 

First  performed  as  indicated,  as  second  opera  of  the  season.  Schatz  3498 

La  clemenza  di  Tito.  Drama  per  musica  da  cantarsi  in  Verona  nel 
Teatro  dell'  Accademia  Filarmonica  nella  fiera  d'Aprile  dell'  anno 
1738  ... 

Verona,  Dionigi  Ramanzini,  n.  d.    front.,  59,  [1]  p.     18"™. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication,  argument,  cast, 
scenario,  and  nanie  of  Johann  Adolph  Hasse  as  composer.  On  the  additional  page 
the  aria  "Da  quelle  luci  amate"  substituted  for  "lo  sento,  ch'in  petto"  for  I,  3. 

First  performed  at  Dresden,  Hoftheater,  January  17,  1738,  but  previously  at 
Pesaro,  Teatro  Pubblico,  September  24, 1735,  as  "Tito  Vespasiano  ovvero  La  clemenza 
di  Tito."  Schatz  4526 

—  Die  guetigkeit  des  Titus  Vespasianus  in  einer opera  vorgestellet 
auf  dem  grossen  Braunschweigischen  Theatro  in  der  Winter-messe 
1744. 

WoIfenbuetteJ,  Christian  Bartsch,  n.  d.      Unpaged.     18^'^'". 


OPERA   LIBRETTOS  295 

La  clemenza  di  Tito — Continued. 

Three  acts.  Argument,  scenario,  and  name  of  Hasse  as  the  composer.  Italian 
text  of  the  arias  added  to  the  German  translation. 

First  performed  February  3,  1744,  as  indicated,  but  previously  August,  1743. 

ScHATz  4527 

—  La  clemenza  di  Tito,  dramma  da  rappresentarsi  in  musica. — 
Die  gnade  des  Titus  .  .  . 

Hamburg,  Spiering,  1748.     87  p.     18'='^. 

Three  acts.  Argument,  scenario,  cast,  and  names  of  Metastasio  as  author,  of 
Johann  Adolph  Hasse  as  composer.     German  text  faces  Italian. 

Performed  at  Hamburg,  Theater  beim  Gansemarkt,  October,  1748;  previously 
there  December  8,  1745.  Schatz  4528 

La  clemenza  di  Tito.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Ducale  di  Stutgart,  festeggiandosi  il  felicissimo  giorno  nata- 
lizio  di  Sua  Altezza  Serenissima  Elisabetta  Sofia  Federica  duchessa  di 
Wirtemberg  e  Teck  ...  La  poesia  e  del  .  .  .  Metastasio  ...  La 
musica  e  del  .  .  .  Nicolo  Jommelli  .  .  . 

Stutgart,  Giovanne  Georgia  Cotta,  1753.     117  p.     19'^'^. 

Three  acts.  Argument,  cast,  scenario.  German  title  page,  "Die  mildigkeit  dee 
Titues,"  and  text  face  Italian. 

First  performed,  as  indicated,  August  30,  1753.  Schatz  4849 

—  La  clemenza  di  Tito.  Dramma  per  musica  da  rappresentarsi 
nel  Real  Teatro  dell'  Ajuda  nel  felicissimo  giorno  natalizio  del 
fedelissimo  monarca  D.  Giuseppe  T  .  .  .  nel  di  6  giugno  1771. 

Lishona,  Stamperia  reale,  n.  d.     73  p.     15*'^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author,  of 
Niccolo  JonuneUi  as  composer.    Text  seems  to  follow  that  of  1753  closelv. 

Schatz  4884 

La  clemenza  di  Tito.     Dramma  per  music     di  Artimio  Corasio, 
Pastore  Arcade,  da  rappresentarsi  nel  famosissimo  Teatro  Grimani 
di  S.  Gio.  Grisostomo  it  carnovale  dell'  anno  1735  ... 
Venezia,  Marino,  Rossetti,  1735.     72  p.     14^""^. 

Three  acts.     Dedication  by  Domenico  Lalli,  argument,  scenario,  cast,  name  of  Leo-  " 
nardo  Leo  as  composer,  and  note  that  part  of  the  text  is  not  by  Metastasio  (by 
Lalli?),,    It  applies  to  such  arias  as  "Tremola  qual  la  fronda"  (I,  3),  "Quando  amore 
Jl  servo  un  core"  (I,  8),  " Perfido  amico  ingrato "  (II,  11). 

First  performed  as  above  (Schatz);  at  Naples,  1735,  Teatro  S.  Bartolomeo  (Leo). 
Piovano  fixed  the  date  as  Venice,  January  29,  1735.  Schatz  5553 

La  clemenza  di  Tito.  Drama  per  musica  da  rappresentarsi  nel 
Regio-Ducal  Teatro  di  Milano  nel  carnovale  dell'  anno  1738  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1738.     4  P-  ^-i  ^0  p.     15Y"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication  signed  by  the 
impresario,  Gaetano  Marizoli,  argument,  cast,  scenario.  Even  the  tailor  is  mentioned, 
but  not  the  composer,  Giovanni  Maria  Marchi. 

First  performed,  as  indicated,  December  26,  1737.  Schatz  S5937 

La  clemenza  di  Tito,  dramma  per  musica  da  rappresentarsi  nell' 
estate  dell'  anno  MDCCLV.  Sul  gran  Teatro  nuovamente  eretto  alia 
Real  Corte  di  Lisbona,  per  feste^giare  il  felicissimo  giorno  natalizio 
di  Sua  Maestk  Fedelissima  D.  Giuseppe  Primo  ...  La  poesia  del 
dramma  h  del  celebre  Sigr.  ab*  Pietro  Metastasio  ...     La  licenza  6 


296  LIBRARY   OF   CONGRESS 

La  clemenza  di  Tito — Continued. 

del  Sigr.  Giuseppe  Bonechy,  Fiorentino,  poeta  di  Sua  Maestk  Fedelis- 
sima  ...     La  musica  6  del  Sigr.  Antonio  Mazzoni,  Bolognese. 
Lisbona,  Stamperia  Sylviana,  1755.    front,  4  p.  I',  52,  [2]  p.     21''^. 

Argument,  cast,  and  scenario. 

First  performed,  as  indicated,  June  6,  1755.  Schatz  (>22i) 

La  clemenza  di  Tito.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassiano  il  camovale  dell'  anno  MDCCXI^VIH. 

n.  i.,  n.  d.     69  p.     17'="'. 

Three  acts.  Bv  Metaatasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Antonio  Graetano  Psjupani  as  the  composer.  Schatz  7758 

La  clemenza  di  Tito.     Dramma  per  musica  da  rappresentai'si  nel 

famoso  Teatro  Grimani   di  S.   Benedetto,   il  camovale   dell'   anno 

MDiXILX. 

Venezia,  Antonio  Comin,  1760.     J^8  p.     15*^^. 

Three  acts.  By  Metastaaio,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Giuseppe  Scarlatti  as  the  composer.  Schatz  9542 

La  clemenza  di  Tito. 

Four  acts.    Metastasio's  text,  altered  by  Caterino  Mazzol^,  music  by  Mozart. 
First  performed  at  Prague,  Nationaltheater,  September  6,  1791. 
No  18th  cent.  ed.  in  L.  of  C. 

—  Titus.  Eine  emsthafto  oper  in  zwey  aufzuegen;  nach  dem  ita- 
lienischen  der  Clemenza  di  Tito  des  Metastasio  frey  bearbeitet,  und 
in  musik  gesetzt  von  W.  A.  Mozart.  Zum  erstenmal  aufgefuehrt  auf 
dem  fuerstl.     Operntheater  zu  Cassel  im  Maerz  1797. 

Cassel,  Hampesche  Buchdruckerey ,  n.  d.     71  p.     16*^^. 

Cast.  ML  50.2.C58M77 

La  clemenza  di  Tito.     See  Veracini's  The  clemency  of  Titus. 

Cleoflda,  koenigin  von  Indien.  A.  T.  of  Handel's  Triumph  der 
grossmuth  und  treue. 

Cleofide.     Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Berlino  per  ordine  ai  Sua  Maesta  nel  camovale  dell'  anno  1754. 
Berlino,  Haude  e  Spener,  n.  d.     115,  [3]  p.     17"^. 

Three  acts.  Same  as  Metastasio's  "Aleseandro  nell'  Indie."  Argument,  scenario, 
and  name  of  the  composer,  Johann  Friedrich  Agricola.  German  title-page  and  text 
face  Italian.     Notes  (in  French)  on  the  ballets  follow  the  text. 

First  performed,  as  indicated,  Berlin,  January,  1754.  Schatz  67 

Cleoflde,  dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Berlino  per  ordine  di  Sua  Maesta  nel  carnevale  dell'  anno  1777. 
Berlino,  Havde  e  Spener,  n.  d.  125,  [3]  p.  15Y'^- 
Three  acts.  Argument,  cast,  scenario,  name  of  Johann  Adolph  Hasse  as  composer, 
and  note  to  the  effect  that  this  is  Metastasio's  " L' Aleesandro  nell'  Indie,"  but  with 
"grandi  cangiamenti  ,f?i^  fatti  da  lungo  tempo  si  nello  sceneggiamento  che  nella  poesia 
in  un  teatro  forestiero,  '  by  Michel  Angelo  Boccardi,  according  to  Schatz  and  Mennicke. 
German  title  page,  "Cleofide,"  and  text  face  Italian. 

First  performed,  as  indicated,  January,  1777;  at  Dresden,  Hoftheater,  September 
13,  1731.  Schatz  4573 


OPEBA   LIBRETTOS  297 

Cleofile.  Drama  per  music*  d'Antonio  Conte  Zaniboni  da  rappre- 
sentarsi  nel  Teatro  Giustiniano  di  S.  Moise  il  camovale  dell'  anno 
1721. 

Venezia,  Marino  Rosetti,  1721.     44  P-     ^5'^'"- 

Three  acts.  Ailment,  cast,  Bcenario,  and  name  of  the  composer,  Giuseppe  Maria 
Buini.  ScHATz  1381 

Cleomene.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  il  carnovale  dell'  anno  MDCCXVIII  .  .  . 

Venezia,  Marino  Rossetti,  17 IS.     68  p.     14Y^- 

Three  acts.  Dedication  signed  by  the  author,  Vincenzo  Cassani,  argument,  notice  to 
the  reader,  cast,  scenario.     The  composer,  Tommaso  Albinoni,  is  not  mentioned. 

ScHATZ  128 

II  Cleomene.     Drama  per  musica  da  recitarsi  nel  Teatro  delle  Dame 
nella  primavera  dell'  anno  MDCCXXXI  .  .  . 
Roma,  Pasquino,  n.  d.     65  p.     16""^. 

Three  acts.  Dedication  by  the  impresario  Francesco  Cavanna,  argument,  scenario, 
cast,  and  name  of  Francesco  Ayara  as  the  composer. 

Not  recorded  by  Schatz.  ML  50.2C59  A7 

Cleomene.     Dramma  per  musica  da  rappresentarsi  in  Bologna  nel 
Teatro  Zagnoni  il  came  vale  dell'  anno  1789  .  .  . 
Bologna,  Sassi,  n.  d.     Jf.6  p.     17''^. 

Imprimatur  dated  December  9,  1788. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Impresario's  dedi- 
cation, argument,  cast,  and  name  of  Giuseppe  "Sarti  as  the  composer.  With  the 
opera  were  performed  Urbano  Garzia's  ballets  "Le  Amazoni  modeme,  o  eia  II  ribello 
per  amore  and  "II  tuttor  medico  deluso,"  the  composers  of  the  music  not  being 
mentioned.  • 

First  performed,  as  indicated,  December  27,  1788.  Schatz  9428 

—  Cleomene.  Dramma  per  musica  da  rappresentarsi  in  Perugia 
nel  Teatro  de'  Signori  nobili  Accademici  del  Casino  nel  carnevale  del 
anno  1791  .  .  . 

Perugia,  Constantini,  1791.     40  p.     16^"^- 

Three  acts.  Impresario's  dedication  dated  Perugia,  January,  1791,  argument, 
scenario,  and  name  of  Giuseppe  Sarti  as  composer.  Giovanni  de  Gamerra  is  not 
mentioned.  With  the  opera  were  performed,  composers  of  the  music  not  mentioned, 
Giacomo  Gentili's  ballets  "Esione  liberata"  and  "Gl'amanti  delusi." 

ML48.A5    V.7 

Cleonlce.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  il  camovale  dell'  anno  1740  ... 
Venezia,  Marino  Rossetti,  17^0.     48  p.     25"^. 

A  neat  19th  cent,  page  for  page  transcript. 

Three  acts.  Dedication  signed  by  Bartolomeo  Vitturi,  argument,  cast,  scenario, 
name  of  Hasse  as  the  composer,  and  notice  to  the  reader: 

"La  presente  dramaticha  composizione  h  del  celebre  Sig.  abate  Pietro  Metastasio 
.  .  .  ma  poi  ridotta  all'  uso  de  nostri  teatri.    Ora  nuovamente  si  riproduce  sovra  le 

{)ubbliche  scene,  ma  abbre\aata  di  molto  per  adattarla,  quanto  fosse  possibile,  a  chi 
a  deve  rappreeentare;  o  se  qualch'  una  delle  arie  non  corrisponde  totalmente  alle 
scene,  ci6  nasce  per  esser  stato  in  arbitrio  dei  musici  di  [?]  a  piacere,  a  cagione  della 
ristrettezza  del  tempo  ..." 

The  alterations  presumably  were  made  by  the  librettist  Vitturi.  According  to 
Schatz  "Cleonice"  is  but  a  replica  of  Basse's  "Demetrio"  of  1732  and  was  first  per- 
formed at  Vienna,  Hoftheater,  February,  1734.     Mennicke  says  (p.  510): 

"Diese  erste  fassung  [of  "Demetrio"]  wurde  auch  unter  dem  titel  ^'Cleonice"  1733 
in  Wien  gegeben;  dagegen  wurde  1739  in  Wien  Hasees  kom position  mit  eingelegten 
arien  anderer  komponisten  wieder  als  II  Demetrio  gegeben ;  auch  Metastasios  Text- 
buch  dieser  neuen  gestalt  des  musikalischen  teils  hat  "varianti."    Diese  neuere- 
fassung  gab  man  auch  1739  in  Neapel." 


298  LIBRARY   OF   CONGRESS 

Cleonice — Continued. 

I  prefer  to  let  this  Cleonice  of  Venice,  1740,  stand  under  its  own  title,  because  the 
connection  of  the  "Cleonice"  text  with  that  of  "Demetrio"  is  so  very  slit^ht.  True, 
scenes  1, 10, 1, 11, 1, 12,  start  out  like  1, 13, 1, 14,  and  1 15,  in  Metastasio's  "i)emetrio," 
but  they  remain  alike  only  for  a  few  lines,  and  this  is  also  true  of  a  few  other  such 
scenes.  Furthermore,  the  arias  in  such  scenes  have  become  different,  "Amo  te  sola" 
(I,  11)  having  taken  the  place,  for  instance,  of  "Dal  suo  gentil  sembiante"  (I,  14). 
And  this  aria,  "Amo  te  sola,"  is  from  Metastasio's  "Clemenza  di  Tito,"  just  as  "E 
vero  che  oppresso"  (III,  2)  is  not  from  his  "Demetrio"  but  from  his  "Adrian©  in 
Siria."  The  fact  is,  that  very  little  of  the  dialogue  and  very  few  more  arias  except 
" Ogni  procella  infida,"  will  be  found  in  "Demetrio."  Most  of  the  arias,  indeed,  are 
notoy  Metastasio  at  all,  and  the  very  few,  that  are,  have  been  selected  from  his  different 
works.  Since  it  is  known  that  Hasse  was  in  Venice  during  the  carnival  of  1740,  it 
stands  to  reason  that  he  superintended  the  performance  of  the  opera  and  composed 
anew  whatever  had  to  be  composed  for  this  decimated  version  of  "Demetrio." 

ScHATz  4578 

Cleonice  regiua  di  Siria.  Drama.  Da  rappresentarsi  sopra  il 
Teatro  di  S.  M.  B. — Cleonice,  queen  of  Syria.  An  opera.  As  it  is 
represented  at  the  Kling's  Theatre  in  the  Hay-Market. 

LoTidon,  G.  Wood/all,  1763.     81  p.     W"". 

Three  acts.  Text  a  pasticcio  by  author-compiler  unknown  to  Schatz.  English 
translation  faces  Italian.  Argument,  cast  and  note  "The  music  by  several  cele- 
brated masters."  From  Bremner's  "Favourite  songs"  we  know  tha't  the  aria  "Se 
pill  il  mio  core"  (I,  10)  was  composed  by  Felice  Giardini  as  also  "Non  so  dir  se  pena 
sia"  (II  9  words  from  Metastasio's  "Isola  disabitata")  amd  "Quel  labbro  adorato" 
(III,  9,  words  from  Metastasio's  "Demetrio")  was  composed  by  Galuppi.     "lo  so 

3ual  pena"  (words  from  Metastasio's  "Demetrio")  composed  by  Giarduii  and  the 
uet  "Tu  parti  mio,"  composed  by  Bertoni,  do  not  figure  in  the  libretto! 
First  performed  as  indicated,  November  26,  1763.  ML  50.2.C6 

Cleopatra.    Dramma  per  musica  da  rappresentarsi  nel  nuovo  Eegio 
Ducal  Teatro  di  Milano  il  camovale  delr  anno  1779  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     56  p.     16Y^. 

Three  acts.  By  Mattia  Verazj.  Dedication,  preface,  argument,  scenario,  cast, 
and  names  of  composer,  Pasquale  Anfossi,  and  librettist. 

In  the  pref.  Verazj  speaks  of  his  theories  of  libretto  writing  ("mi  proposi  pel  mio 
primo  drama  un  sistema")  and  criticizes  prevailing  methods  at  considerable  length. 
He  begins  by  stating  that  to  have  written  in  this  one  year  [1778]  four  librettos  for 
the  same  theatre  and  for  the  same  actors  was  an  unprecedented  task. 

Krst  performed  in  January,  1779,  as  indicated.  Schatz  278 

Second  copy.    ML  48.A5    v.7 

Cleopatra,  ballet.     See  Borghi's  Eumene. 

La  Cleopatra.  Drama  per  musica  di  Giacomo  dall'  Angelo  da  rap- 
presentarsi nel  noviss.     Theatro  di  S.  Salvatore  .  .  . 

Venetia,  Giacomo  Batti,  1662.     77  p.     14""". 

Three  acts  with  prologue.  Author's  dedication  and  argument.  The  composer, 
Daniele  Castrovillari,  is  not  mentioned. 

First  performed,  as  indicated,  carnival,  1662.  Schatz  1691 

Cleopatra.  Dramma  per  musica  da  rappresentarsi  nel  Regie  Teatro 
di  Torino  nel  camovale  del  1776  .  .  . 

Torino,  Onorato  Berossi,  n.  d.     6^  p.     16^^. 

Three  acts.  Cesare  Oliveri  is  mentioned  as  the  author.  Carlo  Monza  as  the  com- 
poser of  the  opera,  and  Giuseppe  Antonio  Le  Messier  as  the  composer  of  the  music  for 
Giuseppe  Canziani's  ballets,  "La  disgrazia  opportuna,"  "Alceste  &  Admeto"  (de- 
scribed on  p.  62-64),  and  "II  trionto  di  Cesare  m  Egitto." 

Argument,  cast,  scenario.  On  p.  viii  the  note:  "Si  Bono  variate  alcune  arie  dall' 
originale." 

First  performed,  as  indicated,  December  26, 1775.  Schatz  6613 


OPERA   LIBRETTOS  299 

Cleopatra,  reg^ina  d'Egitto.     Dramma  per  inusica  da  rappresen- 
tarsi  nel  Teatro  da  S.  Agostino  il  carnovale  del  1795  ... 
Genova,  Stamperia  Gesiniana,  n.  d.     J^  p.     1^''™. 

Two  acts.  By  Antonio  Simone  Sografi,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Sebastiano  Nasolini  as  the  composer. 

First  performed  imder  the  original  title  "La  morte  di  Cleopatra,"  at  Verona,  Teatro 
Nuovo,  summer,  1791.  Schatz  7023 

La  clochette,  comedie  en  un  acta  et  en  vers,  mSlee  d'ariettes;  repre- 
sentee j)our  la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du 
roi,  le  jeudi  24  juiilet  17^6.  Par  M.  Anseaume.  La  musique  de 
M.  Duny. 

Paris,  la  veuve  Duchesne,  1766.     38  p.     W^. 

Schatz  and  some  opera  dictionaries  give  the  incorrect  date  of  July  14. 

Schatz  2836 

—  La  clochette,  comedie  en  un  acte  et  en  vers.  M^lee  d'ariettes,  par 
M.  Anseaume.  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  24  juiilet  1766.     La  musique  de  M.  Duny. 

Paris,  Duchesne,  1771.     Jfi  p.     iP<^™. 

Cast.  On  p.  11-14,  the  ariette  "Du  printemps  qui  \\qvA  de  renaitre;"  15-16,  "  Vous 
n'me  connoissez  pas."  Schatz  11692 

—  La  clochette,  comedie  en  un  acte  et  en  vers,  m§lee  d'ariettes,  par 
M.  Anseaume.  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  24  juiilet  1766.     La  musique  de  M.  Duny. 

Paris,  la  veuve  Duchesne,  1782.     Jfi  p.     19^^^. 

Cast.    Text  the  same  as  in  the  1771  ed.  Schatz  11693 

Cloris  und  Tirsis  in  einem  sing-  imd  schaeffer-spiel  fuergestellet 
aus  dem  Hamburgischen  Schau-Platz  im  jahr  1719. 

[Hamburg],  Gedruckt  hey  Caspar  JaMiel,  n.  d.     Unpaged.     19'^'^. 

German  version,  by  D.  Gazal  of  ' '  Clori  e  Tirsi. ' '  The  composer,  Francesco  Bartolo- 
meo  Conti,  is  not  mentioned  in  the  libretto,  which  contains  German  text  throughout, 
the -arias  also  being  printed  with  Italian  text.    Argument. 

First  performed  as  "I  satiri  in  Arcadia"  (text  bv  Pariati)  at  Vienna,  Hoftheater, 
August  28,  1714.  '  Schatz  2196 

Clotilde.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
San  Cassiano  I'autunno  dell'  anno  1748. 

Venezia,  Modesto  Fenzo,  17^8.     36  p.     l^Y"^. 

Three  acts.  Argument,  cast,  and  scenario.  Neither  the  author,  Francesco  Pasea- 
rini,  nor  the  composer,  Baldassare  Galuppi,  is  mentioned.  Possibly  not  all  of  the 
music  was  by  him. 

First  performed,  as  indicated,  November,  1748  (Pa van).  Schatz  3516 

vLa  Clotilde.     Drama  per  musica  da  recitarsi  nel  Teatro  Tron  k  San 
Cassano.     Nouamente  riaperto  "k  uso  d'opere  I'anno  1696  .  .  . 
Venetia,  Nicolini,  1696.     67  p.     15'='^. 

Three  acts.  Dedication  by  the  author,  Giovanni  Battieita  Neri,  notice  to  the  reader, 
calling  this  "un  parto  di  tre  settimane,"  and  giving  the  argument,  scenario,  and  name 
of  Giovanni  Mana  Ruggeri  as  the  composer.  Schatz  9135 


7 


300  LIBRARY   OF   CONGRESS 

JjSi  Clotilde — Continued. 

—  Amar  per  vendetta.     Drama  per  musica  da  recitarsi  nel  Teatro 

di  S.  Moise.     Nuouament«  riaperto  k  uso  d'oj>ere  I'autunno  dell'  anno 

1702. 

Venezia,  Marino  Rossetti,  1702.     59  p.     15Y^. 

Three  acts.  Argument,  scenario,  and  notice  to  the  reader,  informing  him  that  for 
want  of  time  it  was  necessary  to  fall  back  on  a  work  previously  performed .  This  is,  in 
fact,  Neri's  La  Clotilde  text  (music  by  Rugeeri,  neither  of  whom  is  mentioned),  but 
with  innumerable  alterations,  especially  in  me  arias.  Schatz  9136 

Le  club  des  bons-gens,  ou,  La  reconciliation,  com^die  en  vers  et  en 
deux  actes,  mdlee  de  vaudevilles  et  d'airs  nouveaux;    representee 

{)oiir  la  premiere  fois  k  Paris,  au  Th6S,tre  de  Monsieur,  aujourd'  hui  de 
a  rue  Feydeau,  les  24,  25  et  26  septembre  1791,  interrompue  en  mars 
1792.  apres  46  repr^entations ;  reprise  au  m^me  th^Mre  le  quintidi 
25  messidor,  I'an  troisieme  de  la  r^publique  (lundi,  13  juillet  1795) 
avec  les  corrections  et  additions ;  pour  la  huiti^me  fois  le  1 7  thermidor, 
an  4.     Paroles  et  airs  du  Cousin- Jacques. 

Marseille,  Mossy,  cinquieme  annee  de  la  repuUique,  [1796-97]. 
56  p.     21 Y^.  Schatz  704 

The  coach  drivers,  a  political  comic-opera.     Adapted  to  the  music 
of  several  eminent  composers  ... 
London,  W.  Flexney,  1766.     2  p.  l,  26  p.     2  fold,  pi     20^"^- 

Two  acts.  Ballad  opera,  the  airs  used  in  which  are  indicated  by  title.  Author  not 
recorded.  Longe  298 

The  cobler:  or,  A  wife  of  ten  thousand.  A  ballad  opera.  In  two 
acts.     As  it  is  performed  at  the  Theatre-Royal,  Drury  Lane. 

London,  T.  Becket,  1774.    2  p.  I.,  36  p.     19i<="\ 

Two  acts.  Cast  and  prefatory  note  by  the  author  and  composer,  Charles  Dibdin 
who  says: 

"The  hint  of  the  subsequent  trifle  is  taken  from  the  Blaise  le  savetier  of  Sedan 
[Sedaine],  as  is  the  hint  of  the  club-scene  from  an  essay  of  Dr.  Goldsmith  .  .  .  The 
pictures  of  low  life  I  have  in  a  manner  considered  myself  obliged  to  draw  as  the  proper 
subjects  for  ballads,  which,  unless  they  are  familiar,  and  have  something  like  char- 
acter and  contrast,  'tis  next  to  impossibility  but  they  must  be  dull  and  insipid." 

The  airs  used  by  Dibdin  are  not  indicated  in  the  text. 

First  performed,  as  indicated,  December  9,  1774.  Longe  32 

The  cobler  of  Castlebury.  A  musical  entertainment,  in  two  acts. 
As  it  is  performed  at  the  Theatre  Royal,  Co  vent-Garden. 

London,  G.  Kearsley,  n.  d.     4p.l.,  35  p.     20''"'. 

Cast  and  dedication  in  which  the  author,  Charles  Stiiart  (not  mentioned)  calls 
this  "my  first  dramatic  essay."  From  the  headings  of  the  songs  it  appears  that 
William  Shield  contributed  the  overture  and  all  of  the  music  except  "Air  I.  There's 
nought  can  surpass,"  "Air  VIII.  A  soldier  is  free  from  every  care,"  both  marked  a? 
by  [Jean]  Gehot,  and  "Air  XIII.  Tune,  Fll  never  leave  thee.  My  Nancy,  I  love  you 
dear."  "Air  II.  The  blush  of  Aurora,"  words  by  Hartley,  is  marked  as  taken  from 
Shield's  collection  of  eon^,  and  "Air  IV.  Duet.  Farewell,  my  Lapstone"  as  by 
Shield  and  introduced  at  Dublin  in  "Love  in  a  village." 

First  performed  April  27,  1779,  as  indicated.  Longe  125 

Le  cocq  de  village,  opera  comique,  par  Monsieur  Favart,  represents 

})Our  la  premiere  fois  sur  le  Theatre  du  Fauxbourg  Saint  Germain, 
e  31.  Mars  1743.     Nouvelle  edition. 
Paris,  Praultjils,  1762.     U  p.     WY"^- 

One  act.  No  airs  printed  in  the  text,  but  all  indicated  by  timbres.  The  text  is 
the  same  as  of  the  nouv.  od.  below.  ML  50.2.C605 


OPERA   LIBKETTOS  301 

Le  cocq  de  village — Continued. 

— Le  cocq  de  village,  opera-comique,  en  iin  acte;  par  M.  Favart: 
reprfeente  pour  la  premiere  fois  sur  le  Theatre  du  fauxbourg  S.  Ger- 
main, le  31  mars  1743.  Nouvelle  Edition,  augnientee  de  la  musique. 
n.  %.,  n.  d.  80  p.  lO*^^.  {Theatre  de  M.  Favart,  Paris,  Duchesne, 
1763-77,  t  vi.) 

One  act.  Prose,  vaudevilles,  and  airs,  many  of  the  latter  printed  in  the  text.  Font 
does  not  mention  the  composer.  ML  49.A2F1 

The  coffee-house.     A  dramatick  piece.     As  it  is  perform'd  at  the 
Theatre-Koval  in  Drury-Lane.     By  His  Majesty's  servants  .  .  . 
London,  J.  Watts,  1737.     6  p.  I.  {inch  front.) ,  38,  [2]  p.     19""^. 

One  act.  By  James  Miller,  who  is  not  mentioned.  The  [2]  p.  contain  publisher's 
book-list,  the  p.  1.  contain  prologue,  cast,  book  list  and  preface,  in  which  the  author 
says  that  he  has  "printed  the  whole  which  was  spoke  in  the  representation,"  and 
that  a  comparison  Avith  Rousseau's  "Le  caffe"  would  prove  that  this  was  his  source 
and  would  disprove  the  correctness  of  the  general  impression  "that  he  hath  repre- 
sented the  characters  of  a  particular  family  who  keep  a  considerable  coffee-house  in 
this  town,  and  of  several  persons  who  frequent  it." 

In  the  text  are  printed  the  airs  of  the  "Song.  Set  by  Mr.  Henry  Burgess,  jun " : 
"What  dire  misfortune  hath  befel,"  "Song"  [without  name  of  composer]:  "Love 
and  drink,  merrj"^  mortal,"  "Song.  Set  by  Mr.  Cayey":  "Yes,  marriage  sure  must 
be  divine,"  "Song.  Set  by  Mr.  Carey";  "How  brimful  of  nothing,"  "Song.  Set 
by  Mr.  Henry  Burgess,  Esq.:  "Learn  all  from  me,"  "Song.  Set  by  Mr.  Carey": 
"\VTiat  pleasures  a  coffee-  house." 

According  to  Genest,  the  piece  was  first  performed  January  26,  1738,  which  is 
obA'iously  too  late.  Longe  59 

Second  copy,  but  lacking  the  [2]  p.  at  end.    Longe  190 

Le  cognate  in  contesa.  Dramma  giocoso  per  musica  di  Egesippo 
Argolide  P.  A.  della  Colonia  Alfea.  Da  rappresentarsi  nel  Teatro 
Giustiniani  in  S.  Moise  I'autunno  dell'  anno  1780. 

Venezia,  n.  publ.,  n.  d.     56  p.     17*^^. 

Two  acts.  By  Carlo  Lanfranchi-Rossi.  Cast,  name  of  Francesco  Zanetti  as  the 
composer.  With  the  oi>era  were  performed  Vincenzo  Monari's  ballets  "II  Tartaro 
generoeo"  and  "II  Svizzero  ingannato,"  the  composers  of  the  music  not  being  men- 
tioned. SCHATZ  11137 

Colinette  a  la  cour.     A.  T.  of  Gr^try's  La  double  6preuve. 

Colombine  Arlequin,  ou  Arlequin  Colombine.     Piece  d'un  acte. 
Par  M.  le  S    *     *     *.     Representee  k  la  Foire  de  Saint  Laurent  1715. 
Le  Theatre  de  la  foire,  Paris,  1737,  t  ii,  pi.,  U5\-79  p.     17<^. 

By  Alain  Ren6  Le  Sage.  En  vaitdevilles,  selected  or  composed  and  arranged  by 
Jean  Claude  GiUier,  the  "compositeur"  of  the  theatre  and  printed  at  the  end  of  the 
volume  in  the  "Table  des  airs.^  ML  48.L2  II 

Colombine  courtezan.     A.  T.  of  Cupid  and  Psyche. 

Colombine-Nitetis.  Parodie  en  un  acte;  mSlee  de  prose  &  de 
vaudevilles.  Representee  par  les  marionnettes  de  la  troupe  de  Fran- 
cisque,  h.  la  Foire  Saint-Laurant  en  1722. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  5,  {51]-98  p.     17 Y^. 

A  parody  of  Danchet's  tragedy  of  this  title,  according  to  Parfaict,  who  does  not 
record  the  composer  and  dates  the  parody  March  7,  1723.  PQ  2019.P6 


302  LIBRARY   OF   CONGRESS 

II  Colombo,   overo  L'India  scoperta.     Dramma  per  musica  .  .  . 
Da  rappresentarsi  nel  Teatro  di  Tor  di  Nona  I'anno  MDCXCI. 
Roma,  Gio:  Francesco  Buagni,  1690.     97  (.inch  S  pi.),  [3]  p.     IS*^"". 

Three  acts.  Text  and  music  by  Cardinal  Pietro  Ottoboni,  who  signs  the  dedica- 
tion to  the  princess  Maria  Otthoboni  [!  on  t.-p.]  with  the  Arcadian  name  "Crateo 
Pradelini."  Argument  and  scenario,  but  not  me  cast.  For  further  details  see  Wot- 
quenne's  catalogue  or  his  source  Ademollo. 

The  three  additional,  unnumbered  pages  contain  aggiunta.  Accordingly  in  I,  12, 
was  added  the  aria  "Quel  povero  core,"  in  II,  3,  dialogue  and  the  aria    Madre  non 

f)iii  languir,"  in  II,  6,  dialogue  and  the  arias  "Se  t'invioli  5  mia  tiranna,"  "Quel 
umi,  quel  labro,"  in  II,  16,  the  duet  "Se  voi  ch'io  t'ami,"  and  II,  12,  waa  to  be  sung 
after  II,  13.  Schatz  7371 

Colombo  nell'  Indie,  ballet.     See  Tritto's  L'Artenice. 

La  colonia.     Dramma  giocoso  per  musica  .  .  . 
Parma,  Stamperia  reale,  1775.     56  p.     21'^'^. 

Three  acts.  Dedication  by  the  author,  Gian-Antonio  Riva,  dated  Colomo,  October 
9^  1775,  where  and  when  this  "operetta."  was  first  performed.  Composer  not  men- 
tioned and  unknown  to  Schatz.  Schatz  11314 

La  colonie.     French  version  of  Sacchini's  L'isola  d'amore. 

Die  colonie.     Tr.  of  Sacchini's  La  colonie. 

U  colonnello.     Drama  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  delle  Dame  nel  camevale  dell'  anno  MDCCLXXVII  .  .  . 
Roma,  Giovanni  Bartolomicchi,  n.  d.     56  p.     15Y^' 
Three  acts.    Author  not  mentioned  and  unknown  to  Schatz.    Argument,  scena- 
rio, cast  and  name  of  Giuseppe  Heiberger  as  composer.  ML  50.2.C61H3 

D  colore  fa  la  regina.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  San  Gio.  Grisostomo  I'anno  MDCC.  Di  Matteo 
Noris  .  .  . 

Venetia,  Nicolini,  1700.    folded  front,  72  p.     m^^. 

The  title  not  on  the  t.-p.,  but  on  the  frontispiece. 

Three  acts.  Author's  dedication,  notice  to  the  reader,  and  scenario.  Carlo  Fran- 
cesco PoUajToli,  the  composer,  is  not  mentioned.  Schatz  8277 

Columbus:  or,  A  world  discovered.  An  historical  play.  As  it  is 
performed  at  the  Theatre  Royal,  Covent-Garden.  By  Thomas  Mor- 
ton .  .  .     The  second  edition. 

London,  W.  Miller,  1792.     4  p.  I,  66,  [3]  p.     21^"^. 

Five  acts,  prologue,  and  epilogue.     Prefatory  note  and  cast.  E  120.M88 

—  Columbus :  or  The  discovery  of  America.  An  historical  play  as 
performed  at  the  Theatre-Royal,  Covent-Garden,  London.  By 
Thomas  Morton  .  .  . 

Boston,  William  Spotswood,  1794.     2  p.  l,  52,  [3]  p.     16^"^. 

Five  acts,  prologue,  and  epilogue.  London  cast.  Last  page  contains  Spotswood's 
sales-list  of  "Plays,  American  editions." 

First  performed  at  London,  as  indicated,  December  1, 1792.  Entered  here  because 
performed  with  incidental  music  by  Alexander  Reinagle,  Philadelphia,  New  Thea- 
tre, January  21.  1797.  E  120.M885 


OPEBA   LIBRETTOS  303 

II  comando  non  inteso,  et  ubbidito.  Drama  per  musica  da  rap- 
presentarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  di 
Francesco  Silvani  ... 

Venezia,  Marino  Rossetti,  1709.     72  p.     14^'^'^. 

Three  acts.  Author's  dedication  dated  Venice,  February  6,  1709,  argument, 
notice  to  the  reader,  cast,  scenario,  and  name  of  Antonio  Liotti  as  composer. 

SCHATZ  5716 

Le  combat  nocturne,  ou  Les  morts  vivans.  Opera  bouffon  en  un 
acte.     Les  paroles  de  M.  Dancourt  &  la  miisique  de  M.  Le  Petit. 

La  Haye,  Frederic  Staatman,  1770.     Jfi  p.     18^^. 

Cast.  ScHATZ  5489 

La  comedie.     Entree  in  Campra's  Les  Muses. 

Les  comediens  ambulans,  opera  comique  en  deux  actes  et  en 
prose;  paroles  de  L.  B.  Picard;  musique  de  F.  Devienne;  represente 
pour  la  premiere  fois  sur  le  Theatre  de  la  rue  Feydeau,  le  8  nivose 

an  7. 
Faris,  Huet,  an  VII  [1798-99].     40  p.    20^^. 
First  performed  December  28,  1798.  ML  50.2.C62D2 

Les  comediens  corsaires.  Prologue  des  deux  pieces  suivantes. 
Represente  k  la  Foire  S.  Laurent  1726.  &  ensuite  sur  le  Theatre  du 
Palais  royal. 

Below  the  title  this  Advertissement:  "  Ce  prologue  fut  fait  peu  de  temps  apr^  lea 
Comediens  esclaves,  comedie  du  theatre  italien,  &  k  I'occasion  du  goM  qui  rfegne 
depuis  quelques  ann^es  dans  les  pieces  tant  franfoises  qu'italiennea,  dans  la  pldpart 
desquelles  on  voit  le  fond  &  la  forme  des  divertissements  forains." 

—  L' obstacle  favorable.  Piece  d'un  acte.  Representee  h  la 
Foire  S.  Laurent  1726.  &  ensuite  sur  le  Theatre  du  Palais  royal. 

—  Les  amours  deguisez.  Piece  d'un  acte  representee  a  la  Foire 
S.  Laurent  1726  &  ensuite  sur  le  The&,tre  du  Palais  royal. 

Le  Theatre  de  la  foire,  Paris,  1728,  t.  vi,  3  pi.,  [231]-372  p.     17'"^. 

By  Le  Sage,  Fuzelier  and  d'Omeval.  Largely  en  vaudevilles,  a  few  of  which  indi- 
cated as  composed  by  "M.  I'Abbe."  The  airs,  selected  or  composed  and  arranged  by 
Jean  Claude  Gillier,  the  "compositeur"  of  the  company,  are  printed  at  the  end  of  the 
volume  in  the  "Table  des  aire." 

First  performed  September  20,  1726,  as  indicated.  ML  48.L2V1 

The  comical  history  of  Don  Quixote.  As  it  was  acted  at  the 
Queen's  Theatre  in  Dorset  Garden,  bv  Their  Majesties  servants. 
Part  I.     Written  by  Mr.  D'Urfey. 

London,  Printed  for  J.  Darhy.  A.  Bettesworth  [etc],  1729.  iv,  5-91  p. 
17'''^. 

—  The  comical  history  of  Don  Quixote.  As  it  is  acted  at  both 
theatres,  bv  Their  Majesties  servants.  Part  IT.  Written  by  Mr. 
D'Urfey. 

London,  Printed  for  Jacob  Tonson  and  for  John  Darhy  [etc.],  1729. 
9S]-194  p.     i7<=™. 


304  LIBRARY   OF   CONGRESS 

The  comical  history  of  Don  Quixote — Continued. 

—  The  comical  history  of  Don  Quixote.     With  the  Marriage  of 

Mary  the  Buxome.     Part  III  .  .  .     Written  by  Mr.  D'Urfey. 

London,  Printed  for  John  Darby,  Arthur  Bettesworth  [etc],  1729. 
{195]-295,  [5]  p.     17^"^. 

The  [5]  p.  contain  booklists  by  J.  Tonson  and  J.  Darby. 

The  three  parts  are  paged  consecutivelv. 

First  part:  Five  acts.     Dedication,  prologue,  epilogue,  cast. 

Second  part:  Five  acts.  Dedication,  preface,  prologue,  epilogue,  and  cast.  In 
his  preface  Thomas  Durfey  takes  issue  with  his  critics,  praises  certain  performers,  and 
Bays: 

"The  rest  of  the  characters  in  both  the  parts  were  likewise  extremely  well  per- 
formed, in  which  I  had  as  much  justice  done  me  as  I  could  expect;  nor  was  the 
musical  part  less  commendable,  the  words  everywhere  being  the  best  or  mine  in  that 
kind:  and  if  in  the  whole,  they  could  draw  such  audiences  for  so  long  time,  in  such 
violent  hot  weather,  I  shall  not  despair,  that  when  the  season  is  more- temperate,  to 
Bee  at  their  next  representation,  a  great  deal  of  good  company.  I  have  printed  some 
scenes  both  in  the  first  and  second  parts,  which  were  left  out  in  the  acting — the  play 
and  the  musick  being  too  long;  and  I  doubt  not  but  they  will  divert  in  the  reading, 
because  very  proper  for  the  connexion  ..." 

Third  part:  Dedication,  prologue,  epilogue,  cast,  and  preface,  in  which  Durfey 
defends  himself  against  the  critics  of  some  little  distant  obscenities  and  double 
entendres"  in  his  piece,  etc.,  tries  to  explain  its  "miscarriage"  by  the  "accidents 
happening  in  the  presentment,"  and  says: 

'  The  songish  part  which  I  used  to  succeed  so  well  in,  by  the  indifferent  performance 
the  first  day,  and  the  hurrying  it  on  so  soon,  being  straitned  in  time  thro  ill  manage- 
ment— (tho  extremely  well  set  to  musick,  and  I'm  sure  the  just  critick  will  not  say  ill 
writ)  yet  being  imperfectly  performed,  was  consequently  not  pleasing,  and  the  dances 
too,  for  want  of  some  good  performers,  also  disliked:  all  which,  tlio  impossible  for  me 
to  avoid,  and  not  unreasonably  to  be  attributed  any  way  to  a  fault  in  me,  yet  the 
noisy  party  endeavoured  to  use  me  as  ill  as  if  it  were,  till  the  generous  opposition  of 
my  friends  gave  me  as  much  reason  to  thank  them  for  their  justice,  as  to  despise  the 
others  malice  ..." 

Whereas  the  score  printed  simultaneously  with  the  performances  in  1694  and  1696 
^third  part)  says,  "sett  by  the  most  eminent  masters  of  the  age"  (parts  I-II),  and 
(part  III)  "being  the  last  piece  set  to  musick  by  the  late  famous  Mr.  Henry  Purcell: 
and  by  Mr.  Courtiville  [Raphael  Courteville],  Mr.  [Samuel]  Akeroyd,  and  other 
eminent  masters  of  the  age  [John  Eccles,  colonel  Pack,  Morgaai],"  the  libretto  does 
not  even  mention  Purcell.  I>onge  68 

I  comici  Italian!  alia  China,  ballet.     See  Cimarosa's  I  due  supposti 

conti. 

La  commedia  in  commedia.  O.  T.  of  Barlocci's  libretto  II  vecchio 
amante. 

La  commedia  in  commedia.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  Bonacossi  da  S.  Stefano  in  Ferrara  nell' 
anno  MDCCXLVII  ... 

Ferrara,  Bernardino  Pomatelli,  n.  d.     72  p.     16'^^. 

Three  acts.  Dedication  by  Eustacchio  Bambini,  who  calls  this  his  "secondo 
dramma  musicale  giocoso,"  cast,  and  name  of  Gaetano  Latilla  as  composer.  The 
text  was  really  by  Giovanni  Barlocci.  Schatz  5457 

La  commedia  in  commedia.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Teatro  Tron  di  S.  Cassiano.  Nel  carnovale  dell'  anno 
1749. 

Venezia,  Modesto  Fenzo,  1749.     48  p.     14^"^. 

Three  acts.  By  Giovanni  Barlocci.  With  cast  and  name  of  Rinaldo  di  Capua 
as  composer. 

First  performed  at  Rome,  Teatro  Valle,  January  8,  1738.  Schatz  8803 


OPERA   LIBRETTOS  305 

La  commedia  in  commedia — Continued. 

—  L'ambizione  delusa.     Drama  ^iocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  Tron  di  S.  Cassano  il  camoyale  dell'  anno  1744. 
Venezia,  n.  puhl.,  n.  d.     82  p.     17'^'^. 

A  much  altered  version  of  Giovanni  Barlocci's  "La  commedia  in  commedia"  aa 
composed  by  Rinaldo  di  Capua,  who  is  mentioned  as  composer  in  the  1744  version. 
This  plays  in  Livomo,  the  original  in  Florence,  and  in  the  cast  of  the  1744  version 
appears  "Fiorlindo,  Parigino  affettato  amante  di  Lucinda,"  who  is  not  in  the  original. 

ScHATz  8802 

Coiuxxiedianti  fortunati.  Commedia  per  musica  di  Pasquale 
Mililotti  da  rappresentarsi  nel  Teatro  nuovo  sopra  Tolfedo  per  terza 
opera  di  quest  anno  1779. 

Napoli,  n.  jmbl,  1779.     64  p.     15^'''". 

Three  acfs.     Cast  and  name  of  Antonio  Amicone  as  composer.        Schatz  174 

Coininent  faire?,  ou,  Les  epreuves  de  misanthropic  ^t  repentir, 
comedie  en  un   acte,   mdlee   de   vaudevilles,   representee   pour  la 

{)remiere  fois  sur  le  Theatre  du  Vaudeville  le  26  vent6se,  an  7.  par 
es  CC.  Dejouy  et  Longchamps. 

Paris,  Le  Lihraire  au  Theatre  du  VavdeviUe,  an  VII  {1798-99]. 
48  p.     20^"^. 

Cast.  A  few  airs  printed  in  the  text,  for  instance,  "No.  14.  Air  nouveau  du  C. 
Jadin:  Dans  nos  bals"  and  "No.  38.  Air  nouveau  du  C.  Longchamps:  A  tout  le 
monde."     Not  recorded  by  either  CI.  &  L.  or  Schatz. 

First  performed,  as  indicated,  March  16,  1799.  ML  48.M2L 

The  commodity  excis'd:  or,  The  women  in  an  uproar.  A  new 
ballad  opera.  As  it  will  be  privately  acted,  in  the  secret  apartments 
of  vintners  and  tobacconists  .  .  .     By  Timothy  Smoke. 

London,  Printed  for  the  author,  and  sold  by  T.  Bands,  1733.  1  p.  I., 
32  p.     19'"^. 

Three  acts  and  introduction.    The  airs  are  not  even  indicated  by  title. 

LONOE  191 

La  com.pagnia  d' opera  a  Nanchino.  Drama  giocoso  da  rappre- 
sentarsi neir  interno  Piccolo  Teatro  del  Palazzo  reale  di  S.  M.  il  r^ 
di  Prussia,  il  giorno  16.  ottobre  1790.  Composto  da  Antonio  Filistri 
de'  Caramondani  poeta  della  Real  corte,  e  messo  in  musica  dal  Sigu. 
Felice  Alessandri  ... 

Berlino,  Haude  e  Spener,  1790.     14-5  P-     15h°. 

German  title-page  "Die  operisten  in  Nanking"  and  text  face  Italian. 

Two  acta.    Cast.  Schatz  143 

II  compimLento  di  quattro  desideri,  ballet.     See  Anfossi's  Ezio. 

Comiplim.ent  de  la  cloture  de  la  Foire  S.  Laurent.  See  Jerosme 
et  Fanchonette. 

Le  comte  d'Albert,  drame  en  deux  actes,  en  prose  et  en  vers.  Repre- 
sent 6  k  Fontaine bleau,  le  13  novembre  1786,  &  k  Paris,  le  8  fevrier 
1787,  par  les  Com^diens  italiens  ordinaires  du  roi.  Les  paroles,  par 
Mr.  Sedaine;  la  musique,  par  Mr.  Gr^try. 

Paris,  et  se  trouve  a  Bruxelles,  chez  Emmanuel  Flon,  1787.     63  p. 

Cast  and  Avertissement,  in  which  Sedaine  narrates  how  he  came  to  dramatize  de 
la  P'ontaine's  fable  of  the  lion  and  the  rat  under  the  above  title,  and  that  he  added 

72251°— VOL  1—14 20 


306  LIBRARY   OP  CONGRESS 

Le  comte  d' Albert — Continued. 

a  third  act  to  the  original  two  under  the  title  of  "suite"  and,  in  fact,  on  p.  35-63  this 
third  act  is  printed  as: 

"Suite  du  Comte  d' Albert,  op^ra-comique  en  un  acte,  en  proee  et  en  vers,  mis  en 
musique.  Compost  par  lee  mdmes  auteurs,  &  repr^eent^  sur  lee  mSmes  th^tres  en 
mSme-tems  que  le  Comte  d'Albert."  ML  50.2.C64G7 

—  Le  comte  d'Albert,  drame  en  deux  actes,  et  en  prose  m616 
d'ariett^'s.  Represents  k  Fontainebleau,  le  13  novembre  1786,  &  k 
Paris,  le  8  fSvrier  1787,  par  les  Com6diens  italiens  ordinaires  du  roi. 
Les  paroles  par  Mr.  Sedaine,  la  musique,  par  Mr.  Gretry. 

Amsterdam,  Cesar  Noel  Guerin,  1788.     iv,  [5]-52  p.     jgOi^™. 

No  cast,  otherwise  the  same  contents  as  above.  ML  50.2.C64G8 

—  Arien  und  gesaenge  aus  dem  singspiele  Graf  Albert,  iu  drey 
akten.     Musik  von  Gretry. 

Berlin,  n.  puhl,  1798.     37  p.     loY^. 

Cast.     Tr.  by  Heinrich  Gottlieb  Schmieder,  who  is  not  mentioned. 
First  performed  at  Berlin,  Kgl.  Nationaltheater,  January  2,  1799;    at  Mayence, 
Nationaltheater,  June  20,  1789.  Schatz  4142 

Comus,  a  mask:  (Now  adapted  to  the  stage)  as  alter'd  from  Milton's 
mask  at  Ludlow-Castle,  which  was  never  represented  but  on  Michael- 
mas-Day, 1634;  before  the  Right  Hon**'^-  the  earl  of  Brid^ewater, 
Lord  President  of  Wales.  The  })rincipal  performers  were  tlie  Lord 
Brackly,  Mr.  Tho.  Egerton,  the  lady  Afice  Egerton.  The  musick  was 
composed  by  Mr.  Henry  Lawes,  who  also  represented  the  Attendant 
spirit  .  .  .  The  second  edition. 
London,  R.  Dodsley,  1738.     61,  [2]  p.     21 '"K 

Three  acts,  prologue,  and  epilogue.  Cast.  The  alterations  of  the  text  were  by 
John  Dalton.  The  composer  of  this  version,  Thomas  Augustine  Ame,  is  not 
mentioned. 

First  performed  at  London,  Drury  Lane,  March  4,  1738.  ML  48.M2E 

—  Comus,  a  mask:  ...  [same  as  in  2d  ed.]     The  third  edition. 
London,  R.  Dodsley,  1738.     61,  [2]  p.     19'"*. 

Contents  same  as  of  the  2d  ed.  Lcnge  40 

—  Comus.  A  mask.  B}^  John  Milton.  Adapted  for  theatrical 
representation,  as  performed  first  at  the  Theatre-Royal,  Covent- 
Garden,  in  the  year  1744.     Regulated  from  the  prompt-book  .  .  . 

London,  John  Bell,  1791.  front,  1  p.  l,  xii,  [3],  16-66,  [2]  p.  15'='^. 
(J.  Bell,  British  Theatre,  London,  1791-97,  v.  2.) 

The  front,  represents  Miss  Storace  as  Euphrosine  in  the  opera,  and  is  dated  January 
31, 1791.  The  1  p.  1.  is  an  added  engraved  title  page,  with  a  scene  from  the  opera,  and 
is  dated  September  20,  1790. 

Three  acts,  prologue,  and  epilogue.  Biographical  sketch  of  Milton,  preface,  edi- 
torial comment,  reading,  in  part: 

^^C'omiis,  a.s  it  is  here  given,  is  an  adaptation  to  the  modem  stage — by  the  retrench- 
ment of  much  dialogue,  and  the  addition  of  many  airs. — That  the  poetry  of  this  beau- 
tiful piece  suffers  by  a  modern  hand  can  be  little  doubted.  Veneration  for  the  author 
might  wish  it  in  the  original  state;  but  a  dramatic  exhibition  must  please  to  be 
repeated — the  aim  should  be  to  venture  as  little  innovation  as  possible.  The  music 
of  Ame,  in  the  modern  Comus,  is  well  known;  it  is  as  intelligent  as  modem  music 
can  be  .  .  ." 

In  the  preface  we  read : 

"In  the  year  1774  [?  1772]  it  was  abridged,  and  has  ever  since  been  performed  as  an 
afterpiece  at  the  Theater-Royal  in  Covent-Garden  ..." 

Though  in  parts  a  trifle  shorter  than  in  the  1738  ed.,  the  text  is  not  George  Colman'e 
abridged  two-act  version,  but  that  of  Dalton.  PR  1241. B4 


OPERA    LIBBETTOS  307 

Coxnus — Continued. 

—  Coxnus:  a  masque.     Altered  from  Milton.     In  two  acts. 
{216]-230  p.     W^.     {Collection  of  the  most  esteemed  farces  and 

entertainments,  t.  iv,  Edinburgh,  1792.) 

Covent-Giarden  and  Edinburgh  (1782)  casts.     George  Oolman's  abridged  version. 

ScHATZ  11753  D 

II  conclave  del  MDCCLXXIV.  Dramma  per  musica.  Da  reci- 
tarsi  nel  Teatro  delle  Dame  nel  carnevale  del  MDCCLXXV  .  .  . 

Roma,  Per  il  Cronos.  AW  insegna  del  silenzio.  Con  licenza  ed 
approvazione,  n.  d.     155  p.     IS*^^. 

Three  acts.  This  eatirical  drama  is  attributed  by  Schatz  to  abbate  Sertori,  though 
on  p.  6  we  read:  "La  poesia  e  in  gran  parte  del  celebre  Sig.  abate  Pietro  Metastasio." 
Below  this:  "La  musica  del  Sig.  Niccolo  Piccini,"  though,  of  course,  the  satire  was 
never  composed  or  performed.  Sertori  simply  used  the  two  names  then  most  in  vogue. 
German  title-page  "Das  conclave  von  MDCCLXXIV,"  argument  and  text  face 
Italian.  Schatz  8084 

—  Das  conclave  von  MDCCLXXIV.  Ein  drama  fuer  die  musik. 
Welches  im  carneval  des  1775  sten  jahres  auf  dcm  Theater  delle 
Dame  aufgefuelu'et  werden  soil  .  .  . 

Rom.     Bey  Cracas.     Im  zeichen  der  verschwiegenheit,  n.  d.     78  p. 

Merely  a  separate  issue  of  the  German  translation  in  Schatz  8084.      Schatz  8085 

—  II  conclave  del  1774.     Dramma  giocoso  per  musica.     1797. 

Yenezia,  Anno  primo  della  Liherta  italiana,  n.  puhl.     72  p.  16\"^. 

Three  acts.  A  later  issue  of  the  above,  again  with  Metastasio's  and  Piccinni's 
names.  Schatz  8132 

La  Concordia  della  vlrt^,  e  della  fortuna,  poemetto  drammatico 
nel  felicissimo  giorno  natalizio  della  Sac.  Real  MaestS,  di  Amalia 
Willelmina  regina  de'  Romani. 

Pietro  Antonio  Bernardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  35-44.     16^"^. 

Argument.     The  composer,  Carlo  Agostino  Badia,  is  not  mentioned. 

First  performed,  as  indicated,  April  21,  1702.  ML  49.A2B4 

La  Concordia  fra  il  tempo  e  la  gloria.  Componimento  dramma- 
tico da  cantarsi  in  occasione  die  Sua  Altezza  Reale  I'arciduca  Massi- 
miliano  di  Austria  onora  della  sua  reale  presenza  la  villa  del  cardi- 
nale  Alessandro  Albani. 

Roma,  Sdlomoni,  1775.     xix  p.     27'^"\ 

Two  parts.     Neither  author  nor  comiwser  mentioned  and  both  unknown  to  me. 

ML  50.2.C645 

O  conde  de  bello  humor.  Tr.  of  Bemardini's  11  conte  di  bell' 
umore. 

La  confederazione  de  i  Sabini  con  Roma.     See  M.  Curzio. 

Le  confident  heurenx,  opera-comique  en  un  acto.  Par  M,  Vad6. 
Repr^sente,  pour  la  premiere  fois,  sur  le  Tlieatre  de  rOpera-Comique 
le  31  juillet  1755. 

La  Haye,  Pierre  Gosse  junior,  1759.  78  p.  W'".  (Vade,  Oeuvre^, 
La  Haye,  1759,  t.  IIL) 


308  LIBRARY   OF   COXGRESS 

Lc  confident  heureux — Continued. 

En  vaudevilles.  Cayt.  On  p.  72-78,  the  '"Airs  choisis  du  Confident  heureux:" 
"Qu'importe  h  quel  prix,"  "A  I'amour  tout  est  possible,"  "Loin  de  I'objet  aim6," 
"Un  bon  Gaillard  joveux."    The  arranger  of  the  music  not  mentioned  by  Schatz. 

ML  49.A2V2 

—  Le  confident  heureux,  op^ra-comique,  en  un  acte,  repr^sent^, 
pour  la  premiere  fois,  sur  le  Theatre  de  1  Op^ra-comique,  le  31  juillet 
1755. 
Paris,  la  veuve  Duchesne,  1766.     60  p.     iP<"". 

On  p.  53-00,  the  "Airs:"  "Qu'importe  a  quel  prix,"  "A  ramour  tout  est  possible," 
"Lors  d'ici,  et  vous  aussi,"  "Loin  de  I'objet  aime."  Schatz  11486 

La  confusione  della  somiglianza  ossiano  I  due  gobbi.  O.  T..  of 
Portugal's  La  somiglianza  ossiano  I  gobbi. 

Le  confusion!  per  la  somiglianza.     Dranuna  cf)mico  da  rappre- 
sentarsi  in  niusica  nel  Teatro  di  Monza  Tautumio  dell'  anno  1792  .  .  . 
Milano,  Gaetano  Motta,  n.  d.     4  p.  l,  71,  [2]  p.     16^"^. 

The  two  add.  i>.  contain  the  substitute  duettino  "Se  piti  il  matto  non  farete" 
(II,  1)  and  errata.  Two  acts,  by  Francesco  Marconi,  with  impresario'sde  dedication 
dated  November  7, 1792,  scenario,  cast,  names  of  the  composer,  Luigi  Crippa  ("musica 
tutta  nuova  ")  and  of  the  author  and  author's  preface.  In  this  Marconi  states  that  he 
has  used  with  "pochissime  variazioni"  "una  comedia  in  prosa  di  un  ridicolo  singo- 
lare,  che  ha  per  titolo  I  due  gobbi,  parto  felice  del  Sig.  Luigi  Del-Buono  Horentino." 

With  the  opera  were  performed  Gherardo  Cavazza's  ballets  "La  scoperta  d'un 
isola  neir  America  del  capitano  Durson  Inglese"  and  "L'uomo  effeminato."  The 
composer  of  the  music  is  not  mentioned.  Schatz  2290 

La  congiura  contro  Galeazzo  Maria  Sforza  Visconti.  A.  T.  of 
the  ballet  II  Bruto  milanese. 

La  congiura  Pisoniana.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Grande  alia  Scala  il  came  vale  1797  .  .  . 
Milano,  Gio.  Batista  Bianclii,  n.  d.     44  p.     16^*^^. 

Three  acts.  Dedication  by  the  author  Francesco  Salfi,  cast,  scenario,  and  name 
of  Angelo  Taxchi  as  the  composer.  With  the  opera  were  performed,  the  composers 
of  the  music  not  mentioned,  Paolino  Franchi's  ballets  "Lucio  Giunio  Bruto  and 
"  L'Albagia  in  fumo."  Schatz  10215 

Le  congiure  del  duca  di  Guisa,  ballet.     See  Bianchi's  Demetrio. 

The  conquest  of  Mexico.     Tr.  of  Vento's  La  conquista  del  Messico. 

La  conquista  del  Messico.     A.  T.  of  the  ballet  Guatimozin. 

La  conquista  del  Messico,  drama  per  musica.  Da  rappresentarsi 
sopra  il  Teatro  di  S.  M.  B.  Travagliato  sopra  un  nuovo  piano  da 
Giovan  Gualberto  Bottarelli.  La  musica  e'  mtieramente  nuova  del 
Signor  Mattia  Vento,  maestro  Napoletano  .  .  .  The  conquest  of 
Mexico  .  .  . 

London,  W.  Griijin,  1767.     39,  [I]  p.     19'^^. 

Three  acts.    Argument,  cast.     Italian  and  English  text. 

First  performed  at  London,  Haymarket,  1767.  ML  50.2.C65V2 

La  conquista  del  Per^u.     A.  T.  of  the  ballet  II  Pizarro  nell'  America. 

La  conquista  del  Peru  ossia  Amazile  e  Telesco,  ballet.  See  Tarchi's 
Aldemira. 


OPEEA   LIBRETTOS  309 

La  conquista  del  vello  d'oro.     Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  dell'  illustrissimo  piibblico  di  Reggio  in  occasione 
della  fiera  Tanno  MDCCXVII. 
Reggio,  Ippolito  Vedrotti,  1717.     74  p.,  [1]  p.     W^"". 

Three  acts.  Dedication  dated  Reggio,  April  29,  1717,  argument,  cast,  scenario, 
and  name  of  the  composer.  Marc  Antonio  Bononcini,  but  not  of  the  librettist,  conte 
Niccol6  Minato.  Schatz  1207 

La  conquista  del  vello  d'oro.  A.  T.  of  Gazzaniga's  Gli  Argonaut! 
in  Colco. 

La  conquista  del  vello  d'oro.     Dramma  per  musica  da  rappresen- 
tarsi  nel  Regio  Teatro  di  Torino  nel  carnovale  del  1791  .  .  . 
Torino,  Onorato  Derossi,  n.  d.     viii,  60  p.     15^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Giandomenico  Boggio  aa 
author,  of  Gaetano  Isola  as  composer.  On  p.  54-60  description  of  Domenico  Ballon's 
ballets  "L'incoronazione  di  Uladislao  rh  di  Polonia  in  re  d'Ungheria,"  "Angelica  e 
Wilton,"  and  "I  due  cacciatori  e  la  venditrice  di  latte,"  music  of  all  three  by  Giu- 
seppe Nucci. 

First  performed  as  indicated,  December  26, 1790.  Schatz  4905 

La  conquista  del  vello  d'oro,  ballet.     See  Nasolini's  Tito  e  Berenice. 

La  conquista  del  vello  d'oro.  Drama  per  musica  da  rappresen- 
tarsi  nel  Regio  Teatro  di  Torino  nel  carnovale  del  1745  ... 

Torino,  Pietro  Giuseppe  Zappata  ejiglio,  n.  d.     4  V-  *^-j  ^^  V-     ^"5<^™. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Perhaps  Angelo 
Cari's  text,  as  previously  (1738)  composed  by  Pescetti? 

Argument,  scenario,  cast  and  names  of  Giuseppe  Sordella  ae  composer  of  the 
opera,  of  Alessio  Rasetti  as  composer  of  the  three  incidental  ballets.      Schatz  9961 

La  conquista  di  Granata.     L.  T.  Curcio's  La  presa  di  Granata. 

U  consiglio  fedele.     See  M.  Curzio. 

n  consiglio  di  Giove,  ballet.     See  Cimarosa's  Le  donne  rivali. 

Un  consiglio  per  li  vecchj,  ballet.     See  Marinelli's  Issipile. 

The  conspirators.  A  tragi-comic  opera.  As  it  was  acted  in  Eng- 
land and  Ireland,  without  applause  .  .  . 

Carrickfergus,  n.  pull.,  1749.     59  p.     19^"^. 

Neither  author,  composer,  nor  performance  recorded  by  Clarence.        Longe  216 

The  constant  lady.     A.  T.  of  The  generous  free-mason. 

The  constant  maid;  or,  Poll  of  Plympton.  A  musical  entertain- 
ment in  two  parts.  As  performed  at  the  Royalty  Theatre,  Well- 
Close-Square.     By  the  author  of  The  Birth-day. 

London,  J.  Jarvis,  1787.     2  p.  I.,  36  p.     21'^'^. 

Cast.    By  O'Keeffe.    The  composer,  Thomas  Carter,  is  not  mentioned. 

Schatz,  though  incorrectly,  it  would  seem,  dates  first  performance  Jan.  16,  1788. 

LONQE  102 

La  contadina.     O.  T.  of  Hasse's  Don  Tabarrano. 

La  contadina  astuta,  ballet.     See  Paer's  L'oro  fa  tutto. 


310  LIBRARY   OF   CONGRESS 

La  contadina  astuta.  A.  T.  and  L.  T.  of  Pergolesi's  Livietta  e 
TracoUo, 

La  contadina  fllosofa,  ballet.     See  Alessandri's  II  vecchio  geloso. 

La  contadina  impertinente.     A.  T.  of  the  ballet  La  vindemmia. 

La  contadina  in  corte.     A.  T.  of  the  ballet  II  principe  di  Lago  Nero. 

La  contadina  in  corte.     Drama  giocoso  per  musica  da  rappreseu- 
tarsi  nel  Teatro  cliiamato  da  rua  dos  Condes  Taimo  1765  .  .  . 
Lishona,  Pietro  Ferreira,  n.  d.     7  p.l,  133  p.,  [2\  I.     W"^. 

Three  actei.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication,  argu- 
ment, and  scenario.  Portuguese  title,  "A  Aldeana  em  corte,"  and  text  face  Italian. 
On  recto,  of  first  P-  I-  and  on  first  additional  leaf,  the  aria,  "Con  la  mia  villanella," 
reep.  "Com  a  minha  Aldeana,"  transferred  from  II,  4  to  II,  5.  The  composer,  Gia- 
como  Bust,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  San  Mois^,  carnival,  1763.         Schatz  9180 

La  contadina  in  corte.  Operetta  giocosa  per  musica  da  rappresen- 
tarsi  nei  Teatri  privilegiati  di  Viemia  I'amio  1770. 

Vienna,  Giovanni  Tomxiso  di  Trattnem,  n.  d.     Jfi  p.     16^"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Sacchini  is  men- 
tioned as  the  composer. 

First  performed  at  Rome,  Teatro  Valle,  carnival,  1765;  and  at  Vienna  for  the  first 
time  in  1767.  Schatz  9211 

—  La  contadina  in  corte.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Ducal  Teatro  di  Louisbourg  .  .  . 

Stuttgard,  Erhard,  1771.     159  p.     IGY'"- 

Three  acts.  Cast,  scenario,  and  name  of  Sacchini  aa  the  composer.  ("La  musica 
sark  tutta  nuova"  [sic!])  German  title-page,  "Das  bauren-maedgen  am  hofe,"  and 
text  face  Italian.  Neither  the  translator  nor  the  person  who  expanded  the  text  from 
two  to  three  acts  is  mentioned. 

First  performed,  as  indicated,  in  1771.  Schatz  9213 

—  Die  baeurinn  bey  hofe,  ein  kleines  lustiges  singspiel,  aufge- 
fuehret  auf  den  privilegierten  schaubuehnen  in  Wienn  im  Jahre  1767 
und  in  das  deutsche  ueoersetzet  von  J.  A.  E.  v.  G. 

Wienn,   gedruckt   mit  von  Ghelischen   schriften,   n.   d.     Unpaged. 

Two  acts.  Translated  by  J.  A.  edler  v.  Ghelen.  Scenario,  cast,  and  name  of 
Sacchini  as  the  composer.  Schatz  calls  this  a  "Separat-abdruck"  of  the  German 
translation  in  the  1767  Italian  libretto.  Schatz  9214 

—  Die  geadelte  baeuerinn.  Ein  komisches  singspiel.  Aufge- 
fuehrt  auf  der  Koenigl.  Schaubuehne  zu  Pra^  in  der  fassnachtszeit 
1774  unter  der  aufsicht  des  hr.  Joseph  Bustelli. 

Prag,  Johann  Ferdinand  Edl.  r.  Schoenfeld,  n.  d.     91  p.     15'^"^. 
Two  acts.     Scenario  and  name  of  Sacchini  aa  the  composer.     Italian  text  faces 
German. 

First  performed  at  Prague  in  1767.  Schatz  9212 

La  contadina  in  corte,  ballet.     See  Sacchini's  Armida. 


OPERA   LIBRETTOS  311 

La  contadina  incivilita.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  di  San  Samuele  nel  carnovale  dell'  anno  1775. 

Venezia,  Antonio  Graziosi,  1775.     63  p.     17^^. 

Three  acts.  Cast,  scenario,  and  name  of  composer,  Pasquale  Anfossi,  but  not  of 
librettist,  who  is  unknown  to  Schatz.  The  first  ballet,  "Venere  e  Adone,"  was  by 
Giac*omo  Romoli.  The  composer  of  the  music  ia  not  mentioned.  A  synopsis  on 
p.  5-6.  Schatz  266 

La  contadiiia  nel  palazzo  signorile.    A.  T.  of  the  ballet  Ninetta. 

La  contadina  semplice.     O.  T.  of  I  capricci  in  amore. 

La  contadina  sempUce.  Commedia  per  musica  da  rappresentarsi 
nel  Real  Teatro  del  Fondo  di  Separazione  nel  carnovale  dell'  anno 
1790. 

Napoli,  n.  publ.,  1790.     48  p. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Graetano  Maxinelli  as  the  composer.  Schatz  5954 

La  contadina  spiritosa,  ballet.    See  ZLngarelli's  Quinto  Fabio. 

La  contadina  superba  owero  II  giocatore  burlato.  Farsa  per 
musica  da  rappresentarsi  nel  Real  Teatro  di  Salvaterra  nel  carnovale 
dell'  anno  1776. 

[LishovAi],  Stamperia  reale,  n.  d.     75'p.     14^'^^- 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Scenario,  cast,  and 
name  of  Pietro  Guglielmi  as  the  composer. 

First  performed  at  Rome,  Teatro  Valle,  carnival  1774.  Schatz  4295 

Le  contadine  bizzarre.     Dramma  giocoso  per  musica  da  rappre- 
sentarsi ne'  Teatri  privilegiati  di  Vienna  il  carnovale  dell'  anno  1767. 
Vienna,  Ghelen,  n.  d.     80  p.     16^"". 

Three  acts.  By  Guiseppe  Petrosellini,  who  is  not  mentioned.  Cast,  scenario, 
and  name  of  Niccold  Piccinm  as  the  composer. 

First  performed  at  Venice,  Teatro  di  S.  Samuele,  fall  1763.  Schatz  8086 

—  La  sciocchezza  in  amore.  Dramma  giocoso  per  musica  di 
Ensildo  Prosindio  P.  A.  da  rappresentarsi  nel  Teatro  dell'  Accademia 
vecchia  [Veronal  nell'  autunno  dell'  anno  MDCCLXIV  ...       • 

Venezia,  Modesto  Fenzo,  1764.     70  p.     14^'^- 

Three  acts.  Dedication,  cast,  and  name  of  Niccol6  Piccinni  as  the  composer. 
This  is  PetroseUini's  "Le  contadine  bizarre"  with  many  differences  at  least  from 
the  Vienna,  1767,  edition.  For  instance,  though  the  dialogue  of  the  first  four  scenes 
is  largely  the  same,  the  arias  are  different  and  Venezia,  1764,  has  in  the  first  scene 
"Ah  d'ascoltar  gi^  parmi "  instead  of  "Destrier,  che  all'  armi  usato,"  etc.  On  p.  5-8 
are  enumerated  seven  "mutazioni  di  arie."  Schatz  8087 

Le  contadine  furlane.  Drarama  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  di  S.  Mois^  il  carnovale  dell'  anno  1771 
dell'  abbate  Pietro  Chiari. 

Venezia,  Antonio  Grazioli,  1771.     54  p.     18*^. 

Three  acts.  Cast,  scenario,  and  name  of  the  composer,  Antonio  Boroni.  Pages 
3-4,  presumably  containing  dedication  and  argument,  wanting.  Schatz  1252 

II  conte  Baccelone.     Dranmia  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  San  Mois6  nell  autunno  dell'  anno  1774. 
Venezia,  Antonio  Graziosi,  1774-     64  p-     17*^. 


312  LIBRARY    OF   CONGRESS 

11  conte  Baccellone — Continued. 

Three  acts.  "La  Conteesina,"  by  Marco  Coltellini  (not  mentioned)  with  altera- 
tions. Cast,  scenario,  and  name  of  Giacomo  Bust  as  the  composer.  On  p.  31-32 
description  without  name  of  the  composer  of  the  music  of  Francesco  Caselli  s  "Ver- 
timno  e  Pomona."  The  other  ballet,  by  Francesco  Martini,  was  called  "Diogene 
tentato,  ma  non  vinto  dall'  amore."  Schatz  91¥8 

II  conte  Caramella. 

[52]-106  p.  16^''^.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  Hi,  Torino,  1757.) 

Three  acts.  ML  49.H2G6 

—  II  conte  Caramella.  Dramma  di  tre  attiper  musica.  Kappre- 
sentato  per  la  prima  volta  in  Verona  I'anno  MDCCXLIX. 

Carlo  Goldoni,  Opere-teairali,  Venezia,  ZaMa  ejlgli,  1788-95,  t.  Jfi, 
[219]-274  p.     18<^^.  PQ 

II  conte  Caramella.     Opera.    Dramma  giocosa  [!]  in  musica  di 
Polesenno  Tecio,  Pastor  Arcade.     Da  rappresentarsi  nel  Teatro  di 
Piazza  nella  noboile  citta  di  Vicenza  nella  nera  presente  1759  .  .  . 
Vicenza,  n.  pub.,  1759.     50  p.     1^"^. 

Three  acts.  By  Goldoni.  Dedication,  cast,  scenario,  and  name  of  Baldassare 
Galuppi  as  composer. 

First  performed  at  Verona,  Dec.  18?  1749.  Schatz  3446 

—  II  conte  Caramella,  dramma  ffiocoso  per  musica,  da  rappresen- 
tarsi nel  Nuovo  Teatro  in  Dresda  I' anno  MDCCLV. — ^Der  graf  Cara- 
mella .  .  . 

[Dresden],  Gedruckt  hei  der  .  .  .  Stoessdin  und  .  .  .  Johann  Carl 
Erausen,  n.  d.     143  p.     17*^^. 

Three  acts.  Cast,  scenario,  and  name  of  Galuppi  as  composer.  German  text 
faces  Italian.  The  differences  between  this  Dresden,  1755,  and  the  Vicenza,  1759, 
libretti  are  few.  For  instance,  in  the  latter  the  aria  of  I,  5,  reads  "Speranza  h  il  piii 
bei  done,"  at  Dresden  it  was  "Scherza  il  nocchier  tallora."  This  was  taken  from 
Metastasio's  Demetrio."  Schatz  3447 

Lo  CO.  de  Scrignano.  Commeddeja  redicola  pe  mmuseca,  de  Tom- 
maso  Mariani,  Romano.  Da  rappresentarese  a  lo  Triato  nuovo 
ncoppa  Toleto  nchisto  carnevale  de  st'anno  1729  .  .  . 

Napoli,  Agnolo  Vocola,  n.  d.     76  p.     IJi.Y'^- 

Three  acts.  Impresario's  dedication,  argument,  cast,  and  name  of  Costantino 
Boberto  as  composer  of  the  second  act  only.  The  composers  of  the  two  other  acta  are 
not  mentioned.  Schatz  8837 

II  conte  di  Belfiore.  Intermezzo  per  musica  a  tre  voci  da  rappre- 
sentarsi nel  Teatro  Tron  di  S.  Cassiano.  Nel  camovale  dell'  anno 
1749. 

Venezia,  Modesto  Fenzo,  1749.     17  p.     14^"^. 

Two  parts.     Cast.    Author  and  composer  not  mentioned,  and  unknown  to  Schatz. 

Schatz  11315 

II  conte  di  bell*  umore.  Intermezzi  per  musica  a  cinque  voci  da 
rappresentarsi  nel  Teatro  della  Palla  Corda  di  Firenze  [ !]  nel  carne- 
vale deir  anno  1783. 

Roma,  PuccineUi,  n.  d.     56  p.     15^"^. 

Two  acts.  Cast  and  name  of  Bemaxdini  (Marcello  di  Capua)  aa  composer,  who 
also  wTote  the  libretto  (Schatz).  Schatz  844 


OPERA   LIBRETTOS  313 

II  conte  di  bell'  umore — Continued. 

—  II  conte  di  bell'  umore.  Azione  comica  per  miisica  da  rappre- 
sentarsi  nel  Teatro  in  parte  piccola  della  Reggia  citta  di  Praga  nella 
casa  del  cont«  Thun.     Nell'  autunno  deU'  anno  1783. 

n.  i.,  n.  d.     167  p.     16^"^- 

German  title-page  "Der  graf  bey  guter  Laune,"  and  text  face  Italian.  Marcello 
di  Capua  (Bemardird)  is  mentioned  as  composer.  Schatz  831 

—  II  conte  di  bell'  umore :  Dramma  giocoso  per  niusica,  da  rappre- 
sentarsi  nel  Teatro  della  ma  Dos  Condes,  nella  primavera  dell'  anno 
1791. 

Lisbona,  Antonio  Rodrigo  Galhardo,  1791.     161  p.     14Y™'. 

Two  acts.  Cast.  Portuguese  title,  "O  conde  de  bello  humor,"  and  text  face 
Italian.    Bemaxdini  (Marcello  di  Capua)  is  mentioned  as  composer.      Schatz  843 

II  conte  di  Cutro.  Drama  civile  fatto  rappresentare  da'  Signori 
Accademici  del  Casino  sotto  la  protezione  del  sereniss.  principe 
Francesco  Maria  di  Toscana. 

n.  %.,  n.  d.  p.  [5091-616.  15^"^. 
•  Three  acts.  By  Giovanni  Andrea  Moniglia,  and  evidently  detached  from  his 
"  Poesie  drammatiche,"  third  part  (1690)  which  is  not  in  our  set.  Author's  unsigned 
preface,  ar^ment,  name  of  the  composer;  Lorenzo  Cattani,  and  on  p.  606-616  a 
"  Dichiarazione  de  i  proverbi  e  vocaboli  propri  degli  abitatori  del  contado,  e  quella 
plebe  Fiorentina  adoprati  nel  presente  drama. 

First  performed,  as  indicated,  November  12,  1683,  the  birthday  of  Francesco  Maria 
di  Toscana,  which  the  opera  was  to  celebrate.  Schatz  1712 

II  conte  di  Saldagna.     Tragedia  per  musica  da  rappresentarsi  nel 
Teatro  Grande  alia  Scala  la  primavera  deU'  anno  1787  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     68  p.     16^™"- 
Three  acts.     By  Ferdinando  Moretti,  who  is  not  mentioned.     Dedication,  argu- 
ment, cast,  Bcenano,  and  name  of  Angelo  Tarchi  as  the  composer. 

First  performed,  as  indicated,  June  10, 1787.  Schatz  10216 

Second  copy.    ML  48.A5    v.  7 

II  conte  di  Saldagna.     Tragedia  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  La  Fenice  il  carnovale  dell'  anno  1795. 
Venezia,  Modesto  Fenzo,  1795.     62  p.     IS*^"^. 

Three  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Aigument,  cast, 
scenario,  and  name  of  Nicola  Antonio  Zingarelli  as  the  composer.  On  p.  [49]-62, 
argument,  cast,  and  description  of  Onorato  Vigan6'8  "Le  Amazzoni,  ballo  eroico  panto- 
mime favoloso,"  music  ("tutta  nuova")  by  Antonio  Holler.  Schatz  11242 

II  conte  immaginario.     Intermezzo  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassiano,  neU'  autunno  dell'  anno  1748. 
Vmezia,  Modesto  Fenzo,  HlfS.     21  p.     IJ^Y"^. 

Two  acts.  Cast  and  name  of  composer,  Pietro  Auletta,  but  not  of  librettist,  who 
is  imknown  to  Schatz.  Schatz  501 

II  conte  Nespola,  intermezzo.     See  Galuppi's  Scipione  nelle  Spagne. 

II  conte  Policronio  ovvero  Le  bugie  hanno  le  gambe  corte.  Farsa 
in  prosa  con  musica  che  si  rappresenta  per  la  prima  volta  nel  Teatro 
della  Real  villa  del  Poggio  a  Cajano  .  .  .  dalla  comica  compagnia  di 
Pietro  Andolfati  nell'  autunno  del  1791. 

Firenze,  Ant.'Gius.  Pagani  e  comp.,  1791.    4^  p.     16"^. 

Two  acts.  "II  libretto  h  del  sig.  G.  S.  [Gaetano  Sertor?]  -La  musica  ^  tutta  nuova 
del  Sig.  Giuseppe  Moneta."     Impresario's  dedication  and  cast.  Schatz  6651 


314  LIBRARY   OP   CONGRESS 

The  contention  of  the  laurel.     A.  T.  of  The  battle  of  the  poets. 

La  contesa  de'  Numi. 

[4£9]-448  p.  19'^^.  (Pietro  Metastasio,  Opere  drammatiche,  Vene- 
zia,  Giuseppe  BettineUi,  1733-87,  v.  2.) 

One  act.  No  composer  mentioned.  Note  on  p.  431:  "La  seguente  festa  teatrale 
fu  rappresentata  in  Ivjma  in  occaaione  della  nascita  del  Real  Delfino." 

ML  49.A2M4 

—  La  contesa  de'  Numi. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  vi,  [433]-459  p. 
16^"". 

One  act.  ML  49.A2M42 

—  La  contesa  de'  Numi.  Festa  teatrale  scritta  dell'  autore  in  Roma 
I'anno  1729,  ad  istanza  del  cardinale  di  Polignac  .  .  .  e  sontuosa- 
mente  rappresentata  la  prima  volta  con  musica  del  Vinci  nell'  orna- 
tissimo  cortile  del  palazzo  di  Sua  Eminenza,  per  festeggiare  la  nascita 
del  Real  Delfino  di  Francia. 

[396]-416  p.  26'''^.  {Pietro  Metastasio,  Opere,  t.  4,  Parigi,  vedova 
Herissant,  1780.) 

Two  parts.  •  ML  49.A2M44 

Le  contese  di  Pallade  e  Venere  sopra  il  bando  d'Amore.     In- 

trodutione  accademica  rappresentata  su  la  sala  dell'  Ercole  nel  Palazzo 
publico.     Poesia  del  Sig.  aottor  Biancliini. 

Bologna,  per  gVHH.  d^ Evangelista  Dozza,  n.  d.     [23  p.]     19Y^- 

In  a  prefatory  note  we  are  told  that  certain  noblemen  wished  to  honor  "Cardinal 
Caraffa,  dignissimo  Legato  di  queata  citta  "  with  an 

"Accademia  di  belle  lettere,  accompagnandola  con  I'armonia  della  musica.  E 
perche  fii  mai  sempre  opinione,  che  non  possa  darsi  "un  vero  seguace  della  virtii,  che 
non  habbia  prima  dal  petto  essigliato  Amore,  venne  giudicato  proporre  ci6  per  pro- 
blemma.  Cosi  su  la  sera  delli  29  del  corrente  doppo  essersi  radunati  nella  sala  dell' 
Ercole  del  Palazzo  publico  li  SS.  Accademici  Gelati,  ed  altri  virtuosi,  come  ancora 
quantity  di  cavaglieri,  e  di  dame,  comparve  I'Eminentissimo  e  Reverendissimo  Sig. 
Cardinal  Legato  .  .  .  ciascuno  de  quali  dopo  essersi  posti  ne  proprii  luoghi  h  sedere, 
al  suotfo  d'una  bellissima  sinfonia  di  varij  stromenti  musicali,  si  diede  pnncipio  .  .  ." 

This  is  followed  by  another  note  in  which  "Gio.  Paolo  Colonna  organista  in  S. 
Petronio  "  is  mentioned  as  the  composer.  As  Colonna  was  appointed  to  this  position 
in  1659  and  became  the  choirmaster  on  Nov.  1,  1674,  the  date  of  this  scenic  "pro- 
blemma  "  is  at  least  approximately  fixed.    The  imprimatur  at  end  is  not  dated. 

ML  50.2.C66C6 

Le  contese  domestiche.  Farza  per  musica  a  tre  voci  da  cantarsi  in 
Asinalunga  nell'  autunno  dell'  anno  1769  in  occasione,  che  gli  Accade- 
mici Smantellati  recitano  nel  loro  teatro  la  tragedia  intitolata  II 
Temistocle  .  .  . 

Siena,  Francesco  Rossi,  n.  d.     24  p.     W^*^. 

Two  parts.  Author  imknown  to  Schatz.  Dedication  dated  Asinalunga,  October 
10,  1769,  cast,  and  name  of  "Baldassare  Galuppi,  Napolitano,"  as  composer. 

Schatz  3448 

Le  contese  per  amore.  O.  T.  of  Deller's  Eigensinn  und  laimen  der 
liebe. 

La  contessa  di  Amalfi.  Dramma  giocoso  per  musica,  da  rappre- 
sentarsi  nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1794.     I4I  p.     15^'='^. 


OPERA   LIBRETTOS  315 

La  contessa  di  Amalfi — Continued. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  German  title-page  "Die 
graefinn  von  Amalfi"  and  text  face  Italien.  Joseph  Weigl  is  mentioned  as  the 
composer. 

First  performed  at  Dresden,  December  13,  1794;  at  Vienna  as  "La  principessa  di 
Amalfi  "  at  the  Burgtheater,  January  10, 1794.  Schatz  10945 

—  La  principessa  di  Amalfi.     Dramma  giocoso  in  due  atti. 

Berlino,  Havde  e  Spener,  n.  d.     127  p.     15'^^. 

Cast  and  names  of  Giovanni  Bertati  as  author,  of  Joseph  Weigl  as  the  composer. 
First  performed  at  Charlottenbuig,  Schlosstheater,  June  19,  1796.    Schatz    10946 

La  contessa  di  Bimbinpoli.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Teatro  delta  rua  dos  Condes  in  Lisbona  nell'  camevale 
delF  anno  1773. 

[Lishona],  neUa  stamperia  reale,  n.  d.     83  p.     17*^. 

Three  acts.  By  Giovanni  Bertati.  Cast,  scenario,  and  names  of  composer,  Gen- 
naro  Astaritta,  and  librettist. 

First  performed  at  Venice,  carnival  1772.  Schatz  368 

—  H  divertimento  in  campagna.  Dramma  giocoso  per  musica 
da  rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassoma. 

Dresda,  n.  pull.,  1783.     109  p.     15^"^- 

Two  acts.  Name  of  Astaritta  as  composer.  German  t.  p.  "Der  zeitvertreib  auf 
dem  lande,  ein  scherzhaffes  singspiel "  and  text  face  Italian,  which  is  that  of  Bertati 's 
"La  contessa  di  Bimbinpoli."  Schatz  369 

La  contessa  di  Novaluna.     Dramma  giocoso  per  musica  di  Gio- 
vanni Bertati  da  rappresentarsi  nel  nobilissimo  Teatro  Giustiniani  di 
S.  Moise  per  la  seconda  opera  dell'  autunno  1786. 
Venezia,  Gio.  Battista  Casali,  n.  d.     68  p.     17 Y'^. 

Two  acts.  Composed  by  Vincenzo  Fabrizj  who  is  not  mentioned.  Impresario's 
dedication,  cast  and  scenario.  Schatz  2975 

La  contessina. 

[j^5\-78  p.  16Y^.  {Carlo  Goldini,  Opere  drammatiche  giocose,  t.  iv, 
ToHno,  1767.) 

Three  acts. 

It  is  sometimes  stated  that  Coltellini's  "La  contessina"  is  based  on  Goldoni's  text. 
True,  the  characters  are  practically  the  same  and  so  is  the  dialogue  of  II,  2  "La 
voglio  far"  (at  least  in  Schatz  3613)  but  otherwise  most,  if  not  all,  the  recitatives  and 
arias  seem  to  be  different.  ML  49.A2G6 

—  La  contessina.  Dramma  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  nell'  anno  MDCCXXXVL 

Carlo  GoMoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  38, 
[127]-163  p.     18^'^'^. 

The  earliest  performance  I  find  recorded  is  that  in  1743  with  Macari's  music.     PQ 

La  contessina.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  delle  Dame  il  camevale  dell'  anno  1773  .  .  . 

Roma,  Lorenzo  Corradi,  n.  d.     76  p.     15Y^. 

Three  acts.  By  Marco  Coltellini,  who  is  not  mentioned.  Impresario's  dedica- 
tion, scenario,  cast  and  name  of  Marcello  di  Capua  (Bemardini)  as  composer. 

First  performed  as  indicated,  February  1773.  ML  50.2.C666B3 


316  LIBRARY   OF   CONGRESS 

La  contessina.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
magnifico  Teatro  della  Nobile  Accademia  degli  Erranti  in  Brescia  per 
la  nera  d'Agosto  1774  .  .  . 

Brescia,  Fratelli  Pasini,  n.  d.     75  y.     15Y'^. 

Three  acts.  By  Marco  Coltellini.  Impresario's  dedication  and  remark:  "La 
musica  parte  h  del  Sig.  Floriano  Gusman  [Qassmann],  parte  d'altri  celebri  maestri." 
Consequently  a  pasticcio. 

First  performed  with  Gaesmann's  music  at  Vienna,  1771.  Schatz  3613 

—  La  contessina.  Drama  giocoso  per  musica  da  rappresentarsi  nel 
Regio  Teatro.— Den  unge  grevinde.     Et  lystigt  synge-spil  .  .  . 

Kiobenhavn,  H.  J.  Grane,  1778.     133  p.     16^^. 

Three  acts.  By  Marco  Coltellini,  who  is  not  mentioned.  Cast  and  name  of  Gass- 
zaann  as  the  composer.     Danish  text  faces  Italian. 

First  performed,  as  indicated,  March  26,  1778.  Schatz  3614 

—  II  superbo  deluso.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1774. 

[Lisboa],  Nella  stamperia  reale,  n.  d.     75  p.     14*^^. 
Three  acts.    A  somewhat  condensed  and  altered  version  of  Coltellini's  "La  con- 
tessina."   Scenario,  cast,  and  name  of  Florian  Leopold  Gassraann  as  the  composer. 
First  performed  under  this  later  title  at  Turin,  Teatro  Carignano,  fall,  1772. 

Schatz  3621 

La  contessina.  Comedia  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuele  dalla  Compagnia  de'  Comici  il  carnovale  dell' 
anno  1743. 

Venezia,  Modesto  Fenzo,  n.  d.     36  p.     15Y™^- 

Three  acts.  Neither  the  author,  Carlo  Goldini,  is  mentioned  nor  the  composer 
Giacomo  Ma,cari,  to  whom  a  contemporary  hand  contributes  the  music. 

Schatz  5809 

La  contessina.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
magnif.  Teatro  Filarmonico  di  Verona  I'autunno  dell'  anno  1775  .  .  . 
Verona,  Dionisio  Ramanzani,  1775.     6 4  p.     16^^. 

Three  acts.  Impresario's  dedication,  cast,  scenario  and  names  of  Marco  Coltel- 
lini as  the  author,  of  Niccol5  Piccinni  as  the  composer.  Schatz  8149 

Les  contrastes.  A.  T.  of  Beffroy  de  Reigny's  Les  deux  charbon- 
niers. 

H  contrasto  de  fiumi  Serchio  di  Lucca;  Tebro  di  Roma;  Ronco 
di  Ravenna.  Dramma  musicale  decantata  alle  glorie  dell'  illustriss. 
e  Reverendiss.  Monsig.  Fabio  Guini^i  arcivescovo  di  Raveima,  in 
occasione  delle  Theologiche  conclusioni  dedicateli  dal  P.  lettore 
Lorenzo  Mario  Bonatti  Fiorentino  Carmelitano,  sotto  Fassistenza  del 
Rev.  P.  maestro  Gio.  Antonio  Fioriti  Lucchese  .  .  . 

Bologna,  Gioseffo  Longhi,  1674.     12  p.    20^"". 

Four  parts.     Hardly  a  "dramma  musicale."  ML  48. AS  v.5 

11  contratempo.     A.  T.  of  Gnecco's  Auretta  e  Masulto. 

I    contrattempi.     Commedia    per   musica    da    rappresentarsi   nel 
Teatro  di  Monza  I'autunno  dell'  anno  1781  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     15^^. 

Three  acts.  By  Nunziato  Porta,  who  is  not  mentioned.  Dedication,  cast,  scenario, 
and  name  of  Giuseppe  Sarti  as  the  composer.    On  p.  8,  the  note: 


OPERA   LIBRETTOS  317 

I  contratempo — Continued. 

"A  compimento  dell'  azione,  e  del  libro  si  e  stampato  il  terzo  atto,  bench^  per 
brevity  non  si  reciti." 

First  performed  at  Venice,  Teatro  di  S.  Samuele,  November,  1778.    Schatz.  9429 

—  I  contratempi.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1781.     131  p.     16'"\ 

Two  acte,  Porta 's  third  act  having  been  dropped.  Other  differences  between  the 
Milano  ed.  and  this  are  noticeable.  For  instance,  I,  4  opens  with  the  aria,  "Non  6 
eempre  la  femmina  un  male,"  instead  of,  as  at  Dresden,  with  "La  mia  Bella  m'ha 
detto  di  n6. "  German  title-page, ' '  Die  zwischenfaelle, ' '  and  text  face  Italian .  Sarti 
is  mentioned  as  the  composer. 

First  performed,  as  indicated,  January  10,  1782.  Schatz  9430 

—  Gli  equivoci  svelati.  Dramma  giocoso  per  musica  da  rappresan- 
tarsi  nel  Nuovo  Teatro  in  Vicenza  .  ,  . 

Padova,  Gio.  Antonio  ConzaMi,  1786.     47  p.     17'^. 

Two  acts.  This  is  Porta's  "I  contratemj)i "  text,  with  the  usual  alterations.  For 
instance,  Padova  ed.  has  I,  6  "Cerco  invano  in  questoistante";  Milano  has  "Tortorella 
abbandonata,"  like  Dresden.  Impresario's  dedication,  cast,  and  name  of  Giuseppe 
Sarti  as  the  composer. 

First  performed,  as  indicated,  December  26,  1786.  Schatz  9431 

II  contraweleno.     A.  T.  of  Andreozzi's  La  principessa  filosofa. 

II  contraweleno.     Farsa  giocosa  per  musica.     Poesia  di  Giuseppe 
Foppa  da  rappresentarsi  nel  nobilissimo  Teatro  Venier  in  San  Bene- 
detto Fautunno  dell'  anno  1799. 
Veneda,  Fenzo,  1799.     Ifi  p.     18'='^. 

One  act.  Cast,  scenario,  and  name  of  Francesco  Gardi  as  the  composer.  After  the 
farce,  Giovanni  Monticini's  ballet,  "La  pescatrice  in  Jaasa,"  music  by  Vittorio  Trento, 
was  performed. 

First  performed  November  7,  1799,  as  indicated.  Schatz  3547 

La  contribuzione  sforzata,  ballet.     See  Galuppi's  Sofonisba. 

The  contrivances :  a  ballad  opera. 

[183}-212  p.  22'"".  (Henry  Carey,.  Dramatick  works,  L(mdmi, 
1743.) 

One  act.  The  words  of  the  air  "Without  affectation,  gay,  youthful  and  pretty" 
were  "by  another  hand."  On  p.  212  the  statement:  "All  the  songs  in  this  opera 
were  set  to  music  by  the  author."  Consequently  this  is  not  a  ballad  opera  in  the 
usual  sense.  ML  49.A2C2 

First  performed  at  London,  Drury  Lane,  August  9, 1715. 

—  The  contrivances :  a  ballad  opera ;  full  of  curious  songs,  by  the 
facetious  and  witty  Harry  Carey.  As  it  is  now  acting  at  the  Theatre- 
Royal  in  Covent-Garden,  and  at  Dublin,  with  great  applause  .  .  . 
The  seventh  edition. 

London,  T.Lmmds,  1765.     35  p.  (incl.frmit.)     16\<^', 

One  act.  According  to  Tufts,  the  play  was  called  a  farce  in  the  1715  ed.,  in  that 
of  1731. a  comifarcical  opera,  and  in  that  of  1743  ballad  opera.  Longe  69 

—  The  contrivances.     By  Mr.  Henry  Carey. 

[282]-S00  p.  W"'.  (Collection  of  the  most  esteemed  farces  and 
tnte^tainments,  t.  iv,  Edinburgh,  1792.) 

Covent-Garden  cast.    -  Schatz  11753 


318  LIBRARY   OF   CONGRESS 

II  convalescente  innamorato,  ballet.  See  Martin  y  Soler's  Le 
burle  per  amore. 

II  convalescente  innamorato,  ballet.     See  Pio's  Medonte. 

La  conversazione.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  42, 
[5]-46  p.     18''\  PQ 

For  first  performance  see  entry  below  under  Scolari. 

La  conversazione.     By  Jommelli.     See  his  L'accademia. 

La  conversazione.  Drama  giocoso  per  musica  di  Polisseno  Fegejo, 
Pastor  Arcade.  Da  rappresentarsi  nei  Teatro  Grimani  di  S.  Samuele 
il  carnovale  dell'  amio  1758. 

Venezia,  Modesto  Fenzo,  1758.     1^.6  y.     15"^^. 

Three  acte.  By  Goldoni.  Cast,  scenario,  and  name  of  Giuseppe  Scolari  as  the 
composer.  Schatz  9794 

O  convidado  de  pedra.     A.  T.  of  Gazzaniga's  Doin  Joao. 

II  convitato,  ballet :  Gluck.     See  Calvi's  Ezio. 

II  convitato  di  pietra.  See  also  Bemardini's  L' ultima  che  si  perde 
^  la  speranza. 

II  convitato  di  pietra,  ballet.     See  Bertoni's  Taneredi. 

II  convitato  di  pietra.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  Tron  di  San  Cassiano  nel  carnovale  dell'  anno 
1777. 

Venezia,  Gio.  Battista  Casali,  1777.     62  p.     18^"". 

Two  acts.  Author  unknown  to  Schatz.  Cast,  scenario,  and  name  of  Giuseppe 
Callegari  as  composer.  Schatz  1511 

II  convitato  di  pietra.  A.  T.  of  Fabrizj's  opera  ''Don  Giovanni 
Tenorio." 

II  convitato  di  pietra.     A.  T.  of  Gazzaniga's  II  Don  Giovanni. 

II  convitato  di  pietra,  ballet.     See  Gazzaniga's  Tullo  Ostilio. 

II  convitato  di  pietra,  o  sia  II  dissoluto.     Dramma  tragicomico. 
Da  rappresentarsi  ne'  Teatri  privilegiati  di  Vienna  I'anno  1777. 
Vienna,  Giuseppe  nobile  de  Kurzheck,  n.  d.     52  p.     1 7^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Scenario  and  name 
of  Vincenzo  Righini  as  the  composer. 

First  performed  at  the  Kaemthnerthor  Theatre,  as  indicated,  August  21,  1777. 

Schatz  8789 

—  II  convitato  di  pietra,  o  sia  II  dissoluto.     Dramma  tragicomico, 

Praga,  n.  puhl,  1777.     Ill  p.     15^"^. 

Three  acts.     Without  names  of  the  author  and  the  composer,  Vincenzo  Bighini. 

German  t.-p.  "Das  steineme  gastmahl,  oder  Der  ruchlose"  and  text  face  Italian, 
which  is  not  exactly  the  same  as  in  the  Vienna,  1777,  version.  For  instance,  the 
latter  does  not  have  before  the  final  scene  with  the  "coro  di  furie"  the  farcical  scene 
between  "Corallino  ed  Arlechino."  The  text  ie,  of  course,  neither  that  by  Da  Ponte 
nor  that  by  Bertati.  •  Schatz  8781 

First  performed  at  Prague,  Kgl.  Theater  i.  d.  Kotzen,  177'7?*'' 


OPERA    LIBRETTOS  319 

H  convitato  di  pietra,  ballet.  See  Ferd.  Rutini's  II  matrimonio 
per  industria. 

II  convito;  or,  The  banquet:  a  new  comic  opera.     As  performed  at 
the  King's  Theatre  in  the  Hay  Market  with  alterations  and  additions, 
by  Signor  A.  Andrei,  the  music  entirely  new,  by  Signor  Bertoni. 
London,  H.  Reynell,  1782.     77  p.     20^^. 

Two  acts.  Cast.  English  translation  faces  Italian  text,  which  is  an  altered  ver- 
sion of  Filippo  Livigni's  libretto.  Schatz  910 

II  convito.  Dramma  giocoso  per  musica  da  rapprespentarsi  nel 
Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Bresda,  n.  puhJ.,  1783.     131  p.     15^''. 

Two  acts.  By  Filippo  Livigne  (not  mentioned).  Cimarosa  is  mentioned  as 
the  composer.     German  title-page  "Das  gastmahl "  and  text  face  Italian. 

First  performed  at  Dresden,  as  indicated,  in  1783;  at  Venice,  Teatro  di  S.  Samuele, 
carnival,  1782.  Schatz  1915 

—  H  convito.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  S.  Carlo  della  Principessa  I'autunno  dell'  anno  1796. 

Lwbona,  Sim.  Taddeo  Ferreira,  1796.     151  p.     IS*^^. 

Two  acts.  By  Filippo  Livigni  (not  mentioned).  Cast  and  name  of  the  composer, 
Cimarosa.  T.-p.  and  p.  149-151  supplied  in  ms.  Portuguese  text  faces  Italian. 
With  the  opera  was  performed  Pietro  Angiolini'g  "II  eolitario  reso  sociabile  per 
amore,  ballo  d'invenzione."     The  composer  of  the  music  is  not  mentioned. 

Schatz  1914 

II  convito  di  Cesare,  ballet.     See  Bianchi's  Morte  di  Cesare. 

Le  convulsion!.     Seconda  farsa. 
26-48  p.     15^"^. 

See  "Amornon  ha  riguardi  e  Le  convulsioni  Parse  in  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  quart'  opera  dell'  anno  1787,"  Napoli, 
n.  publ.,  1787.     One  act.    Cast  and  name  of  Giuseppe  Curcio  as  composer. 

Schatz  2299 

Cook,  ossia  Gl'  Inglesi  in  Othaiti,  ballet.     See  Mayr's  Lodoiska. 

The  cooper.     A  musical  entertainment.     In  two  acts.     By  Dr.  Ame. 
[217]-237  p.     IG'^^.     {Collection  of  the   most  esteemed  farces  and 
entertainments,  t.  vi,  Edinburgh,  1792.) 

Hay -market  cast,  where  the  opera  was  first  performed,  Jime  12,  1772.  Ame  is 
also  the  reputed  author  of  the  text.  Schatz  11753F 

La  coquette  de  village,  ballet.  See  Bemasconi's  Didone  abbando- 
nata. 

La  coquette  sans  le  SQavoir,  oi>era  comique  en  un  acte. 

Paris,  Prault  fls,  1750.  U  p.  19'='^.  (Theatre  de  M.  Favart, 
Paris,  Diichesne,  1763-77,  t.  vii.) 

■  Cast.     "M.  Rousseau  de  Toulouse"  is  mentioned  in  the  pref.  of  the  first  volume 
as  Favart'e  collaborator.    The  piece  is  en  vaudevilles. 

First  performed  at  Paris,  Foire  St.  Germain,  February  23,  1744.      ML  49.A2F1 

—  I^a  coquette  sans  le  savoir,  ojjera-comique,  en  un  acte,  de  MM. 
Favart  &  Rousseau.     Xouvelle  Edition. 

Paris  et  se  vend  a  Tovdon,  chez  J.  L.  R.  Mallard,  1772.  ^0  p. 
19^"". 

One  act.     En  vaudevilles.  ML  48.M2M 


320  LIBRARY   OF   CONGRESS 

La  coquette  trompee,  com^die  lyrique;  par  M.  Favart;  representee 
pour  la  premiere  fois  k  Fontainebleau,  sur  le  Th^&tre  de  la  cour,  par 
ordre  de  Sa  Majeste,  le  13  nov.  1753.  Et  h,  Paris,  par  I'Acad^mie 
royale  de  musique,  le  mardi  8  aoftt  1758. 

71.  i.,  n.  d.  40  p.  19'^^'*.  (Theatre  de  M.  Favart,  Paris,  Duchesne, 
1763-77,  t.  i.) 

Cast.  The  composer,  Dauvergne.  ia  not  mentioned.  Many  of  his  aire  are  printed 
in  the  text.  "La  coquette  trompee  was  the  third  act  in  a  ballet  called  "Lea  ffitea 
d'Euterpe,"  the  first  of  which,  "La  eibylle"  {see  "La  eibille"),  was  written  by  Mon- 
crif,  the  second,  "Alph^  et  Ardthuse,    by  Danchet,  music  of  both  by  Dauvergne. 

ML  49.A2F1 

Cora.     Era  singspiel  [vignette]. 

Leipzig,  DyTcische  huchhandlung,  17 SI.  5  p.  I.,  75  p.  [1]  p.  errata. 
19<^. 

On  last  p.  1.: 

"  Nach  Bchwedischem  text:  Der  musik,  welche  herr  Naumann,  churfiirstl.  sach- 
sischer  wirklischer  kapellmeister  zu  Dresden,  in  Schweden  fiir  das  konigliche  Theater 
komponirt  hat,  untergelegt." 

This  note  refers  to  Gudmund  G6ran  Adlerbeth's  text.  "Coraoch  Alonzo  "  (based  on 
Marmontel's  "Les  Incas  ou  La  d^truction  de  I'empire  du  Perou"),  and  its  setting  by 
Naumann  for  the  inauguration  of  the  Royal  Operahouse,  Stockholm,  September  30, 
1782. 

The  p.  1.  contain  a  preface  signed  by  the  author  of  the  German  text  [Johann  Leopold] 
N[eu]m[an]n  and  dated  "Bl — — jaselwitz,  den  26  sten  august  1780."  It  is  addressed 
to  the  composer,  and  is  about  as  adulatory  as  possible.     Neumann  says,  for  instance: 

"Ueberall,  wo  sanfte  herzen  schlagen,  segne  man  Ihren  namen:  wo  die  tonkunst 
ternpel  hat,  stehe  Ihr  dcnkmal  bey  Handel  und  Marcello!" 

The  only  remark  historically  important  is  this: 

"Sie  wissen,  mein  theurester  freund,  wie  fest  ich's  beschlossen  hatte,  meinen 
deutschen  text  au  Ihrer  Cora  schlechterdings  nie  von  Ihren  noten  su  trennen,  und 
offenlich  einzeln  abdrucken  zu  lassen,  weil  ich  vollkommen  uberzuegt  bin,  dass 
dieser  text  alles,  was  er  seyn  kann,  lediglich  durch  Ihre  komposition,  ohne  Ihre  musik 
aber,  als  ein  auch  zum  lesen  bestimmtes  poetisches  produkt,  dem  publikum  nie  interes- 
sant  eeyn  konnte.  Die  vorstellungen  einiger  freunde  Ihrer  Cora,  dass  der  einzeln 
gedruckte  text  das  singen  aus  dem  klavierausuge,  wenn  zumal  bey  den  choren  mehrere 
personen  aus  einem  exemplare  singen  soUten,  nicht  nur  erleichtem,  sondern  auch 
sogar  dabey  unentbehrlich  seyn  wurde,  haben  mich  endlich  iiberredet,  meinen 
vorsatz  su  andem  ..." 

The  German  version  was  first  i)erformed  at  Schwedt  (Brunswick),  Hoftheater, 
Sept.  20,  1786;  previously  at  a  concert,  Dresden,  Hotel  de  Pologne,  March  15, 1780. 

ScHATZ  7042 

—  Cora.  Ein  singspiel  in  drey  akten.  Abdruck  fiir  die  subscriben- 
ten  zur  auffiihrung  dieser  oper,  im  jahr  1781  zu  Dresden,  im  Hessi- 
schen  saal. 

n.i.,n.d.     6  p.  I. ,72  p.     W"\ 

The  preface  is  identical  with  that  in  Schatz  7042,  except  that  it  is  now  signed 
"Neumann."     On  the  last  p.  1.  an  "Anmerkung:" 

"Das  im  dritten  akt  auf  der  65  seite  befindliche  Chor  der  priester  und  des  volks 

("Wie?  heilig  graues  recht"],  und  die  letzte  arie  der  Cora,  in  eben  diesem  akte, 
"Trube  tage  stiller  klage,"]  stehen  im  schwedischen  originale  nicht.  Beyde  stucke 
hat  der  verfasser  des  deutschen  textes  neu  geschrieben,  und  herr  Naumann  com- 
ponirt."  •  Schatz  7042a 

—  Cora.     Eine  grosse  heroische  oper  von  Naumann. 

Danzig,  gedruckt  in  der  MueUerschen  officin,  n,  d.     32  p.     Id*^"*. 

Schatz  7042b 

Cora  o  La  vergine  del  sole,  ballet.     See  Tarchi's  Le  Danaidi. 


OPERA   LIBRETTOS  321 

La  cordonniere  allemande.  A.  T.  of  Fridzeri's  Les  souliers 
morsdores. 

^  La  Corilda  overo  L'amore  trionfaute  della  vendetta.  Drama  per 
musica  da  rappresentarsi  nel  Teatro  Zane  di  S.  Moise  I'anno 
MDCLXXXVIII  .  .  . 

Venetia,  Francesco  Nicolini,  1688.     52  p.     IJ^Y"^. 

Three  acts.  Dedication,  argument,  scenario,  and  printer's  notice  to  the  reader, 
referring  to  the  unknown  author  as  follows: 

"Questo  drama  fe  parto  d'un  ingegno  peregrino,  che  gode  di  essere  conoeciuto  piti 
dai  versi,  che  dal  nome." 

For  this  reason  alone  Alacci's  "Poesia  di  di  versi"  is  incorrect,  apart  from  the  fact 
•  pointed  out  by  Wotquenne  that  the  anonymous  dedication  is  signed  "Humiliss™°  .  .  . 
eerv'o."  Wotquenne  remarks  that  in  the  Brussels  copy  a  contemporary  hand  haa 
added,  as  author's  name,  that  of  Paolo  Emilio  Badi.  Schatz  8887 

II  Corindo.  Favola  boschereccia  rappresentata  in  musica,  nella 
villa  di  Pratolino. 

Frenze,  Vincenzio  Vangelisti,  1680.     4^  [1]  p.     IS*^- 

Three  acts.  Neither  the  author,  Giuseppe  Giacomini,  is  mentioned,  nor  the  com- 
poser, who  is  unknown  to  Schatz. 

First  performed,  as  indicated,  September,  1680.  Schatz  11316 

II  Coriolano.  Dramma  musicale  fatto  cantare  da'  signori  convittori 
delle  camere  maggiori  del  nobil  collegio  Tolomei  di  Siena  nel  carnevale 
deir  anno  MDCCVL 

Siena,  Bonetti,  1706.     Jfi  p.     14'=^. 

Three  acts.  Argument.  Not  recorded  by  AUacci  or  Schatz.  Perhaps  composed 
by  Giuseppe  Fabbrini,  if  still  music-master  at  the  college  in  1706. 

ML  48. A5  V.  46 

Coriolano.  Tragedia  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Berlino  .  .  . 

Berlino,  Haude  e  Spener,  1782.     76,  [S\  p.     i7<=™. 

Three  acts.  Based  on  a  prose  sketch  of  Frederick  the  Great,  by  Leopoldo  de 
Villati.  He  is  mentioned  as  the  author,  and  Carl  Heinrich  G-raun  as  the  composer. 
Cast,  argument,  and  scenario.  German  title-page,  "Coriolanus,"  and  text  face 
Italian . 

Performed,  as  indicated,  in  January,  1782;  first  performed  there  December  3,  1749 
(Schatz),  December  19,  1749  (Mennicke).  Schatz  4093 

Coriolanus.     Tr.  of  Graun's  Coriolano. 

Corisca  e  Satiro,  intermezzi.     See  Spand's  Elisa. 

La  corona.  Azione  teatrale,  scritta  dall'  autore  in  Vienna  Tanno 
1765  .  .  .  e  posta  in  musica  dal  Gluck;  da  rappresentarsi  nell' 
intemo  delF  Imperial  corte  dalle  Altezze  Reali  di  quattro  arciduchesse 
d'Austria  .  .  .  per  festeggiare  il  ^iorno  di  nome  dell'  augustissimo 
loro  genitore,  del  quale  rimprowisa  perdita  non  permise  la  rappre- 
sentazione. 

[119]-148  p.  26'^^.  {Metasta^sio,  Opere,  t.  xi,  Parigij  vedova  Heris- 
sant,  1782.) 

One  act.  ML  49.A2M44 

72251°— VOL  1—14 ^21 


322  UBBARY  OF   CONGRESS 

La  corona  d'lmeneo.  Serenada  cantata  per  le  felicissime  nozze  di 
Sua  Eccellenza  Maxim.  Clemente  Giuseppe  Maria  Francesco  de'  conti 
del  S.  R.  I.  de  Seinsheim  .  .  .  coU'  illustrissima  Signora  Maria  Anna, 
baronessa  di  Franckenstein  etc.  La  musica  ^  delSignor  Guglielino 
Kiiffner  .  .  . 

Wirzburgo,    vedova  di   Gioseppo   Antonio    NitriHtt,    1772.     21    p. 

The  author  is  not  mentioned,  and  is  unknown  to  Schatz.  Schatz  5283 

La  coronatione  d'Apollo  per  Dafne  conversa  in  Lauro,  inter- 
mezzi in  musica  del  Sig.  Silvestro  Branchi,  Academico  Ravvivato, 
detto  il  Costante,  per  la  sua  opera  intitolata,  I'Amorosa  innocenza, 
recitata  nel  Salone.  A'  gl'illustriss.  Signori  li  Signori  Fabio  Gozadini 
confaloniero  [etc,  etc]  dignissimi  Antiani  per  il  primo  bimestre  dell' 
anno  1623.  II  compositore  della  musica  e  il  Signer  Ottavio  Vernizzi. 
Bologna,  per  gli  eredi  di  Gio.  Paolo  Moscatelli,  1623.  Unpaged. 
IW"^. 

Four  intermezzi,  preceded  by  the  author's  dedication  to  the  gentlemen  mentioned 
in  the  title,  evidently  his  patrons.     It  is  dated  February  1,  1623. 

In  it  Branchi  calls  his  pastoral  comedy  "L'amorosa  innocenza"  and  the  present 
intermezzi: 

"opere  d'un  vostro  sudditto,  e  divoto  servidore,  le  quali  per  la  stanchezza  de' 
miei  pensieri  sepolte  nell'  oblio,  non  potevano  piti  risorgere,  se  non  col  vostro  benigno 
e  potete  favore,  comparendo,  come  fanno,  con  tanta  splendidezza  sopra  il  Teatro 
soli  to  del  Salone  ..." 

This  somewhat  mysterious  statement  is  easily  explained,  since  comparison  proved 
the  present  text  to  be  practically  identical  with  that  of  his  '^Coronatione  d'Apollo. 
Per  Dafne  convertita  in  Lauro.  Balletto  in  musica,"  which  formed  part  of  his  "  TraL- 
tenimento  musicale  d'Apollo  con  il  Reno,"  Bologna.  Moscatelli,  1621  (ML  52.2.T7), 
performed  "nelle  nozze  sonttuose"  of  count  Federico  Rossi  di  S.  Second©  and  Donna 
Orsina  Pepoli.  The  text  was  then  simply  in  six  scenes  ("Uscita"  1-6)  and  in  the 
sixth  Apollo  addressed  about  two  pages  to  the  bride  and  groom  beginning  with  the 
line  "Da  te  mi  parto,  o  generoso  heroe."  In  the  1623  edition  the  text  is  divided 
into  four  "intermizzi"  with  nine  scenes,  the  first  "uscita"  of  each  intermezzo  being 
preceded  by  a  "sinfonia"  as  also  the  second  "uscita"  of  the  third  and  the  third 
"uscita"  of  the  fourth  intermezzo.  The  text  calls  this  last  "Settima  sinfonia.  In 
cielo,"  but  actually  allusion  is  made  only  to  six  sinfonies.  Apollo's  compliments 
to  the  count  and  countess  Rossi  have  been  dropped  (the  line  "Ogni  parte  miglior  de 
la  mia  vita"  being  followed  immediately  by  "Belle  Naiadivezzose")  but  the  1623 
version  did  not  end  with  the  line  "E  del  bel  lauro  il  pre^o  ogn'hor  s'awiva."  In- 
stead, "La  fama.  Volando  per  aria  in  diversa  maniera"  sings  after  that  "Felsina,  til 
vedesti,"  etc.  Schatz  10715 

Coronazione  d'Apollo  e  Dafne,  ballet.     See  Bertoni's  Sesostri. 

Coronis,  pastorale  heroique.  Representee  par  FAcademie  royale 
de  musique.     Suivant  la  copie  imprim6e  a  Paris. 

[Amsterdam,  Antoine  Schelte],  1692.     36  p.  {inch,  front.)     13^*^.^ 

Prologue  and  three  acts.  Neither  the  author,  Chappuzeau  de  Beaug^,  nor  the 
composer,  Teobaldo  di  Gatti  (called  Theobald)  is  mentioned. 

First  performed,  as  indicated,  March  23,  1691.  ML  50.2.C  67  G2 

—  Coronis,  pastorale  heroique  represents  par  I'Academie  rojale  de 
musique  Fan  1691.  Les  paroles  sont  de  M.  Baug6  &  la  musique  de 
M.  Theobal.     XXVII.  opera. 

n.  i.,  n.  d.  front.,  p.  113-154-  {Recueil  general  des  opera,  v.  iv, 
Paris,  1703.)     14^"^. 

Detached  copy.     Three  acts  Mdth  prologue. 

Schatz  3632. 
Second  copy.    ML  48. R4 


OPERA   LIBRETTOS 

II  Corrivo.  Commedia  per  musica  di  G.  M.  D.[iodati]  da  rappresen- 
tarsi  nel  Teatro  Nuovo  sopra  Toledo  per  prim'  opera  nella  prima  vera 
di  quest'  anno  1787. 

Napoli,  n.  puhl,  1787.     52  p.     W"^. 

Two  acts.    Cast  and  name  of  Giuseppe  Giordani  as  the  composer.     Schatz  3839 

Le  corsaire  de   Sale.     Piece  d'un  acte.     Par  M™.  le  S    *     *    & 
j'Or    *     *.     Represent e  a  la  Foire  Saint  Laurent  1729. 
Le  Theatre  de  la  foire,  Paris,  1731,  t.  vii,  pi.,  [241]-294  p.     17'="'. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  company,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed  August  20,  1729,  as  indicated.  ML  48.L2VII 

La  Corsala.  Commedia  per  musica  di  Giambatista  Lorenzi,  P.  A. 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  autunno  del  corrente 
anno  1771. 

Napoli,  Vincenzo  Flauto,  1771.     84  p.     15'='^. 

Three  acts.     Argument,  scenario,  cast  and  name  of  Niccolo  Piccinni  as  composer. 

Schatz  8121 

II  corsaro  algerino.  Comedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  nell'  autunno  di  quest'  anno  1765. 

Napoli,  Bernardo  Lanciano,  1765.     4  P-  ^-j  ^0  p.     14^^- 

Three  acts.  Argument,  cast,  name  of  Gennaro  Astaxitta  as  composer,  and  notice 
by  the  printer: 

*La  presente  comedia,  si  rappresento  nel  Teatro  Nuovo  nell'  anno  1726,  ora  com- 
parisce  per  seconda  volta  sii  questo  de'  Fiorentini.  ...  La  troverai  per  altro  vario 
dalla  prima  edizione  ma  ci5  h  addivenuto  per  moderarlo  al  buon  gusto  moderno; 
che  per  ci6  si  h  dovuto  cambiare  I'idioma  napoletano  in  toscano  ...  11  tutto  si  ^ 
fatto  accomodare  dal  Signor  D.  Giuseppe  Palomba  ... 

Florimo  does  not  mention  the  1726  performance,  nor  the  original  author,  who  is 
also  unknown  to  Schatz.  Schatz  377 

La  corte.     Dramma  morale  di  Francesco  Sbarra,  rappresentato  in 
musica  per  intermezzi  in  Lucca  nel  Teatro  de  Borghi  1  anno  1657. 
n.  i.,  n.  d.     [162]-192  p.     ISi'^'". 

Detached  copy.  Four  intermezzi,  with  argument,  but  without  name  of  the  com- 
poser, Marco  Bigongiari.  Schatz  1036 

Una  cosa  rara.     A.  T.  of  the  ballet  Lilla  e  Lubino. 

Una  cosa  rara  o  sia:  Bellezza  ed  onest^,.     Dramma  giocoso  in  due 
atti.     Da  rappresentarsi  nei  Teatri  di  Praga  I'autunno  dell'  anno  1 787. 
Vienna,  n.  puhl.,  n.  d.     86  p.     15^"'. 

Two  acts.  Lorenzo  da  Ponte  is  mentioned  as  the  author,  Vincenzio  Martin  (Mar- 
tin y  Soler)  as  the  composer. 

First  performed  at  Vienna,  November  17,  1786.  Schatz  6015 

—  Una  cosa  rara  o  sia  Bellezza  ed  onesta.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassoma. 

Dresda,  n.  puhl.,  1787.     163  p.     W"^. 

Two  acts.  Martin  y  Soler  is  mentioned,  Da  Ponte  not.  German  title  page 
"Die  seltenheit,  oder  Schoenheit  und  tugend"  and  text  face  Italian. 

First  performed  at  Dresden,  Churf.  theater,  April  12,  1788.  Schatz  6017 


824  LIBRARY   OF   CONGRESS 

Una  cosa  rara — Continued. 

—  Bellezza  ed  onesta.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  nobilissimo  Teatro  Giustiniani  in  S.  Mois6  per  la  prima  opera 
del  carnovale  dell'  anno  1788. 

•  Venezia,  Gio.  Battista  Casali,  n.  d.     64  p-     18*^. 
Two  acts.    Martin  y  Soler  is  mentioned,  but  Da  Ponte  not.    Cast  added  in 
pencil.  ScHATZ  6030 

—  La  cosa  rara ;  a  new  comic  opera,  in  two  acts,  as  performed  at  the 
King's  Theatre,  in  the  Hay-Market,  the  music  entirely  new  by  Signor 
Martini;  under  the  direction  of  Mr.  Mazzinghi. 

London,  C.  FAheiington,  1789.     2  p.  I,  106  p.     19^"'*. 

Cast.  English  translation  faces  Italian  text.  Added  to  the  libretto,  a  [4]  p.  "List 
of  the  Bubscribere  to  the  boxes  at  the  King's  Theatre,  1789."  ML  48.M2M 

—  Una  cosa  rara  o  sia  Bellezza  ed  onesta.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Regio  Teatro  di  via  della  Pergola  la 
prima  vera  del  MDCCXCI  ... 

Firenze,  Stamperia  Alhizzinina,  1791.     67  p.     16^"'^. 

Two  acts.  Cast  and  names  of  ' '  Vincenzo  Martin  "  (Martin  y  Soler)  and  Da  Ponte. 
With  the  opera  was  performed  (composer  of  the  music  not  mentioned)  the  ballet,  "II 
trionfo  d'Ercole  in  Troia  o  sia  Esione  liberata."  ML  48.A5    v.  16 

—  Gesaenge  aus  dem  singspiele:  Cosa  rara,  oder  Der  seltne  fall,  in 
zwey  aufzuegen.  Aus  dem  italienischen.  In  musik  getzt  von  herrn 
Martini. 

ni.,1797.     40  p.     15^"". 

German  version  by  Ferdinand  Eberl,  who  is  not  mentioned.  Schatz  6019 

—  Etwas  seltsames  oder  Schoenheit  und  ehrbarkeit.  Ein  lustiges 
singspiel  in  zwey  aufzuegen  fuer  das  Kais.  Koen,  Hoftheater. 

Wien,  Joseph  Edler  von  Kurzek,  1787.     86  p.     16*^^. 
Translator  not  mentioned,  and  unknown  to  Schatz.     Da  Ponte  and  Martin  y  Soler 
are  mentioned.  Schatz  6016 

—  Arien  aus  der  so  grossen  und  beruehmten  opera  Una  cosa  rara  osia 
Bellezza  ed  onestk.  Die  seltne  sache  oder  Schoenheit  und  tugend 
aus  dem  italiaenischen  in  zwey  aufzuegen  von  abbate  da  Ponte.  Die 
musik  ist  von  hr.  Vinzenz  Martini  .  .  .  Zum  erstenmale  in  deutscher 
sprache  von  der  Wilhelmischen  gesellschaft  in  Baaden  aufgefuehret. 

Wien,  mit  HrascJmnzhjschenschrif ten,  1787.     35  p.     16*^^. 
Cast.     (Bound  with  Dittersdorf's  "BetAig_  durch  aberglauben,"  Schatz  2587.) 

—  The  siege  of  Belgrade.     See  Title. 

La  cosa  rara,  ballet.     See  Tarchi's  Lo  spazzacamino  principe. 

Cosi  fan  tutte  o  sia  La  scuola  degli  amanti.  Dramma  giocoso  in 
due  atti  da  rappresentarsi  nel  Teatro  di  corte  I'anno  1790. 

Vienna,  La  societd,  tipograjica,  n.  d.     84  p-     16'^^. 

Two  acts.  Lorenzo  da  Ponte  is  mentioned  as  the  author,  "Wolfgango  Mozzart" 
(Mozart)  as  the  composer. 

First  performed,  as  indicated,  January  26,  1790.  Schatz  6762 


OPEBA    LIBEETTOS  325 

Cosi  fan  tutte  o — Continued. 

— ■  Cosi  fan  tutte  o  sia  La  scuola  degli  amanti.     Dramma  giocoso 

per  musica,  da  rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassoma. 

Dresda,  n.  puhl,  1791.     14?  p.     15^"^- 

Two  acts.  Da  Ponte  is  not  mentioned;  Mozart  is.  German  title  page,  " Eine  wie 
die  andere  oder  Die  schule  der  liebhaber,"  and  text  face  Italian. 

First  performed,  as  indicated,  October  5,  1791.  Schatz  6763 

—  Cosi  fan  tutte. — Eine  machts  wie  die  andere  oder  Die  schule 
der  liebhaber.  Ein  komisclies  singspiel  in  zwey  aufzuegen.  Aus 
dem  italienischen  des  abbate  de  la  Ponte.     Die  music  ist  von  Mozart. 

Breslau,  Grassische  stadt-huchdruckerey,  n.  d.     ^7  p.     ^h'^"^. 

Two  acts.     German  text  only. 

First  performed  at  Breslau,  Waser'sches  Theater,  January  16,  1795;  at  Berlin, 
National-theater,  August  3,  1792.  Schatz  6764 

—  Gesaenge  aus  der  Schule  der  liebhaber  oder  Eine  ist  *wie  die 
andere.  Eine  komische  oper  aus  dem  italienischen  von  abate  da 
Ponte,  ins  deutsche  frei  uebersetzt.  Die  musik  dazu  ist  von  Mozart. 
Aufgefuehrt  von  der  Mihuleschen  Gesellschaft. 

Augsburg,  n.  puhl.,  1794-      Unpaged.     15Y'^-  Schatz  6765 

—  Weibertreue,  oder  Die  maedchen  sind  von  Flandern.  Ein 
komisches  singspiel  in  zwey  akten,  mit  musik  von  Mozart.  Nach 
Cosi  fan  tutte  frey  bearbeitet,  von  C.  F.  Bretzner. 

Leipsig,  Friedrich  Gotthold  Jacohaer,  1794-     4  P-  ^-j  ^^  V-     ^^'^"'• 

In  his  "  Vorbericht,"  Bretzner  says: 

"Bey  der  bearbeitung  habe  ich  mir  einige  abweichungen  und  abkuerzungen 
erlaubt,  die  ich  im  deutachen  gewande  fiir  nothwendig  hielt 
and, 

"Zwar  erinnre  ich  mich  gelesen  su  haben,  dass  sie  [die  oper]  bereits  an  einigen 
Often  deutsch,  ohne  grossen  effekt  gegeben  worden:  allein  entweder  war  die  ueber- 
eetzung  gar  zu  elend,  oder  es  lag  die  schuld  an  der  ausfuehning.  Man  lasse  sich  nicht 
abschrecken,  wenn  der  effekt  bey  der  ersten  auffuehrung  nicht  ganz  der  erwartung 
entspraeche,  die  man  sich  da  von  gemacht  hatte;  man  hoere  sie  nur  mehreremal,  und 
ich  bin  gewiss,  man  wird  .  .  .  sich  nicht  satt  daran  hoeren  koennen." 

First  performed  at  Leipzig,  Theater  am  Rannstadter  Thore,  1794.     Schatz  6766 

—  Gesaenge  aus  der  oper:  Die  wette,  oder  Maedchenlist  imd  lie  be, 
in  vier  acten.  Nach  (Josifan  tutte,  von  C.  F.  Brezner.  Die  musik  ist 
von  Mozart. 

Hamburg,  Friedrich  Hermann  Nestler,  n.  d.     55  p.     W^^. 
First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  July  6,  1796. 

Schatz  6767 

—  Veddemaalet  eller  Elskernes  skole.  Et  syngestykke  af  abb6  da 
Ponte.  Efter  befaling  forandret  og  oversat  til  Wolfgang  Mozarts 
musik  af  Adam  Gottlob  Thoroup. 

Ki^benhavn,  J.  F.  Morthorstes  Enke,  1798.     96  p.     IS""". 

First  performed  at  Copenhagen,  October  19,  1798.  Schatz  6768 

Cosroe.  Drama  per  musica  da  recitarsi  nel  Teatro  Ahbert  pe'l  car- 
nevale  dell'  anno  1723.  Presentato  alia  Maestk  di  Giacomo  III. 
R^  della  Gran  Brettagna.  [!!] 

RomxL,  Bemabb,  1723.     72  p.     16'^'^. 

Three  acts.  Dedication,  argument,  scenario,  cast,  name  of  Antonio  Pollaroli'as 
the  composer,  and  notice  to  the  reader,  which  reads,  in  part: 


826  LIBRARY  OF   CONGRESS 

Cosroe — Continued. 

"Codesto  componimento  drammatico;  uscito  dalla  famosa  penna  d'uno  de'  piil 
eruditi  poeti  de  nostri  tempi.  E  ben  per6  pusto,  che  a  tua  cognizione  pervenga  non 
esserei  in  conto  arcuno  mutato  il  presente  libro,  ma  essere  tale,  quale  6  Btato  recitato 
altre  voltre,  a  riserva  di  pochi  verei,  e  di  alcune  ariette,  easendo  convenuto  il  farlo  per 
accomodarei  alia  presente  occasione." 

This  notice  refers  to  Apostolo  Zeno's  "Ormisda." 

"Coerce"  was  first  performed  at  Rome,  as  indicated,  December  28,  1722. 

ScHATz  8267 

Costantino. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744>  ^-  i^,  P-  [101]-199. 

Five  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are 
given  as  Venice,  1711.  ML  49.A2Z3 

—  Costantino.     Pubblicato  per  la  prima  volta  in  Venezia  1711. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t  xi,  p.  100. 

01  cm 

Five  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Costantino.     Drama  da  rappresentarsi  per  musica  nel  Teatro  Tron 
di  S.  Cassano  I'autunno  dell'  anno  1711  .  .  . 
Venezia,  Marino  Rossetti,  17 1 1 .     72  p.     W'^. 

Five  acts.  By  Apostolo  Zeno  and  Pietro  Pariati,  who  are  not  mentioned  as  authors, 
but  Pariati  signed  the  dedication.  Argument,  cast,  scenario,  and  name  of  Carlo 
Francesco  Gasparini  as  the  composer.  Schatz  3589 

II   Costantino  Pio.     Dramma  posto   in  musica   dal  Signer  Carlo 
Francesco  Pollaroli,  e  rappresentato  in  Roma  I'anno  MD(X!X. 
Roma,  Antonio  de'  Rossi,  1710.     90  p.     llf.^"^. 

Three  acts.  Argument  and  scenario.  The  author  not  mentioned,  and  unknown 
to  Schatz. 

First  performed,  as  indicated,  at  the  Sala  de'  Signori  Capranica.        Schatz  8278 

La  costanza  affricana  soccorsa  dall'  arte  magica,  ballet.  See 
Galuppi's  Sofonisba. 

La  costanza  combattuta  in  amore.  Drama  per  musica  da  rap- 
presentarsi nel  Teatro  Giustiniano  "k  S.  Moise  Tautunno  dell'  anno 
1716  ... 

Venezia,  Giacomo  Valva^en^e,  1716.     60  p.     15^*^^. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Dedication  dated 
Venice,  October  17,  1716,  notice  to  the  reader,  with  the  name  of  Giovanni  Porta  as 
the  composer,  argument,  scenario,  and  cast.  Schatz  8390 

La  costanza  coniugale,  ballet.     See  Andreozzi's  Teodelinda. 

La  costanza  d'XJlisse.  Drama  per  musica  nel  felicissimo  dX  nata- 
lizio  della  S.  C.  R.  M*^  dell'  imperatore  Leopoldo  I  .  .  .  I'anno 
MDCC.  posto  in  musica  dal  Sig?  Carlo  Agostmo  Badia  .  .  .  con 
I'arie  per  li  balletti  del  Sig?  Gio.  Gioseffo  Hoffer,  violinista  di  S.  M.  C. 

Vienna  d' Austria,  appresso  Susanna  Christina,  vedova  di  Matteo 
Cosmerovio,  n.  d.     [64]  p.     17 Y^- 

One  act.  The  author,  Giovanni  Battista  Ancioni,  is  not  mentioned.  Argument 
and  description  of  Lodovico  Bumacini's  "Apparato  nella  peschiera  del  Cesareo  giar- 
•dino  della  Favorita  "  at  Laxemburg,  where  the  opera  was  first  performed  on  June  9, 
1700.     Entirely  different  from  "Gli  amori  di  Circe."  Schatz  5442 

Second  copy,  with  two  folded  plates,  lacking  in  the  first  copy.     ML  50.2.C69B2 


OPERA   LIBRETTOS  327 

La  costanza  di  Rosmonda.  Drama  per  musica  di  Aurelio  Aureli, 
favola  quinta.  Rappresentata  in  Venetia  nel  Teatro  Grimano  ranno 
1659  .  .  . 

Venetia,  Valvasense,  1659.     92  p.     14"'", 

Prologue  and  three  acts.  Author's  dedication  dated  Venice,  January  15,  1659, 
arguments,  and  scenario.  The  composer,  Bovettino,  is  not  mentioned.  On  p.  91-92, 
indication  of  the  cuts,  etc.  Schatz  9108 

—  La  costanza  di  Rosmonda.  Drama  in  musica  di  Aurelio  Aureli. 
Rappresentata  nel  Regie  Teatro  di  Milano  Tanno  1675  .  .  . 

Milano,  Marc'  Antonio  Pandolfo  Malatesta,  n.  d.  7  p.  I.,  93  p. 
14"'^. 

Prologue  and  three  acts.  Dedication  by  Antonio  Lonati,  argument,  scenario.  The 
composer,  Bovettino,  is  not  mentioned.  Schatz  11744 

Costanza  e  fortezza.  Festa  teatrale  per  musica,  da  rappresentarsi 
nel  Reale  castello  di  Praga  per  il  felicissimo  giomo  natalizio  della 
Sac.-Ces.  e  Catt.  Reale  Maestk  di  Elisabetta  Cristina  .  .  .  I'anno 
MD(XIXXIIL  La  poesia  e  del  Sig.  Pietro  Pariati  ...  La  musica 
e  del  Sig.  Gio.  Gioseno  Fux  .  .  .  con  le  arie  per  li  balli  del  Sig.  Nicola 
Matheis  ... 

Vienna  d' Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.  7  fold,  pi.,  4  V-  ^'j 
52  p.     2SY-^. 

The  gorgeous  plates,  all  designed  by  the  court  architect,  Giuseppe  Gralli  Bibiena, 
and  engraved  by  different  engravers,  represent  scenes  from  the  opera,  with  exception 
of  the  second  and  last  of  the  seven,  which  give  an  idea  of  the  theatre  erected  for  the 
occasion.  The  plates  vary  somewhat  in  size,  pi.  2-6  being  63  x  48^"™,  pi.  1  being 
somewhat  larger,  pi.  7  somewhat  smaller. 

Three  acts.     Ai^ument,  and  mutazioni. 

First  performed,  as  indicated,  August  28,  1723.  Schatz  3391 

La  costanza  fortunata  in  amore.  Drama  per  musica  da  rappre- 
sentarsi nel  Teatro  di  San  Fantino  I'anno  1710.     M.  V.  .  .  . 

Venezia,  Antonio  Bortoli,  1710.     4'^  V-     15'^^- 

Three  acts.  By  Francesco  Maria  Piccioli,  who  is  not  mentioned.  Impresario's 
dedication,  argument,  scenario.     Composer  not  mentioned  and  unknown  to  Schatz. 

Schatz  11317 

La  costanza  guerriera,  ballet.     See  Ottani.'s  Fatima. 

La  costanza  in  amor  rende  felice.  L.  T.  of  Gazzaniga's  L'amore 
costante. 

La  costanza  in  amore.     A.  T.  of  Anfossi's  Isabella  e  Rodrigo. 

La  costanza  in  cimento  con  la  crudelta.     Dramma  per  musica  da 
rappresentarsi  nel  Teatro  di  Sant'Angeloil  carnevale  del  1712  .  .  . 
Venetia,  Marino  Rosetti,  1712.     60  p.     15'='". 

Three  acts.  By  Grazio  Braccioli,  cast,  scenario,  argument,  and  name  of  Floriano 
Aresti  as  composer.    The  dedication  dated  by  the  author  December  26,  1711. 

Schatz  313 

vLa  costanza  in  trionfo.  Drama  per  musica  di  Francesco  Silvani. 
Da  rappresentarsi  nel  Teatro  di  S.  Angelo.  Ristampato  con  nuove 
aggiunta  .  .  . 

Venezia,  Nicolini,  1697.     63  p.     i^«"». 


828  LIBBABY  OF  CONGBESS 

La  costanza  in  trionfo— Continued. 

Three  acts.  Author's  dedication,  dated  Venice,  November  3,  16  6,  argument, 
Bcenario,  and  notice  to  the  reader  with  Marc'  Antonio  Ziani's  name  as  composer, 
and  statement: 

"Eccomi  ancor  quest'  anno  in  iscena  con  la  quinta  delle  mie  fatiche." 

SCHATZ  11180 

La  costanza  negl'  amori  fra'  pastori.  A.  T.  of  Delia  Porta's 
L'Eurillo. 

La  costanza  nell'  honore.  O.  T.  of  Girolamo  Polani's  La  ven- 
detta disarmata  dall'  amore. 

La  costanza  premiata  o  sia  II  genio  tutelare,  ballet.  See  Andre- 
ozzi's  Arsinoe. 

La  costanza  sforzata.  Die  gezwungene  bestaendigkeit  oder  Die 
listige  raclie  des  Sueno.  An  dera  frohen  geburths-tage  des  .  .  .  Fri- 
derici  IV.  koenigs  zu  Dennemarck  una  Norwegen  .  .  .  auf  dem 
Hamburgischen  Schau-platz  in  einem  sing-spiel  aufgefuehret  den  11. 
octobr.  1706. 

n.  d.,  n.  i.      Unpaged.     75*^"*. 

Three  acts.  The  "Vorbericht"  contains  the  argument  and  some  curious  remarks 
on  the  use  of  German  in  operas,  including  this:  ".  .  .  habe  gemerckt,  dass  das 
dactylische  und  anacreontische  metrum  zu  den  musicalischen  rejouissancen  am 
geschicktesten  und  weil  der  musicus  Reinhard  Kaeyser  [Keiser]  sie  zu  recoroman- 
diren  pfleget,  so  habe  einige  hineingeruecket,  ob  man  sie  wol  bey  den  Italiaenem 
sehr  sparsam  antrifft."  The  author,  resp.  translator,  Barthold  Feind,  is  not  men- 
tioned.    Some  arias  have  Italian  text  added  to  the  German.  Schatz  5084 

—  La  costanza  sforzata.  Die  bezwungene  bestaendigkeit.  Oder: 
Die  listige  rache  des  Sueno.  An  dem  frohen  gebuhrts-tage  des  .  .  . 
Friderici  IV.  koenigs  zu  Dennemarck  und  Norwegen  .  .  .  auf  dem 
Hamburgischen  Schau-platz  in  einem  sing-spiel  aufgefuehret  den  11 
octobr.  1706. 

BaHh.    Feind' s   Deutsche  gedichte,   Stade,   1708,   pi,   [321]-392  p. 

I'Ycm 

Three  acts.    Contents  as  above.  ML  49.A2F2 

i/La  costanza  trionfante.     Drama  per  musica  .  .  . 
Venetia,  li  Bertani,  1673.     6  p.l,  59,  [1]  p.     i^"'". 

Three  acts.  By  Cristoforo  Iwanovich,  who  is  not  mentioned.  Dedication,  argu- 
ment "aggiustato  alia  presente  riforma,"  cast  name  of  Giovanni  Domenico  Par- 
tenio  as  the  composer,  scenario,  and  "awiso,"  which  reads  in  part: 

"Questo  drammatico  componimento  fece  la  sua  prima  comparsa;  ma  con  altra 
divisa  in  corte  de'  gran  prencipi;  h5ra  ch'fe  scelto  per  delicioso  trattenimento  de'  geni 
virtuosi,  che  lo  fanuo  rappresentare  generosamente  nel  Teatro  Zane,  h  stato  ritocato 
a  momenti  ^  compiacimeto  de  cavalieri  protettori  da  una  penna  egualmente  discreta, 
ed  erudita,  che  ha  saputo  portare  i  suoi  voli  a  teatri  piii  famosi  dell'  Europa  .  .  . 

"Ritiene  I'intreccio  puro,  6  naturale;  ma  per6  con  la  riforma  del  titolo,  dello  scene- 
giare,  e  di  piu  breve  recitativo;  viene,  adomo  di  frequenti  ari'ette,  k  farsi,  vedere  con 

aualche  diferenza  in  ordine,  all'  uso  corrente  di  Venetia,  avvezza  alia  brevity  &  al 
iletto.  Dagl'  episodii  si  k  cavata  la  sola  inventione,  d'salvar  Hipermestra  dal  pre- 
cipitio  della  torre  sul  volo  d'un  aquila,  in  che  si  scusi  la  necessita,  che  introduce  il 
prodigio."  Schatz  7777 

La  costanza  trionfante  degl'  amori,  e  degl'  odii.     Drama  per 
musica  da  rappresentarsi  nel  Teatro  Giustiniano  di  S.  Moisd.     II  car- 
no  val  deir  anno  1716  ..  .     Di  Antonio  Marchi. 
Venezia,  Carlo  Bonarigo,  1716.     60  p.     l^Y 


icm 


OPERA   LIBRETTOS  329 

La  costanza  trionfante  degramori,  e  degrodii — Continued. 

Three  acts.  Author's  dedication  dated  January  18,  1715,  M.  V.,  notice  to  the 
reader  with  Antonio  Vivaldi's  name  as  composer,  argument,  cast,  scenario. 

SCHATZ  10761 

—  Artabano  re  de  Parti.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  San  Moise  il  carnovale  dell'  anno  MDCCXVIII. 
Di  Antonio  Marchi  .  .  . 

Venezia,  Marino  Rossettl,  1718.     60  p.     15'^'^. 

Three  acts.  Argument,  cast,  scenario,  author's  dedication,  and  notice  to  the 
reader,  with  name  of  Antonio  Vivaldi  as  the  composer,  in  both  of  which  this  is  called 
the  second  appearance  of  the  opera  at  S.  Moise.  Comparison  proves  that  this  is  the 
same  as  "La  Costanza  trionfante  degl'  amori  e  degl'  odii,"  but  with  some  alterations. 
For  instance,  the  1716  version  has  "Qual  Pino  errante"  in  I,  8,  and  "Tall'  or  il  cac- 
ciator"  in  I,  10,  whereas  the  1718  ed.-has  "Tall'  or  il  cacciator"  in  I,  8,  and  "Deh 
lasciami  in  pace"  in  I,  10.  Schatz  10762 

—  L'odio  vinto  dalla  costanza.  Dramma  per  musica  da  rappresen- 
tarsi nel  Teatro  di  Sant'  Angelo  il  carnovale  dell'  anno  MDCCXXXI. 
Di  Antonio  Marchi. 

Venezia,  Carlo  Buonarrigo,  17 SI.     4^  p.     14¥^- 

Three  acts.  Argument,  cast,  scenario.  The  same  as  the  above,  but  partly  rewrit- 
ten by  Bartolomeo  Vitturi,  with  new  music  by  Antonio  Galeazzi,  neither  of  whom  is 
mentioned.  In  this  version  "Chi  t'ama  comprendi "  is  the  aria  in  I,  8,  and  "Fremi,  e 
pensa,  o  rio  tiranno"  in  I,  10.  Schatz  10763 

La  costanza  vince  il  destine.  Dramma  musicale  da  rappresentarsi 
nel  famosissimo  Teatro  di  SS.  Gio.  e  Paolo,  nell  anno  MDCLXXXXV 
.  .  .  Composto  in  musica  dal  Sign.  D.  Pietro  Rornolo  abbate 
Pignatta. 

Venetia,  Paulo  Antonio  Sanzonio,  1695.     72  p.     16'^"^. 

Three  acts.  Composer's  dedication  as  author  of  the  text,  dated  Venice,  October 
15,  1695,  argument,  and  scenario.  Schatz  8169 

La  costanza  vince  Pinganno.  Drama  pastorale  da  representarsi 
nel  Theatro  di  Sua  Altezza  Serenissima  del  landgravio  di  Hassia  k 
Darmstadio. 

n.  i.,  n.  d.     Ill  p.     19'='^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz,  nor  is  Christoph 
Graupner,  the  composer,  mentioned.  German  title-page,  "Die  bestaendigkeit 
besieget  den  betrug,"  and  text  face  Italian. 

First  performed,  as  indicated,  1719.  Schatz  4121 

The  cottage.  An  operatic  farce.  In  two  acts.  By  James  Smith. 
Tewkeshury,  Printed  hy  W.  Dyde,  n.  d.  3  p.  l,  [1],  IO-S4  p.  21^"^- 
Prologue  and  dedication  "to  the  inhabitants  of  Tewkesbury."     Dated  1796  by 

Biog.  Dram.  Longe  237 

The  cottagers,  a  musical  entertainment:  As  it  is  performed  at  the 
Theatre  Royal  in  Covent-Garden. 

London,  William  Griffin,  1768.     2  p.  I.,  47  p.     21  <''^. 

Two  acts.  Cast.  Neither  the  author,  Richard  Joceline  Goodenough,  is  mentioned, 
nor  the  composer.    The  opera  was  revived  as:  Longe  119 

—  William  and  Nanny;  or,  The  cottagers,  a  musical  entertain- 
ment :  as  it  is  performed  at  the  Theatre-Royal  in  Covent-Garden. 

London,  W.  Griffin,  1779.     2  p.  I.,  47  p.     20'='^. 

Two  acts.    Cast. 

First  performed  imder  this  title  November  12,  1779.  Longe  214 


330  LIBRARY   OF   CONGRESS 

The  cottagers,  an  opera,  in  three  acts.     By  George  Saville  Carey. 

Printed  (on  p.  47-75)  together  with  his  "The  inoculator,"  published  at  London, 
1766.     (Our  copy  lacks  title  page.) 

No  performance  recorded.  Lonoe  151 

The  cottagers;    a  comic  opera.     In  two  acts.     By  Miss  A.  Ross. 
(Aged  fifteen  years.)     Daughter  of  Mrs.  Brown,  of  the  Theatre  Royal, 
Covent-Garden  .  .  .     The  second  edition. 
London,  Printed  for  the  author,  1788.     1  p.  I.,  vii,  [1],  61  p.     21"^. 

A  long  list  of  subscribers,  and  a  preface,  signed  by  Anna  Ross,  and  dated  London, 
April  17, 1788,  which,  after  apolo^es  for  "a  crippled,  punj^,  little  bantling,"  ends: 

"little  can  be  dreaded  from  critical  attacks,  when  fighting  beneath  the  banners  of  a 
BiixiNGTON,  and  well  guarded  by  a  British  Shield.  " 

This  seems  to  point  to  William  Shield  as  the  composer. 

Not  performed.  '  Lonqe  119 

The  country  burial.     A.  T.  of  the  ballad  opera  Silvia. 

The  country  wedding.     L.  T.  of  Essex  Hawker's  The  wedding. 

The  coup  de  main,  or,  The  American  adventurers;  a  musical  enter- 
tainment. As  it  was  acted  at  the  new  theatre  in  Dundee,  by  His 
Majesty's  servants,  from  the  Theatre-Royal,  Edinburgh.  Written 
by  A.  M'Laren  ... 

Perth,  Printed  for  the  author,  and  sold  hy  Mess.  More,  Nicol,  and 
Miln,  Dundee  [etc.]  1784.     36  p.     17 Y"^. 

One  act.  By  Archibald  Maclaren.  Of  the  seventeen  airs,  nearly  all  were  to  be 
simg  to  popular  ballad  tunes.  ML  50.2.C74 

Les  couplets  en  proces.     Prologue  par  M".  le  S    *     *  &  d'Or    *     * 
Represent e  a  la  Foire  Saint  Laurent  1730. 
LeThedtredelafoire,Paris,1731,t.vii,pl.,[323]-349p.     17^"^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in 
the  "Table  dee  airs." 

First  performed  February  18,  1730,  aa  indicated.  ML  48.L2V11 

La  cour.     Entree  in  Boismortier's  Les  voyages  de  I'amour. 

La  cour  d'amour.     See  Floquet's  L'union  de  I'amour  et  des  arts. 

La  couronne  de  roses,  ou  La  fdte  de  Salency,  comedie  en  deux 
actes,  melee  d'ariettes,  suivie  d'un  vaudeville.     Par  M.  D.  L.  D.  E. 
M.  D.  A.  D.  P.  E.  L.  R.     Et  verbis  &  exemplis. 
Paris,  Merigotjeune,  1770.     36  p.     W"". 

On  p.  29-36  the  "Airs":  "Se  peut-il  que  Ton  propose"  (I,  1),  "Je  suis  un  officier 
nouveau"  (I,  3),  "La  reine  des  fleurs"  (I,  3),  L'autre  jour  k  coups  de  pomme" 
(I,  6),  and  the  vaudeville  "Je  suis  le  seigneur  du  village"  (II,  4). 

The  text  is  preceded  by  an  "Explication  du  sujet"  with  this  remark: 
"II  y  a  plus  de  trois  ans  que  les  paroles  &  la  musique  de  la  piece  suivante  sont 
faites.  Trop  eloigne  de  la  Capitale  pour  en  demander  la  reception  au  Theatre  Italien, 
je  me  suis  trouv6  pr^venu  par  M.  Favart,  qui  a  saisi  ce  sujet  sous  le  mgme  point  de 
vue  que  moi,  lorsque  j'ai  et6  k  meme  de  le  faire;  je  sci-ais  k  combien  de  titres  il  m^rite 
la  preference;  mais  comme  les  personnes  memes  qui  la  lui  ont  accord ^e  m'ont  dit 
que  ma  piece,  k  bien  des  ^gards,  n'etoit  pas  inferieure  k  la  sienne,  j'ai  cm  pouvoir  la 
mettre  sous  les  yeux  du  public,  non  pour  entrer  en  concurrence  avec  M.  Favart, 
mais  pour  ^tendre  davantage,  s'il  est  possible,  la  renomm^e  d'une  institution  qu'on 
ne  sfauroit  trop  faire  connoitre.  Schatz  11488 


OPERA   LIBRETTOS  331 

Court  and  country:  or,  The  changelings.     A  new  ballad  opera.     As 
it  was  lately  performed. 
London,  F.  Webb,  1743,     2  p.  Z.,  6S  p.     19^^. 

Three  acts  and  prologue.  The  42  airs  are  merely  indicated  by  title.  The  author 
is  not  recorded.     Title  contradicted  by  Genest's  "not  acted."  Longe  52 

The  court  legacy.     A  new  ballad  opera.     As  it  is  acted  at  the 
Eutopean  Palace.     By  the  author  of  the  New  Atalantis  .  .  . 
London,  J.  Dormer,  1733.     55  p.     18\'''^. 

Three  acts  and  introduction.  Bj^  Mary  de  la  Riviere  Manley.  In  the  dedication 
"Atalia"  calls  this  "a  satire  on  the  court  of  Eutopia."  The  43  airs  used  (1,  10,  18, 
14)  are  indicated  by  title.  Longe  275 

The  court  medley :  or,  Marriage  by  proxy.     An  [ !]  new  ballad  opera. 
Of  three  acts. 
London,  J.  Dickinson,  1733.     2  p,  l,  59,  [1]  p.     19""^. 

Table  of  the  30  songs,  the  airs  of  which  are  indicated  by  title  in  the  text.  Neither 
author  recorded  nor  performance.  Longe  49 

—  The  fortunate  prince:  or  Marriage  at  last.  A  new  ballad  opera. 
In  three  acts. 

London,  T.  Webb,  1734.     2  p.  l,  60  p.     19<''". 

On  2d  p.  1.  "A  table  of  airs  in  the  opera,"  verso  "Dramatis  personae"  printed  by 
mistake  between  p.  2  and  3.  This  is  identical  with  "The  court  medley,"  as  com- 
parison proved,  except  for  the  addition  of  three  scenes  after  the  words  "with  your 
Highness's  kind  offer"  the  rest  of  the  sentence  and  song  to  air  xxx,  ."My  time,  O 
ye  Muses,"  being  dropped.  The  additional  scenes  contain  four  songs  to  airs  30, 
"Since  all  the  world's  turn'd,"  31  to  33  (airs  not  indicated).  The  "table  of  airs" 
however,  lists  the  30  airs  as  in  "the  Court  medley"  table!  Longe  49 

Second  copy  (21cm.).     Longe  318. 

The  court  of  Alexander.  An  opera  in  two  acts.  As  it  is  performed 
at  the  Theatre  Royal  in  Covent-Garden  ..." 

Lmidon,  T.  WaMer,  n.  d.     vii,  [8]-S8  p.     19^"^- 

Two  acts.  By  Alexander  Stevens,  who  is  not  mentioned.  Cast  and  argument. 
The  composer,  John  Abraham  Fisher  (Squire)  is  not  mentioned. 

First  performed  January  5,  1770,  as  indicated.  Longe  37 

La  creatione  del  mondo. 

p.  171-204-  15Y^-  (OUavio  TronsareUi,  Drammi  musicali,  Roma, 
Francesco  Corhelletti,  1632.) 

Five  acts.    Argument.     No  composer  mentioned.  ML  49.A2T7 

Credit  est  mort,  op^ra-comique,  en  un  acte,  mAle  de  prose  &  de 
vaudevilles.     Donn6  en  1726. 

Alexis  Piron,  Oeuvres  complettes,  Liege,   177 Q,  v.   5,   [99^-1 46  p. 

Parfaict,  etc.,  do  not  record  the  composer.  PQ  2019. P6 

II  credulo  con  farsa  La  baronessa  Stramba  da  rappresentarsi  nel 
Teatro  Nuovo  sopra  Toledo  per  quart'  opera  in  musica  nel  carnevale 
di  quest'  anno  1786. 

Napoli,  n.  puhl.,  1786.     58  p.     W"^. 

Two  acts.  By  Gius.  Maria  Diodati  (not  mentioned).  Cast  and  name  of  the  com- 
poser, Cimarosa.  The  second  act  consists  of  only  one  scene.  Then  follows  with 
cast  on  p.  35-58  ' '  La  baronessa  Stramba  "  in  one  act  of  16  scenes.  A  prefatory  note 
to  this  reads: 


332  LIBRABY  OF   C0NGBES3 

H  credulo — Continued. 

"Si  avverte,  che  la  seguente  farsa  non  ^  dell'  autore  del  Credulo,  ma  di  altro  sog- 
getto,  altra  volta  rappresentata  con  generale  applauso,  per  cui  si  6  dovuto  risolvere 
Pargomento  con  una  sola  scena  nell'  atto  II.  per  dar  luogo  alia  farsa  medesima.  La 
musica  h  del  medesimo  egregio  maestro  Ciniarosa  con  averci  fatti  de'  nuovi  pezzi, 
che  sono  distinti  da  questo  segno  *  .  .  .  Si  6  dovuto  benanche  trasportare  litteral- 
mente  il  dialetto  di  D.  Gironda  e  di  D.  Settimio  in  Toscano  per  i  virtuosi,  che  ora 
ne  rappresentano  i  caratteri  ..." 

The  new  pieces  begin : 

"Fuggi  .  .  .  che  fb  .  .  .  s'arresta,"  "Orsii  sentimi  bene,"  "II  punto  tuo  finale," 
"Comme!  chieso  che  dice,"  "Crudel  tiranno  ingrato,"  "Vo  girando  qual  Colomba," 
etc. 

"La  baronessa  Stramba"  is  simply  a  somewhat  altered  version  of  Pasquale  Mili- 
lotti's  libretto  "I  matrimoni  in  ballo,"  first  performed  with  Cimarosa's  music  at 
Naples,  Teatro  Nuovo  sopra  Toledo,  carnival,  1776. 

See  the  notes  for  next  entry.  Schatz  1977  and  1985 

—  II  credulo  con  farsa  L'impresario  in.  angustie  di  G.  M.  D.  da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terz'  opera  in 
musica  di  quest'  anno  1786. 

Napoli,  n.  puhl,  1786.     59,  [3]  p.     15'='^. 

Two  acts.     By  Giuseppe  Maria  Diodati.    Cast  and  this  notice  by  the  author: 

' '  La  presente  commedia  era  stata  destinata  per  il  ventiu-o  carnevale,  per  cui  non 
ei  h  proseguito  I'argomento  della  medesima,  e  si  ^  scritta  la  farsa;  ma  una  indispensa- 
bile  necessitd,  del  teatro  ha  fatto  si,  che  questa  siegua  per  terza  rappresentazione 
appresso  all'  altra  mia  Le  trame  deluse.  Niente  dissimile  e  il  Credulo  da  quello  dell' 
anno  scorso,  ch'il  ragguardevole  pubblico  compati  generosamente,  a  riserba  di  una 
sola  scena  aggiunta,  e  due  arie  dell'  istesso  maestro  Cimajrosa,  in  grazia  delle  vir- 
tuose, che  so^o  nuove  per  la  recita  del  medesimo." 

The  three  additional  pages  contain  a  substitute  scene  for  scene  XII  of  "II  credulo," 
which  is  practically,  however,  the  same,  except  for  the  aria,  "Voi  vedrete  in  una 
eala." 

The  libretto  (one  act  in  thirteen  scenes)  of  "L'impresario  in  angustie,"  with  cast 
and  name  of  composer,  and  designated  as  "atto  II,"  begins  on  p.  [37],  after  the  first 
and  only  scene  of  act  II  of  "II  credulo." 

The  "II  Credulo"  librettq,  with  "La  baronessa  Stramba,"  must  be  earlier  than  the 
one  with  "L'impresario  in  angustie,"  because  this  (Schatz  1916)  contains  (as  scene 
XIII ) "  Ora  provate  chiuso, "  in  addition  to  the  sixteen  scenes  common  to  both  librettos. 
Furthermore,  the  remark  about  "due  arie  ...  in  grazia  delle  virtuose,  che  sono 
nuove"  applies  to  Marianna  Santoro  Limperani  and  Caterina  Fiorentini,  mentioned 
in  the  cast  of  Schatz  1916.  But  how  should  the  librettos  be  xiated,  and  when  were 
they  performed?  Schatz  1916  is  called  "terz'  opera  .  .  .  di  .  .  .  1786,"  Schatz  1977 
"quart'  opera  .  .  .  nel  carnevale  di  .  .  .  1786,"  and  yet,  as  was  seen,  Schatz  1916 
must  be  later.  Now,  the  author  in  Schatz  1916  informs  the  public  that  this  libretto, 
though  intended  for  the  coming  carnival,  which  would  be  that  of  1786/87,  was,  by 
some  unavoidable  necessity,  made  to  follow  his  "Le  trame  deluse"  as  third  opera  of 
the  season.  Since  we  know  (see  Florimo)  that  Cimarosa's  "Le  trame  deluse"  was 
performed  as  second  opera  of  the  carnival  season  1785/1786,  it  would  again  follow  that 
"II  credulo"  was  the  third  opera  of  1786,  and  also  the  fourth!  Yet  that  might  have 
been  possible,  except  for  the  fact  that  Santoro-Limperani  and  Fiorentini  and  a  few 
more  singers  in  the  cast  of  Schatz  1916  are  not  listed  by  Florimo  as  having  appeared  at 
Naples  at  the  Teatro  Nuovo  before  1787!  The  situation  is  still  more  puzzling  in  view 
of  the  statement  in  the  preface  of  Schatz  1916,  that  it  is  "not  different  from  II  credulo 
of  last  year."  But  Schatz  1916  is  written  in  the  Napolitan  dialect,  and  Schatz  1977, 
as  the  pref.  note  expressly  states,  had  been  translated  from  the  Napolitan  into  Tuscan. 
Consequently,  the  latter  version  (Schatz  1977)  would  be  later  than  Schatz  1916,  which 
can  not  be,  as  was  shown  above.  And,  to  make  things  still  worse,  the  "last  year"  in 
the  preface  of  a  libretto  dated  1786  surely  can  only  mean  1785.  No  such  performance 
of  "II  credulo"  has  been  traced  by  Florimo,  and  yet,  here  the  author's  own  preface 
points  to  one.  "II  credulo"  was  performed  at  Naples  in  the  Napolitan  dialect  in 
1785.  This  much  may  now  be  conceded,  but  beyond  this  the  case  of  "II  credulo"  is 
not  clear.  Schatz  1916  and  1929 


OPERA   LIBRETTOS  333 

II  credulo  deluso.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  della  citta  di  Foggia  nella  prima  vera  di  quest'  anno  1776  .  ,  . 

Na'poli,  n.  puhl,  1776.     70  p.     15^"^- 

Three  acts.  Cast,  name  of  Paisiello  as  the  composer,  and  impresario's  dedication, 
dated  Foggia,  May  8,  1776.  This  is  an  altered  version  of  "II  mondo  della  luna,"  by 
Goldoni,  who  is  not  mentioned. 

First  performed  at  Naples,  Teatro  Nuovo,  fall  of  1774.  Schatz  7666 

—  II  mondo  della  luna.  Commedia  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Ferdinand©  a  Ponte  ^luovo.  Per  prima  commedia 
di  quest'  anno  1792. 

Na'poli,  Domenico  Sangiacomo,  n.  d.     ^8  p.     16'^'"K 

Three  acts.  Is  "II  credulo  deluso,"  with  alterations.  Cast  and  name  of  Paisiello 
as  the  composer. 

First  perfo  med  at  St-.  Petersburg,  Teatro  di  corte,  Nov.  3-14,  1783.     Schatz  7667 

La  creduta  infedele.     Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  per  prim'  opera  in  quest'  anno  1783. 
Napoli,  n.  puhl,  1783.     58,  [1]  p.     15'^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario  and 
name  of  Giuseppe  Gazzaniga  as  the  composer.  Schatz  3677 

Ija  creduta  selvaggia.  Farsetta  per  musica  da  rappresentarsi  nel 
Teatro  alia  Valle  degl'  illmi  Sigg.  Capranica.  Nel  carnevale  dell' 
anno  1792  .  .  . 

Roma,  PuccineUi,  n.  d.     59  p.     16^"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  me.  Cast  and  name  of  Gia- 
como  Tritto  as  composer.  ML  50.2.C76T7 

La  creduta  vedova  o  sia  La  sposa  costante.  Farsetta  per  musica  a 
cinque  voci  da  rappresentarsi  nel  Teatro  Valle  degl'  illustriss.  Sigg. 
Capranica  nell'  estate  dell'  anno  1786  ... 

Roma,  Michele  PuccineUi,  n.  d.     62  p.     16'^^. 

Two  acta.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Sab/atore  Vigand  as  composer.  ML  50.2.C763V3 

Li  creduti  spirit!.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nuovo  Teatro  Tron  di  S.  Cassano  il  carnovale  dell'  anno  1764. 
Venezia,  Paolo  Colombani,  1764.     ^^  P-     HY""- 

Three  acts.  "La  musica  de'  Signori  N.  N.,"  of  whom  Johann  Gottlieb  Naumann 
is  said  by  Schatz  to  have  been  one.  Cast  and  notice  to  the  reader,  in  which  the 
impresario,  Joseph  Felix  von  Kurtz,  is  called 

autore  dell'  intreccio,  de'  sentimenti,  della  condotta,  e  di  tutta  la  macchina." 

Schatz  7064 

Creonte.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nell'  autunno  dell'  anno  1776. 


'cm 


Venezia,  Modesto  Fenzo,  1776.     46  p.     17' 

Three  acts.     By  unknown  author.    Argument,  cast,  scenario,  and  name  of  the 
composer,  Dimitrij  Stefanovitch  BortnianBk^. 

First  performed  November  26,  1776,  as  indicated.  Schatz  1255 

Creonte.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelol'anno  1691.     Di  Rinaldo  Cialli.     Nuovamente  riformato  .  .  . 
Venetia,  Nicolini,  1691.     64  p.     14^"'". 

Three  acts.    Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
with  name  of  Marc'  Antonio  Ziani  aa  the  composer,  and  the  usual  apologies  for  the 


334  LIBRARY   OF   CONGRESS 

Creonte — Continued. 

defects  of  the  text,  forced,  aa  he  was,  to  "ne^  ^ro  di  pochi  giomi  .  .  ,  comporlo  per 
gli  accident!  della  compagnia  de  eignori  musici"  and  to  finish  it  "tra  I'angustie  d  un 
letto."  ScHATZ  11181 

Creonte  tiranno  di  Tebe.     L.  T.  of  PoUaroli's  La  forza  della  virtti. 

Cresfonte,  re  di  Scizia,  ballet.     See  Bianchi's  Pizzarro. 

Creso.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1768  .  .  . 

Torino,  Stamperia  reale,  n.  d.     viii,  43  p.     15^"*. 

Three  acts.  By  Giuseppe  Giovacchino  Pizzi  (not  mentioned).  With  at^ment, 
cast,  scenario,  ana  name  or  the  composer,  Pasquale  Cafaro.  Giuseppe  Antonio  Le 
Messier  is  mentioned  as  the  composer  of  the  ballet  music.  Schatz  1452 

Creso.  Drama  per  musica,  nel  felicissimo  di  natalizio  della  S.  C.  R. 
Maestk  dell'  Imperatrice  Eleonora  Maddalena  Teresa  .  .  .  I'anno 
MDCLXXVIII  .  .  . 

Vienna  d' Austria,  Gio.  Christoforo  Cosmerovio,  n.  d.     7  p.  I.,  134  P- 

On  p.  131-134  "  Introduttione  ad  un  balletto  delli  sette  pianeti  celesti.  Per  la 
licenza  .  .  ."  Three  acts.  Dedication  by  the  author,  conte  Nicolo  Minato,  dated 
Vienna,  January  6,  1678,  argument,  scenario,  lipt  of  machines.  The  composer, 
Antonio  Draghi,  is  not  mentioned.  ML  50.2.C8D7 

*^I1  Creso.  Drama  da  rappresentarsi  nel  famosissimo  Teatro  Grimano 
di  S.  Gio.  Grisostomo  1  anno  MDCLXXXI.  Di  Giulio  Cesare  Cor- 
radi  .  .  . 

Venetia,  Francesco  Nicolini,  1681.     80  p.     13*"^. 

Three  acts.  Corradi's  dedication,  argument,  scenario,  and  notice  to  the  reader 
with  name  of  Giovanni  Legrenzi  as  the  composer  of  the  music  "la  quale,  ancorche 
nata  nel  maggior  torbido  dell'  agitata  sua  mente  h  riuscita  con  tanta  perfettione,  che 
la  confessarai  un  miracolo  dell'  arte." 

Further  above  it  is  said : 

"Eccoti  11  Creso,  parto  che  non  credeva  quest'  anno  d'uscire  alia  luce  .  .  .  Sappi 
che  pochi  giomi  furono  destinati  per  fartelo  comparire  sii  la  scena  .  .  .'' 

ScHATZ  5542 

Creso.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  S.  Benedetto  il  carnovale  dell'  anno  1770. 
Venezia,  Modesto  Fenzo,  1770.     46  p.     17'''^. 

Three  acts.  By  Giovacchino  Pizzi,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Antonio  Sacchini  as  the  composer.  On  p.  9-10  brief  descrip- 
tion of  Jean  Baptiste  Martin's  ballet  "La  rete  di  Vulcano"  without  name  of  the  com- 
poser of  the  music. 

First  performed  at  Naples,  Teatro  di  San  Carlo,  November  4,  1765.     Schatz  9215 

—  Creso;  a  new  serious  opera:  as  performed  at  the  King's  Theatre  in 
the  Hay-Market.     The  music  entirely  new,  by  Signor  Antonio  Sac- 
chini.    The  translation  by  F.  Bottarelli,  A.  M. 
London,  T.  Cadell,  1767.     55,  [1]  p.     19'"^. 

Three  acts.  Argument,  cast.  Italian  and  English  text.  More  than  the  customary 
liberties  have  been  taken  with  Pizzi 's  text.  They  begin  in  the  second  scene  of  the 
first  act,  where  the  aria  is  "Se  un'  alma  amante"  instead  of  "Del  mio  tradito  core." 
The  number  of  scenes,  too,  has  become  different.  The  third  act  has  now  twelve 
instead  of  ten  scenes. 

The  last  (unnumbered)  page  contains  a  list  of  "New  music  published  in  the  course 
of  last  winter,  by  R.  Bremner."  Schatz  9216 


OPERA  LIBRETTOS  335 

Creso.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  San  Samuele  la  fiera  dell'  Ascensione  dell'  anno  1788. 
Venezia,  Modesto  Fenzo,  1788.     46  p.     17'='^. 

Three  acts.  By  Giuseppe  Giovacchino  Pizzi,  who  is  not  mentioned.  Argument, 
caat,  scenario,  and  name  of  Pietro  Terziani  as  the  composer. 

On  p.  36-46  dedication,  argument,  and  description  of  Onorato  Vigan6's  "Orizia  e 
Borea,  ballo  tragico  pantomimo,"  music  by  Salvatore  Vigano.  The  same  were 
responsible  for  the  second  ballet  "La  donna  incostante  o  sia  II  festino  de'  teatri  di 
Roma."  ScHATZ  10289 

Creso  in  Media.  Dramma  in  musica  da  rappresentarsi  nel  Pubblico 
Teatro  da  S.  Sebastiano  in  Livorno  la  prima  vera  dell'  anno  1780  .  .  . 

[Livomo],  Gio.  V.  Falorni,  n.  d.     4^  p.     15Y^- 

Three  acts.  By  Giuseppe  Pagliuca,  who  is  not  mentioned.  Impresario's  dedi- 
cation, argument,  cast,  scenario,  and  name  of  Joseph  Schuster  as  composer. 

First  performed  at  Naples,  Teatro  di  San  Carlo,  November  4, 1779.     Schatz  9744 

Creso  re  di  Lidia.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
di  via  della  Pergola  neU'  autunno  del  MDCCLXXVII  .  .  . 
Firenze,  Gio.  Risaliti,  1777.     37  p.     W"^. 

Three  acts.  By  Giovacchino  Pizzi.  Argument,  cast,  scenario,  and  name  of  the 
composer,  Giovanni  Battista  Borghi  ("musica  tutta  nuova"),  but  not  of  the  librettist. 
Paolo  Franchi's  ballets,  "II  re  paetore,  ballo  eroico  pastorale"  and  "La  tranquillity 
disturbata,"  were  performed  with  the  opera.  The  composers  of  the  music  are  not 
mentioned.  Schatz  1228 

Creso  tolto  a  le  fiamme.     Drama  per  musica.     Da  rappresentarsi 
nel  Teatro  a  Sant  Angelo.     L'anno  1705.     Di  Aurelio  Aureli. 
Venezia,  Marino  Rossetti,  1705.     60  p.     15'^™'. 

Three  acts.  Argument  and  scenario.  The  composer,  Girolamo  Polani,  is  not 
mentioned.  Schatz  8250 

Creusa.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Grimani 
di  San  Samuele  nella  fiera  dell'  Ascensione  l'anno  1739  .  .  . 

Venezia,  Marino  Rossetti,  1739.     60  p.     15'^^K 

Three  acts.  By  Urbano  Rizzi  (Wiel  and  Schatz).  The  dedication  is  signed  by 
Domenico  Lalli.  On  p.  8  the  foot-note:  "le  arie  segnate  coUa  etella  6ono  di  altro 
autore  cangiate  per  commodo  della  musica,  per  la  qual  ca^one  si  6  anche  cangiato 
11  nome  di  Jone  m  quello  di  Gelone."  Consequently,  the  libretto  in  its  present  form 
must  have  been  the  work  of  two  authors.  Argument,  cast,  scenario,  and  name  of 
the  composer,  Pietro  Lione  Cardena. 

First  performed,  as  indicated.  May,  1739.  Schatz  1622 

Creusa  in  Delfo.  Dramma  per  musica  in  due  atti  misto  di  cori  e 
danze  da  rappresentarsi  nel  Real  Teatro  di  Salvaterra  nel  carnovale 
deir  anno  1774. 

[LishoTw],  Nella  Stamperia  reale,  n.  d.     69  p.     15'^^. 

Three  acts.  Argument,  scenario,  cast,  and  names  of  Gaetano  Martinelli  as  the 
author,  of  David  Perez  as  the  composer.  Schatz  7880 

Creuse  TAthenienne,  tragedie  representee  par  I'Academie  royale 
de  musique  I'an  1712.  Les  paroles  de  M.  Roy  &  la  musique  de  M. 
la  Coste.     LXXVIII.  opera. 

n.  i.,  n.  d.  14'^'^-  pi-,  389-44^  V-  (Recueil  general  des  opera,  t  x, 
Paris,  1714.) 

Detached  copy.     Five  acts  and  prologue.     "Avertissement." 
First  performed,  as  indicated,  April  5,  1712.  Schatz  5354 

Second  copy.    ML  48. R4 


336  LIBRARY   OF   CONGRESS 

Les  crimes  de  la  feodalite.     A.  T.  of  Jadiii's  Alisbelle. 

Crisippo.  Drama  per  musica  del  dottor  Grazio  Braccioli  Ferrarese 
da  rappresentarsi  in  Ferrara  nel  Teatro  a  S.  Stefano  degl'  illustris, 
simi  Signori  Co.  Antonio  Maria  Paolo  e  fratelli  Bonacossi,  con  I'occa- 
sione  della  solita  Fiera  di  Maggio  dell'  anno  MDCCX  .  .  , 

Ferrara,  Bernardino  Barhieri,  n.  d.     64  P-     15^*^^. 

Three  acta.  Author's  dedication  dated  Ferrara,  May  10,  1710,  argument,  cast, 
scenario  and  name  of  Floriano  Aresti  as  composer.  ML  50.2.C85A7 

Crispo.     Drama   rappresentato   nella   sala    dell'    illustrissimo    Sig. 
Federico  Capranica  nel  camevale  dell'  anno  MDCCXXI. 
Roma,  Antonio  de  Uossi,  1721.     60  p.     15^"^. 

Three  acts.  Dedication  by  the  author,  Paolo  Antonio  Rolli  (who  is  not  mentioned), 
argument,  cast,  and  name  of  the  composer,  Giov.  Battista  Bononcini.     Schatz  1200 

II  Cristoforo  Colombo  nell'  Indie,  ballet.  See  Brunetti's  Ber- 
toldo. 

Critic  upon  critic;   a  dramatic  medley,  in  three  acts;   as  it  is  per- 
formed   at    the    Theatre-Royal    in    Covent-Garden.     By    Leonard 
Mac  Nally,  Esq.     Second  edition. 
Lond(m,  J.  Almon,  1792.     2  p.  I.,  [1],  10-71  p.     20'='^. 

Cast.  In  form  of  a  ballad  op)era.  Genest  (v.  10,  p.  197)  claims  that  the  play  was 
printed  in  1788,  and  that  "from  the  plays  and  farces  alluded  to,  or  mentioned,  it  is 
almost  certain  that  this  piece  was  written  in  1780 — most  or  all  of  the  characters  are 
real  persons  under  fictitious  names  .  .  .  In  1792  critic  upon  Ccritic  was  reprinted  .  .  . 
I  am  of  the  opinion  that  it  was  never  acted  .  .  from  the  nature  of  the  piece  it  seema 
clear  that  it  was  never  meant  for  representation  ...  it  seems  not  impossible  that 
some  bookseller  in  1792  might  affix  a  new  title  page  and  a  cast  of  the  play  to  the  old 
copies  of  1788,  in  order  to  sell  them."  Lonoe  232 

La  critica,  opera  by  Jommelli.     See  II  giuoco  de  picchetto. 

La  critica  teatrale.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Tron  di  San  Cassiano  nel  camovale  dell'  anno  1775. 

Venezia,  Gio.  Battista  Casali,  1775.     16^"^-     55  p. 

Three  acts.  Cast,  scenario,  and  name  of  Gennaro  Astaritta  as  composer,  but  not 
of  librettist.  According  to  Schatz,  this  is  a  later  version  of  Raniero  ae'  Calsabigi'a 
"L'opera  seria"  libretto. 

First  performed  at  Turin,  Teatro  Carignano,  fall  of  1771.  Schatz  378 

La  critique  a  1' Opera -comique;  petite  piece  en  un  acte:  pour 
I'ouverture  du  TheS,tre  de  la  Foire  Saint  Germain,  en  1742. 

Charles  Francois  J^annard,  Theatre,  Paris,  Duchesne,  1763,  ik  3, 
[259]-298  p.     17''". 

In  prose  and  vaudevilles.    Composer  not  recorded  by  Parfaict,  etc.     PQ  2019. P3 

La  critique  des  festes  de  Thalie.  See  Mouret's  Les  festes  de 
ThaUe. 

Die  critische  nacht.     Tr.  of  Boroni's  La  notte  critica. 

Croesus     See  Reiser's  Der  hochmuethige.  ... 

La  cuccagna,  ballet.     See  Zingarelli's  Annibale  in  Torino. 


OPERA  LIBRETTOS  337 

Cunegonda.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  per  il  carnevale  dell'  anno  MDCCXXVI. 
Venezia,  Marino  Rossetti,  1726.     56  p.     Id""^. 

Three  acts.  Neither  the  author,  conte  Agostino  Piovene,  is  mentioned,  nor  Antonio 
Vivaldi,  the  composer.     Argument,  notice  to  the  reader,  cast,  and  scenario. 

ScHATZ  10764 

The  cunning  man.     Tr.  of  Rousseau's  Le  devin  du  village. 

Cupid  and  Psyche :  or,  Colombine-Courtezan.     A  dramatic  panto- 
mime entertainment.     Interspers'd  with  ballad  tunes.     As  it  is  per- 
form'd   at    the    Theatre-Royal    in   Druiy-Lane,    by   His   Majesty's 
servants. 
London,  J.  Watts,  1734.     2  p.  l,  18  p.     19^"». 

One  act.  Author  not  recorded.  Without  music,  and  the  titles  of  the  ballad-tunea 
are  not  indicated. 

First  performed,  as  indicated,  February  4,  1734.  Lonoe  33 

Cupid's  revenge:  an  Arcadian  pastoral.     As  it  is  performed  at  the 
Theatre-Royal,  Hay-Market.     The  music  by  Mr.  Hook. 
London,  J.  Bell,  1772.     Sp.l,  39,  [1]  p.    21^^. 

Two  acts.     Cast  and  dedication  dated  London,  July,  1772.     By  Francis  Gentleman. 
First  performed  June  12,  1772.  Longe  244 

Cupido.     See  Reiser's  Der  sich  raechende  .  .  . 

Cupido  trionfatore  o  sia  Apollo  e  Dafne,  ballet.  See  Pio's  Nettuno 
ed  Egle. 

A  cure  for  a  scold.     A  ballad  farce  of  two  acts.     (Founded  upon 
Shakespear's  Taming  of  a  shrew)     As  it  is  acted  by  his  Majesty's 
Company  of  comedians  at  the  Theatre  Royal  in  Drury-Lane.     fey 
J.  Worsdale,  portrait-painter. 
Lond(m,  L.  GiUiver,  n.  d.     5  p.  I.,  59,  [1]  p.     18^"^. 

Epilogue,  cast,  preface,  in  which  this  is  called  the  author's  first  attempt,  and 
James  Worsdale's  dedication.     The  23  (8,  15)  airs  used  are  indicated  by  title. 
First  performed  at  Drury-Lane,  February  25,  1735.  Longe  275 

A  cure  for  dotage.     A  musical  entertainment;  sung  at  Mary  bone- 
Gardens. 
London,  C.  D.  Piguenit,  1771.     1  p.  l,  20  p.     21'='^. 

Two  parts.  Neither  author  nor  composer  mentioned  or  recorded  by  Biog.  Dram, 
and  Genest.  Longe  204 

II  curioso  accidente  della  caccia.  A.  T.  of  the  ballet  Dove  entrd 
cervo  esce  donna. 

II  curioso  accidente.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  nobile  Teatro  Giustiniani  in  San  Moisd 
per  la  prima  opera  dell'  autimno  1789. 

Venezia,  Modesto  Fenzo,  1789.     68  p.     18^"^. 

Three  acts.  Cast  and  name  of  Gennaro  Astaritta  as  composer.  On  p.  6&-66  text 
of  the  arias  "Sento  in  gabbia  innargentata "  and  "Quella  fiamma,  che  v'accende," 
which  were  substituted  for  Signora  Maria  Caracci  Caravoglia,  who  took  the  part  of 
Gentilina  instead  of  Signora  Irene  Tomeoni  Dutillieu.  On  p.  67-68  "argomento  del 
ballo  primo  intitolato  Nina  pazza  per  amore"  and  title  of  the  second  "Chi  la  fa 
I'aspetta,"  both  invented  by  Eusebio  Luzzi,  the  compoeer  of  the  music  not  being 
mentioned.  ScpATZ  385 

72251°— VOL  1—14 22 


838  LIBRARY   OF   CONGRESS 

H  cuiioso  del  suo  proprio  danno.  Commedia  per  miisica.  Da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nel  camovale  di  quest' 
anno  1756. 

Napoli,  Girolamo  Flavio,  1756.     72  p.     i5«"». 

Three  acts.  By  Antonio  Palomba,  who  is  not  mentioned.  Cast  and  name  of 
Niccold  Piccinni  as  the  composer.  Schatz  814 

II  curioso  indiscrete.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  delle  Dame  il  camevale  dell'  anno  1777  .  .  .  [vig- 
nette] 

Roma,  Si  vendono  da  Giovanni  Bartolomicchi,  n.  d.     67  p.     15Y^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, argument,  scenario,  cast  and  name  of  Pasquale  Anfossi  as  composer. 

ML  50.2.C9A6 

—  II  curioso  indiscreto.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi in  Firenze  nel  Teatro  di  via  del  Cocomero  nell'  autimno  dell' 
anno  1777  .  .  . 

Firenze,  Anton  Giuseppe  Pa^ani,  1777.     62  p.     16^'^. 

Three  acts.  Cast  and  name  of  composer,  Pasquale  Anfossi,  but  not  of  librettist, 
who  is  unknown  to  Schatz.  The*ballets,  by  Onorato  Vigan6,  composer  of  the  music 
not  mentioned,  were  called  "La  pastorella  impertinente    and  II  Giocatore." 

Schatz  232 

—  II  curioso  indiscreto.  Dranmia  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  Lucca  I'autunno  dell'  anno  1779. 

Lucca,  Gio.  delta  Valle,  n.  d.     87  p.     15'^'^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Pasquale  Anfossi  as  the 
composer.  The  author  is  unknown  to  Schatz.  With  the  opera  were  performed 
Francesco  Ricci's  ballet  "La  sposa  persiana"  and  Giuseppe  Trafieri's  "La  vendem- 
mia,  ossia  La  contadina  impertinente."  The  composers  of  the  music  are  not  men- 
tioned. 

The  date  of  first  performance  is  given  as  August  7,  1779.  Schatz  11670 

Les  Cyclopes.     Intermede  in  Bourgeois'  Les  plaisirs  de  la  paix. 

Cymon.  A  dramatic  romance.  As  it  is  performed  at  the  Theatre- 
Royal,  in  Drury-Lane.  The  music  by  Mr.  Ame  .  .  .  The  third 
edition. 

London,  T.  Becket  and  P.  A.  De  Hondt,  1767.     vi,  [2],  86,  [2]  p. 

lO""^. 

Five  acts,  prologue  and  epilogue.  Cast.  By  David  Garrick,  who  is  not  men- 
tioned. The  composer  was  Michael  Ame,  not  Thomas  Aug.  In  the  vocal  scores  the 
additional  song  "  Be  sure  you  regard  "  is  headed  as  composed  by  Dibdin. 

First  performed  January  2,  1767,  as  indicated.  Lonoe  46 

—  Cymon,  altered  from  David  Garrick,  Esq.     In  two  acts. 
[358\-^03  p.     W^^.     (Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  Ill,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  (1783)  casts.  Schatz  11753 

—  Cymon.  A  dramatick  romance.  The  music  by  Mr.  Ame. 
Adapted  for  theatrical  representation,  as  performed  at  the  Theatre- 
Royal,  Covent-Garden.  Regulated  from  the  prompt-book,  by  per- 
mission of  the  manager  ... 

London,  John  BeU,  1795.  front,  1  p.  l,  iv,  [2],  7-78  p.  15'='^. 
(J.  BeU,  British  theatre,  London,  1791-1797,  v.  29.) 


OPERA   LIBEETTOS  339 

Cymon— Continued . 

The  front,  represents  Mr.  Kelly  as  Cymon  and  is  dated  August  15,  1795.  The  p.  1. 
is  an  added  engraved  title  page  with  a  scene  from  the  play  and  is  dated,  July  30, 
1795.     Prologue  and  five  acts.     Covent-Garden  cast.  PR  1241.B4 

Cyrillus  der  Kappadozier,  ein  junger  martyrer,  ein  singspiel  in 
zween  anfzuegen,  aufgefuehrt  von  der  studirenden  ju^end  des  Katho- 
lischen  schulnauses  zu  Augsburg  bey  St.  Salvator  den  2.  5.  und  6. 
Herbstmondes  [Sept.]  1785. 

[Au{isl)urg],  Joseph  Simon  Hueher,  n.  d.     16  p.     W^. 

Author  unknown  to  Schatz.  Johann  Evangelist  Drexel  is  mentioned  aa  the 
composer.  With  cast  and  "Vorbericht."  At  head  of  title:  ''Paulinus  v.  Rolla  ... 
ein  trauerspiel  .  .  .  und. "  Schatz  2816 

Cyrus.     Tr.  of  Metastasio's  text  H  Giro  riconosciuto. 

Cythere  assiegee,  opera-comique  en  un  acte ;  reprfeente  a  Bruxelles, 
pour  la  premiere  fois,  le  7  juillet  1748.     Et  k  I'Op^ra-comique  le 
fundi  12  ao<it  1754.     Nouvelle  edition. 
Paris,  Duchesne,  1760.     48  p.     ^;«"». 

Cast  and  note : 

"Gette  piece  fut  d'abord  faite  en  prose  &  couplets  par  M.  Favart,  en  eoci^te  avec 
M.  Fagan,  &  representee  a  Paris  k  I'ouverture  de  la  Foire  St.  Laurent  1738  [as  "Le 
pouvoir  de  I'amour,  ou  Le  siege  de  Cythere"];  depuis  entierement  refondue  par  M. 
Favart,  pour  la  Troupe  des  Comediens  de  Bruxelles;  &  donn^e  h.  Paris  sur  le  TheMre 
de  I'Opera-comique,  selon  I'ordre  qui  suit." 

The  text  is  best  known  as  a  vehicle  for  Gluck,  whose  "La  Cythere  assiegee"  waa 
first  performed  at  Schwetzingen  in  1759.  A  second  version  was  performed  at  Paris, 
Acad^mie  royale  de  musiaue,  August  11,  1775.  ML  50.2.C95 

Second  copy  (Theatre  de  M.  Favart,  Paris,  Duchesne,  1763-77,  t.  vii). 

ML  49.A2F1 

Airs,  duets,  trios,  chorusses,  etc  in  the  Czar:  a  comic  opera,  in  three 
acts.     Performed  at  the  Theatre-Royal,  Covent-Garden. 
London,  T.  CadeU,  1790.     30  p.     21'"^. 

Cast.  The  air,  "The  prince,  unable  to  conceal  his  pain,"  according  to  a  footnote, 
is  not  by  the  author,  John  O'Keefe  (not  mentioned).  The  opera  was  first  called  "The 
czar  Peter,"  and  finally,  after  being  reduced  to  a  farce,  was  called  "The  fugitive." 
The  composer,  William  Shield,  is  not  mentioned. 

First  performed,  as  indicated,  March  8,  1790  Longe  204 

Da  gratitudine  amore.     A.  T.  of  Seydelmann's  H  mostro. 

Da  ist  nicht  gut  zu  rathen,  eine  comische  oper  in  zwey  aufzuegen 
von  Stephanie   dem    juen^eren.     Die  musik  dazu  ist   vom    herm 
Bartta.     Aufgefuehrt  im  Kaiserl.  Koengl.  National  theater. 
Wien,  n.  puhl,  1778.     60  p.     W*^. 

Dedication,  "An  die  kritik,"  in  which  author  says,  "Ich  betrete  heute  eine  neue 
laufbahn,"  and  lengthy  Vorrede,  in  which  he  denies  having  based  this  libretto  on  an 
older  opera,  called   'HuUa." 

First  performed,  as  indicated,  August  8,  1778.  Schatz  615 

La  Dafne  d'Ottavio  Rinuccini  rappresentata  alia  Sereniss.  Gran 
Duchessa  di  Toscana  dal  Signor  Jacopo  Corsi  [coat  of  arms]. 

Firenze,  Giorgio  Marescotti,  MDC.     12  unnumh.  I.     21'^^. 

Schatz  7918 


340  UBRABY  OF   CONGBESS 

La  Dafne — Continued. 

Printer's  sign  on  recto  of  last  leaf.  No  dedication,  no  preface.  The  two  leavee 
preceding  last  1.  contain  a  laudatory  poem  of  eight  stanzas,  to  Corsi,  beginning: 

"Dc?  S.  Jacopo  Corsi. 

Qual  novo  altero  canto 

O  Musa,  6  Dea  mi  detta,  ond'  io  risuoni 

Corsi  tuo  nobil  vanto. 

Corsi,  che  tutti  sproni, 

E  tutti  accendi  alle  virtii  celesti, 

Mentre  primier  le  belle  vie  calpesti." 

Strange  to  say,  the  chronolo^cal  history  of  "Dafne"  is  still  open  to  conjecture. 
At  least,  it  has  never  been  told  in  a  manner  as  to  silence  criticism  and  I  doubt  very 
much  that  this  can  be  done  at  present.  Everything  depends  on  a  satisfactory  inter- 
pretation of  the  strictly  contemporary  sources,  which  alone  can  establish  the  chron- 
ology of  this,  the  first  opera. 

Before  these  sources  are  quoted  for  analysis,  attention  may  well  be  called  to  the 
customary  statement  that  Rmuccini's  "Dafne"  is  based  on  his  "Combattimento  di 
Apollo  col  serpente  Pitone,"  an  intermedio  performed  in  1589  at  Florence  with  Luca 
Marenzio's  music.  As  a  matter  of  fact,  Rmuccini  used  onlv  one  number  of  this, 
the  madrigal  "Ebra  di  sangue  in  questo  oscuro  bosco"  for  his     Dafne"  text. 

The  earliest  document  that  calls  for  consideration  is  Rinuccini's  dedicatory  preface 
to  his  "L'Euridice"  text,  published  in  October  1600.  In  this  he  says,  so  rar  as  the 
chronological  history  of  "Dafne"  is  involved: 

"E  stata  opinione  di  molti  .  .  .  che  gli  antichi  Greci  e  Romani  cantassero  suUe 
scene  le  tragedie  intere;  ma  si  nobil  maniera  di  recitare  nonch5  rinnovata,  ma  n^ 

Sur,  che  io  sappia,  fin  qui  era  stata  tentata  da  alcuno,  e  ci6  mi  credev'io  per  difetto 
ella  musica  modema,  di  gran  lunga  all'antica  inferiore.  Ma  pcnsiero  si  fatto  mi 
tolse  interamente  dall'  animo  M.  Jacopo  Peri:  quando,  udito  I'intenzione  del  Signer 
Jacopo  Corsi  e  mia,  mise  con  tanta  grazia  sotto  le  note  la  favola  di  Dafne  (composta 
da  me,  solo  per  fare  una  semplice  prova  di  quelle  che  potesse  il  canto  dell'  etk  nostra) 
che  incredibilmente  piacque  a  quei  pochi  cne  I'udirono. 

"Onde,  preso  animo,  e  dato  miglior  forma  alia  stessa  favola,  e  di  nuovo  rappresen- 
tandola  in  casa  il  Sig.  Jacopo,  fu  ella,  non  solo  dalla  nobilt^  di  tutta  guesta  patria 
favorita,  ma  dalla  serenissima  Gran  Duchessa  e  gli  illustrissimi  Cardinaii  Dal  Monte 
e  Montaldo  udita  e  commendata. 

"Ma  molto  maggior  favore  e  fortuna  ha  sortito  VEuridice,  messa  in  musica  dal 
medesimo  Peri  con  arte  mirabile  e  da  altri  non  piii  usata  ..." 

It  will  be  noticed  that  Rinuccini  does  not  mention  Giulio  Caccini  at  all,  either  in 
connection  with  "Euridice"  or  "Dafne."  Caccini,  in  turn,  neither  in  the  dedica- 
tory preface  (dated  December  20,  1600)  of  his  "Euridice  score"  (dated  1600  but 
hardly  published  before  our  year  1601)  nor  in  the  dedication  and  preface  of  his  "Le 
nuove  musiche"  (published  at  the  earliest  in  July  1602,  since  the  imprimatur  is 
dated  July  1,  1602.  The  title  page  is  dated  1601  and  the  dedication  February  1, 
1601,  both  times  1601  being  the  same  as  1602,  new  style)  mentions  his  rival  Peri. 
More  singular  still,  he  does  not  mention  "Dafne,"  yet  in  his  " Nuove  Musiche  e  nuova 
maniera  di  scriverle"  of  1614  he  says: 

"Molti  anni  avanti  che  io  mettessi  alcima  delle  mie  opere  di  musica  per  una  voce 
sola  alia  stampa,  se  ne  eran  vedute  fuora  molte  altre  mie,  fatte  in  diversi  tenrpi  et 
occasioni,  delle  quali  furono  piii  note  la  musica  che  io  feci  nella  favola  della  Dafne 
del  Sig.  Ottavio  Rinuccini,  rappresentata  in  casa  del  Sig.  Jacopo  Corai  d'onorata 
memoria,  a  quest'  Altezze  Serenissime  et  altri  Principi;  ma  le  prime  che  io  stam- 
passi  furon  le  musiche  fatte  I'anno  1600  nella  favola  dell'  Euridice,  opera  del  mede- 
simo autore:  e  furon  le  prime  che  si  vedesser  date  in  luce  in  Italia  da  qualunque 
compositore  di  tale  stile  a  una  voce  sola;  diedi  appresso  fuore  I'anno  1601  [\]  quelle 
che  lo  intitolai  Le  nuove  musidie  ..."  [for  Peri's  priority  in  the  use  of  this  famous 
term  see  Euridice]. 

In  the  preface  of  his  "Eiu-idice"  score  (dated  1600,  but  as  the  dedication  is  dated 
February  6,  1600,  which  is  the  same  as  February  6,  1601,  new  style,  the  score  was 
published  in  1601,  new  style)  Jacopo  Peri  has  this  to  say: 

"Benchfe  dal  Signer  Emilio  del  Cavaliere,  prima  che  da  ogni  altro  ch'io  sappia, 
con  maravigliosa  invenzione  ci  fusse  fatta  udire  la  nostra  musica  sulle  scene;  piacque 
nondimeno  a'  Signori  Jacopo  Corsi  ed  Ottavio  Rinuccini  (fin  I'anno  1594),  che  io, 
ad  operand  ola  in  altra  guisa,  mettessi  sotto  le  note  la  favola  di  Dafne,  dal  Signer  Ottavio 
composta,  per  fare  una  semplice  pruova  di  quelle  che  potesse  il  canto  dell'  etk  nos- 
tra ..  . 


OPERA   LIBRETTOS  341 

La  Dafne — Continued. 

"Onde  fatta  uJire  a  quel  Signori  la  mia  openione,  dimostrai  loro  questo  nuovo 
modo  di  cantare,  e  piacque  eommamente,  non  pure  al  Signer  Jacopo,  il  quale  aveva 
di  gi^  composte  ane  belliseime  per  quella  fi«vola,  ma  al  Signer  Pietro  Strozzi,  al 
Signer  Francesco  Cini,  et  ad  altri  molti  intendentissimi  gentiJuonuni  (ch^  nella 
nobilti  fiorisce  oggi  la  muica),  come  anco  a  quella  famosa,  che  ei  puo  chiamare  Euterpe 
deir  eta  nostra,  la  Signora  Vittoria  Archilei  .  .  .  e  per  tre  anni  continui  che  nel 
camovale  si  rappresentb,  fu  udita  con  sommo  diletto  e  con  applauso  universale  rice- 
\-uta  da  cMunque  vi  si  ritrov6.     Ma  ebbe  miglior  ventura  la  presente  Euridice  .  .  ." 

Finally,  Marco  da  Gagliano  in  the  preface  of  his  "Dafne"  of  1608  writes: 

"  Ritrovandomi  il  camoval  passato  in  Mantova  [carnival  1607-8]  .  .  .  voile  [Vin- 
cenzo  Gonzaga,  duke  of  Mantova]  fra  I'altre  che  si  rappresentasse  la  Dafne  del  Signer 
Ottavio  Rinuccini  da  lui  con  tale  occaeione  accresciuta  e  abbellita,  fui  impiegato  a 
metterla  in  musica:  il  che  io  feci  nella  maniera  che  era  vi  presente  .  .  . 

"...  credo  che  non  sar^  disutile,  n^  lentane  dal  nostro  proposito  il  ridurvi  in 
memoria  come  e  quando  ebbero  origine  si  fatti  spettacoli  ... 

"Dope  I'avere  piii  e  piii  volte  discorso  in  tome  alia  maniera  usata  dagli  antichi  in 
rappresentare  le  lor  tragedie  .  .  .  il  Sig.  Ottavio  Rinuccini  si  diede  a  compor  la 
favola  di  Dafne,  il  Si^.  Jacopo  Corsi,  d'enorata  memoria  .  .  .  compose  alcune  arie 
sopra  parte  di  essa,  delle  quali  invaghitesi,  riselute  di  vedere  che  effetto  facessero  su 
la  scena,  confer!  insieme  col  Sig.  Ottavio  il  sue  pensiero  al  Si^.  Jacopo  Peri,  peritis- 
simo  nel  centrapunto  e  cantore  d'estrema  esquisitezza :  il  quale,  udita  la  lore  inten- 
zione  e  apprevato  parte  dell'  arie  gia  composte,  si  diede  a  cemporre  I'altre,  che 
piacquero  oltre  modo  al  Sig.  Corsi,  e  con  I'eccasione  d'una  veglia  il  camovale  dell' 
anno  1597  la  fece  rappresentare  alia  presenza  dell'  eccellentissimo  Sig.  Don  Giovanni 
Medici  e  d'alcuni  de'  principali  gentiluomini  de  la  citta  nostra.  II  piacere  e  lo 
Btupore  che  partori  negli  animi  degl'  uditori  questo  nuovo  spettacolo  non  si  pu6 
esprimere,  basta  solo  che  per  melte  volte  ch'ella  s'e  recitata,  ha  generate  la  stessa 
ammiraziene  e  lo  stesse  diletto.  Per  si  fatta  prova  venuto  in  cognizione  il  Sig.  Rinuc- 
cini quanto  fusse  atte  il  canto  a  esprimere  ogni  serta  d'affetti,  e  che  non  solo  (come 
per  avventura  per  molti  si  sarebbe  creduto)  nen  recava  tedie,  ma  diletto  incredibile, 
compose  VEundice,  allargandosi  alquante  piii  ne'ragionamenti.  Uditala  poi  il  Sig. 
Corsi,  e  piaciutele  la  favola  e  lo  stile,  stabili  di  far  la  comparire  in  scena  nelle  nozze 
della  Regina  Cristianissima.  [Florence,  October  6,  16001  AUera  ritrov6  il  Sig. 
Jacopo  Peri  quella  artifiziesa  maniera  di  recitare  cantande,  che  tutta  Italia  am- 
mira  .  .  ." 

Not  a  word  about  Caccini's  "Euridice,"  much  less  about  his  "Dafne,"  as  if  Marco 
da  Gagliano,  so  liberal  in  his  praise  of  Peri  and  Monteverdi,  wished  to  rebuke  Caccini 
for  his  undeniable  tendency  to  appropriate  the  priority  in  all  matters  bearing  en  this 
new  art  of  opera.  To  quote  the  later  accounts  of  Vitali,  Giustiniani,  Bonini,  Bardi, 
della  Valle,  Deni,  would  serve  no  useful  purpose.  They  add  either  nothing  new  or 
by  combining  hear-say  with  deductions  from  earlier  printed  accounts,  they  partake 
of  the  character  of  secondary  sources  and  merely  help  to  confuse  matters. 

All  these  accounts  have  been  made  conveniently  accessible  by  Solerti  in  his  book 
"Le  origini  del  meledramma."  My  arguments  are  based  en  this  and  en  data  in 
Solerti's  more  historical  book  "Gli  albori  del  meledramma."  Also  his  book  "Musica, 
ballo  e  drammatica  alia  corte  Medicea  dal  1600  al  1640"  was  helpful,  but  I  regret 
that  Solerti  was  net  always  at  his  best  in  dissecting  for  reconstructive  purposes  the 
mass  of  contemporary  data  so  patiently  unearthed  by  him,  since  he  utilized  them 
for  some  rather  loose  and  contradictory  statements  in  his  second  work  mentioned 
above. 

The  only  definite  date  of  performance  is  given  by  Marco  da  Gagliano.  He  says 
that  Jacopo  Corsi  during  carnival  of  1597  had  Peri's  Dafne"  performed  in  the  pres- 
ence of  Giovanni  Medici  and  some  of  the  principal  gentlemen  of  Florence.  He  does 
not  specifically  state  that  the  performance  took  place  at  Corsi's  palace  nor  that  it  was 
the  first  performance  but  it  is  only  reasonable  to  interpret  his  remarks  to  that  effect. 
Marco  da  Gagliano  dees  net  say,  as  one  sometimes  find  stated,  that  he  was  present. 
Being  in  Florence  at  the  time  as  a  rising  student  of  composition  under  Bati,  he  either 
based  his  account  on  personal  experience  or  on  contemporary  local  reports.  At  any 
rate,  his  account  carries  with  it  considerable  weight. 

Rinuccini  does  net  mention  a  date  of  performance.  He  merely  says  that  Peri's 
"Dafne"  was  performed  before  a  few  enthusiastic  listeners  and  later  in  an  improved 
form  of  the  text  at  Corsi's  palace  before  a  large  audience  of  Florentine  noblemen,  the 
Grand  Duchess  and  the  cardinals  Del  Monte  and  Montalto. 

The  presence  of  both  these  cardinals  furnishes  the  pivotal  clue.  We  know  from 
the  "Storia  d'Etich'etta"  (a  record  of  events  at  court  oy  the  master  of  ceremonies) 
that  they  actually  attended  on  January  21,  1599,  a  performance  of  "Daf  thoughne,' 


342  LIBRARY   OF   CONGRESS 

La  Dafne — Confinued, 

not  at  Corsi'B  palace  but  at  court,  at  the  Palazzo  Pltti  "nella  sala  delle  statue,"  the 
same  hall  in  w^ich  "Euridice"  was  first  produced  one  year  later,  on  October  6,  1600. 
This  apparent  contradiction  between  Rinuccini  and  the  "Storia  d'Etichetla"  would 
be  a  barrier  to  further  deductions,  but  fortunately  the  household  accounts  of  (.orsi's 
wife  are  preserved  and  therein  we  find  under  date  of  January  18, 1599,  the  entry  of  a 
certain  sum  "a  Romolo  [spcnditore]  per  ispese  fatte  nei  giomi  che  s'fe  fatto  la  come- 
dia"  and  under  April  23  a  similar  entry.  This  last  entry  may  refer  to  expenditures 
of  the  Corsis  for  the  Palazzo  Pitti  performance  of  "Dafne"  but  this  inference  is  not 
at  all  obligatory.  Also  Signora  Corsi  may  have  made  her  entry  for  January  18  several 
days  later  but,  in  the  absence  of  proof,  we  are  justified  in  following  the  lines  of  least 
resistance  and  in  assuming  that  she  made  her  entry  of  January  18  for  expenses  incurred 
by  a  performance  of  "Dafne"  at  the  latest  on  January  18,  1599.  Since  such  a  per- 
formance is  not  recorded  in  the  "Storia  d'Etichelta'  it  would  follow  that  it  took 
place  at  C'orsi's  palace,  if  at  all,  and  not  at  court.  Therewith  we  have  a  loophole  for 
reading  into  Rinuccini's  account  that  "Dafne"  was  performed  at  Corsi's  palace  not 
later  than  January  18,  1599,  in  the  presence  of  the  two  cardinals  who  were  in  the 
city  as  early  as  January  5,  1599.* 

Peri's  account,  at  first  reading,  appears  to  be  clear  and  definite,  but,  on  the  con- 
trary, it  is  misleading.  In  first  place,  he  either  meant  that  Corsi  and  Rinuccini  "fin 
I'anno  1594"  requested  him  to  compose  "Dafne"  or  that  at  the  request  of  these  two 
gentlemen  he  composed  "Dafne"  "fin  I'anno  1594."  At  any  rate,  he  does  not  say, 
though  that  is  now  commonly  taught,  that  "Dafne"  was  performed  in  1594.  Even  if  the 
second  interpretation  of  his  ambiguous  statement  is  accepted,  it  is  clear  that  after 
"Dafne"  was  composed  "fin  I'anno  1594,"  it  must  have  consumed  time  to  prepare 
and  rehearse  the  work  for  performance.  This  necessarily  narrows  the  margin  of  the 
year  1594  still  more.  Now,  according  to  modem  Gregorian  chronology,  the  last 
months  of  the  old  Julian  Florentine  year  1594  coincide  with  the  first  months  of  our 
year  1595.  Consequently  we  are  practicality  obliged  to  look  to  the  first  months  of  our 
year  1595  as  the  earliest  possible  date  of  performance  of  "Dafne,"  even  if  Peri  with 
his  words  "fin  I'anno  1594"  intended  a  reference  to  the  first  performance  of  his 
"Dafne." 

Peri  does  not  say  where  "Dafne"  was  performed.  On  the  other  hand  his  words, 
too,  leave  no  doubt  that  the  first  performance  was  witnessed  by  only  comparatively 
few  music  lovers.  He  then  explicitly  states  that  the  work  delignted  the  hearers  "per 
tre  anni  continui  che  nel  camovale  si  rappresent5."  By  what  turn  of  reasoning 
Solerti  could  interpret  this  clear-cut  statement  to  mean  that  "Dafne"  was  first  per- 
formed during  carnival  of  1594/5  and  then  during  the  three  successive  carnivals  1595/6, 
1596/7,  1597/8,  I  am  utterly  unable  to  understand.  It  seems  to  me  that  Peri's  words 
bind  us  to  the  interpretation  that  "Dafne"  was  performed  during  three  successive 
carnivals  incluMve  of  the  first  (apparently  more  or  less  tentative)  performance. 

Pietro  Bardi,  conte  di  Vemio,  who  was  an  eye  and  ear  witness,  said  in  1634  of 
this  performance: 

.  *  The  question  suggests  itself:  Were  perhaps  these  cardinals  in  each  other's  com- 
pany in  Florence  at  some  earlier  date,  whicn  would  help  to  establish  the  correct 
chronology  of  "Dafne"?  Alessandro  Guidotti  says  in  his  dedication  of  the  score  of 
Emilio  de'  Cavalieri's  "  Rappresentatione  di  anima  et  di  corpo"  (Roma,  ^  Nicolo 
Mutii  MDC):  "...  nel  1595  u  Giuoco  della  cieca  alia  presenza  de  gl'Ulustrissimicar- 
dinali  Monte,  e  Mont'  Alto,  e  del  Sereniss.  arciduca  Ferdinando." 

This  is  corroborated  by  a  letter  written  on  November  14,  1595,  from  Florence  by 
Piermaria  Cecchini  to  Giov.  Battista  Laderchi,  secretary  of  the  duke  of  Ferrarra. 
These  two  documents  offset  any  argument  that  may  be  derived  from  the  fact  that 
neither  the  "Storia  d'Etichetta  "  nor  Settimani  in  his  diary  mention  the  presence  of  the 
cardinal  del  Monte  when  speaking  of  the  performance  of  Cavalieri's  "11  Giuoco  della 
cieca"  at  the  Palazzo  Pitti  on  October  29,  1595.  On  the  other  hand,  in  none  of  the 
various  sources  is  any  allusion  whatsoever  made  to  a  performance  of  "Dafne"  in 
October  1595  at  the  Corsi  palace  in  the  presence  of  these  two  cardinals.  Nor  is  this 
surprising,  since  the  first  performance  of  "Dafne,"  according  to  both  Peri  and  Marco 
da  Gagliano,  took  place  diiring  carnival,  whatever  the  year  of  first  performance  may 
have  been.  There  appears  to  be  no  record  of  both  cardinals  mentioned  being  in 
Florence  at  the  same  time  except  in  October  1595  and  during  carnival  1599. 

Of  course,  there  always  remains  the  possibility  of  a  misprint  in  either  Peri's  1594 
or  Marco  da  Gagliano's  1597.  However,  we  are  not  justified  in  assuming  a  misprint — 
which,  by  the  way,  so  far  as  I  can  see,  would  not  simplify  matters — until  circum- 
stantial or  direct  evidence  obliges  us  to  do  so. 


OPERA  LIBRETTOS  343 

La  Dafne — Continued. 

"  La  prima  poesia,  che  in  istUe  rappresentativo  fosse  cantata  in  palco,  fu  la  Favola 
di  Dafne  del  Signer  Ottavio  Rinuccmi,  messa  in  musica  dal  Peri  con  poco  numero 
di  euoni,  con  brevity  di  scene,  e  in  piccola  stanza  recitata,  e  privatamente  cantata,  e 
io  restai  stupido  per  la  meraviglia." 

Of  a  "Dafne"  by  Caccini  not  a  word  is  said,  though  Bardi's  hereditary  interest  in 
Caccini  was  pronounced. 

Carnival  began  in  Florence  like  in  other  Italian  cities  end  of  December.  This 
would  imply  that  Peri's  "Dafne  "  was  first  performed  in  1595  during  carnival,  repeated 
during  carnival  1595/6  and  again  repeated  during  carnival  1596/7  or,  if  we  adhere  to 
Marco  da  Gagliano's  date  of  carnival  1597  as  that  of  the  first  performance,  that  "Dafne  " 
was  first  performed  during  carnival  1597,  repeated  during  carnival  1597/8  and  again 
repeated  during  carnival  1598/99. 

If  we  accept  the  first  alternative,  then  neither  Solerti's  nor  my  interpretation  of 
the  meaning  of  ' '  tre  anni  continui  "  could  possibly  carry  us  down  to  the  performance 
or  performances  in  January,  i.  e.  carnival,  1599,  at  which  the  two  cardinals  undoubt- 
edly were  present.  It  would  imply  that  Peri  observed  silence  on  the  most  con- 
spicuous performance  of  his  "Dafne"  recorded.    That  is  hardly  credible. 

If  we  accept  Marco  da  Gagliano's  carnival  1597  as  the  date  of  the  first  perforrnance 
and  further  accept  my  conjecture  that  the  Palazzo  Pitti  performance  of  January  21, 
1599,  was  preceded  by  a  performance  at  Corsi's  palace  not  later  than  Januarj*  18, 
1599,  before  the  same  two  cardinals,  then  the  contradictions  between  the  contem- 
porary reports  would  seem  to  vanish. 

This  theory  that  "Dafne"  was  first  performed  in  carnival  1597  seems  to  be  weak- 
ened by  the  long  interval  between  "fin  I'anno  1594"  the  earliest  possible  date  of 
composition  and  carnival  1597,  the  deducted  date  of  first  performance.  True,  but  we 
have  seen  that  it  is  not  at  all  necessary  to  argue  that  Peri  composed  "Dafne"  "fin 
I'anno  1594"  (which  may  mean  January,  February,  even  March  of  our  1595).  If 
"fin  I'anno  1594"  he  merely  was  requested  by  Corsi  and  Rinuccini  to  try  his  hand 
at  an  operatic  setting  of  "Dafne,"  then  it  stands  to  reason,  as  this  was  a  venture  into 
a  virgin  field  of  composition,  that  Peri  did  not  go  about  his  task  in  a  hurry.  Indeed 
his  words  "onde  fatta  udire  a  quel  Signori  la  mia  openione"  would  seem  to  imply 
preliminary  deliberation  and  testa  before  he  demonstrated  to  them  "questo  nuovo 
modo  di  cantare"  and  the  actual  composition  of  such  "nuove  musiche,"  as  Peri — 
prior  to  Caccini — called  them  in  the  dedication  of  his  "Euridice"  score,  with  such  a 
raffinement  of  careful  attention  to  the  setting  of  the  verses  as  Riemann  has  revealed 
to  us  lately,  presumably  at  that  statge  of  the  operatic  game  was  not  a  matter  of  just 
a  few  days.  Furthermore,  if  the  work  was  first  performed  during  carnival  1597, 
rehearsals,  etc.,  must  have  preceded  the  performance  so  that  after  all  the  interval 
between  "fin  I'anno  1594"  and  carnival  1597  is  narrowed  perceptibly. 

Finally,  the  acceptance  of  carnival  1597  as  the  date  of  first  performance  would 
explain  readily  why  Peri,  who  certainly  was  not  a  seeker  after  priority,  while 
insisting  on  his  own  different  manner  of  procedure,  in  his  "Euridice"  preface,  should 
80  unreservedly  have  credited  Emilio  de'  Cavalieri  with  the  priority  of  making 
heard  "la  nostra  musica  suUe  scene."  If  Peri's  "Dafne"  had  been  composed  "fin 
I'anno  1594"  and  performed  early  in  1595,  this  tribute  to  Emilio  de'  Cavalieri  would 
be  just  a  trifle  too  liberal.  On  the  other  hand,  if  Peri's  "Dafne"  was  not  performed 
until  carnival  1597,  then  Peri's  tribute  would  be  entirely  plausible  and  justified, 
since  Emilio  de'  Cavalieri  created  somewhat  of  a  sensation  with  his  scenic  musical 

?astoral  "II  Giuoco  della  cieca,"  performed  on  October  29,  1595,  at  the  Palazzo 
itti  in  continuation  of  his  pastoral  experiments  "II  satire"  and  "Disperazione  di 
Fileno,"  both  of  the  year  1590  and  the  texts  of  all  three  bv  Laura  Guidiccioni. 

Without  claiming  to  have  unravelled  the  knotty  problem,  I  believe  the  chrono- 
logical history  of  "Dafne "  to  be  about  about  as  follows: 

Not  later  than  "fin  I'anno  1594  "  Rinuccini's  "Dafne"  text  was  ready  in  its  original 
form  for  a  composer.  Not  earlier  than  "fin  I'anno  1594"  Peri  began  to  compose  it. 
The  first  performance  took  place  before  a  small  audience  of  connoisseure  at  Corsi's 

?alace  during  carnival  1597.  The  work  was  repeated  during  carnival  1597/8  at 
orsi's  pftlace  in  the  original  or  in  the  improved  version  of  which  Rinuccini  speaks. 
The  work  was  again  repeated,  this  time  surely  in  the  improved  version,  at  Corsi's 
palace  before  the  two  cardinals  Del  Monte  and  Montalto  not  later  than  January  18 
(carnival)  1599  and  again,  but  at  the  Palazzo  Pitti  before  the  same  cardinals  and  a 
large  audience  of  Florentine  nobility,  on  January  21,  1599. 

From  the  household  accounts  of  Signora  Corsi  we  further  know  that  "Dafne" 
must  again  have  been  performed  at  the  Corsi  palace  late  in  August,  1600,  and  it  is 
perhaps  for  this  performance  that  the  libretto  (of  course  the  improved  version;  the 


344  LIBRABY  OF  CONGBESS 

La  Dafne — Continued.  • 

original  version  is  not  extant)  was  printed.     It  should  be  noted  that  Signora  Cora 
does  not  mention  Peri. 

Again  "Dafne"  was  revived  on  October  26j  1604,  at  the  Palazzo  Pitti  (not  at  the 
Corsi  palace,  aa  Gandolfi  incorrectly  stated)  in  honor  of  the  duke  of  Parma.  The 
libretto  for  this  performance  (a  reissue  of  the  1600  ed .  with  new  title  page  and  negligible 
differences.  For  the  differences  between  the  texts  of  1600,  1604  and  1608  see  2d  vol. 
of  Solerti's  "Gli  albori  del  melodrama")  exists,  whereas  no  copy  of  the  libretto  used 
for  the  performance  at  Mantova  in  1608  of  Marco  da  Gagliano's  Dafne"  in  a  further 
revision  of  the  text  by  Rinuccini,  has  been  traced.  Possibly  no  such  libretto  was 
published.  The  performance  of  1604  is  recorded  in  Tinghi's  diarj',  which  forms  tlie 
substance  of  Solerti's  fascinating  book  "Musica,  ballo  e  drammatica  alia  corte  Medi- 
cea  dal  1600  al  1640."     It  should  be  noted  that  Tinghi  does  not  mention  a  composer. 

Whose  score  was  used  for  these  performances  of  August  1600  and  October  26,  1604? 
Giulio  Oaccini  started  on  his  voyage  to  France  in  September  1604.  Consequently 
this  fact  together  with  his  own  statement  that  his  "Dafne"  music  was  performed  at 
Corsi 's  palace,  whereas  the  1604  performance  occurred  at  the  Palazzo  Pitti,  excludes 
Caccini.    The  probabilities  are  that  Peri's  score  was  used. 

That  Caccini's  "Dafne"  music  was  not  used  for  performance  during  Peri's  "tre 
anni  continui,"  I  think,  is  a  fairly  safe  h^j'pothesis,  especially  as  Peri  does  not  men- 
tion interpolations  from  a  score  by  Caccini,  whereas  he  did  not  hesitate  to  state  that 
some  of  Caccini's  "Euridice"  music  was  used  in  the  first  performance  of  his  own 
"Euridice"  on  October  6,  1600.  That  Caccini's  "Dafne"  music  was  not  drawn 
upon  for  the  performance  on  January  21,  1599,  is  certain,  since  it  did  not  take  place 
at  the  Corsi  palace  but  at  the  Palazzo  Pitti. 

There  remains  the  performance  late  in  August  1600.  To  this  Peri  laid  no  claim 
and  as  no  composer  is  mentioned  by  Signora  Corsi,  it  is  permissible  to  argue  that  at 
least  for  this  performance  music  by  Caccini  was  used.  Permissible  but  not  obliga- 
tory, because  Caccini's  words  "la  musica  che  io  feci  nella  favola  della  Dafne  del  Sig. 
Ottavio  Rinuccini,  rappresentata  in  casa  del  Sig.  Jacopo  Corsi "  do  not  necessarily 
imply  either  that  he  composed  the  whole  text  or  even  that  the  music  composed  by 
him  was  used  in  a  stage  performance  of  Rinuccini's  "Dafne"  favola.  WTiat  makes 
the  use  of  music  by  Caccini  even  in  August  1600  doubtful  is,  that  Caccini  fo^ot — 
and  he  was  not  given  to  forgetting  such  things — to  mention  his  share  in  the  history 
of  "Dafne"  in  his  "Euridice"  preface,  though  he  had  ample  time  to  incorporate 
pertinent  remarks  therein!  For  the  same  psychological  reason  it  is  doubtful  that 
'  Dafne  "  music  by  Caccini  was  performed  at  all  up  to  the  time  that  he  sent  his  "  Nuove  ■ 
musiche  "  to  the  press  in  1602,  since  they,  too,  fail  to  mention  any  music  composed 
by  him  for  Rinuccini's  "Dafne"! 

On  purpose  so  far  nothing  has  been  said  about  Corsi's  "Dafne"  music.  This  much 
Peri  makes  perfectly  clear,  that  Jacopo  Corsi  was  the  first  to  compose  "Dafne"  music 
and  that  Corsi  had  already  composed  "arie  bellissime  per  quella  favola"  before  he, 
Peri,  undertook  to  set  the  "Dafne"  text  according  to  his  own  ideas.  Peri's  account 
does  not  permit  us  to  argue  that  these  arias  by  Corsi  were  interpolated  for  the  per- 
formances of  Peri's  score.  In  view  of  Peri's  silence  on  this  point,  the  correctness  of 
Marco  da  Gagliano's  statement  that  Peri  "approvato  parte  dell'  arie  gik  composte, 
si  diede  a  comporre  Valtre  "  which  would  seem  to  imply  that  in  carnival  1597  a  score 
was  used,  largely  by  Peri,  but  partly  by  Corsi,  becomes  rather  doubtful. 

A  disturbing  element  is  thrown  into  the  chronology  of  ' '  Dafne  "  as  outlined  above 
by  the  entry  of  the  "Storia  d'Etichetta"  for  the  performance  of  "Dafne"  on  January 
21,  1599.  The  "Storia  d'etichetta"  does  not  mention  Peri,  but  says  "si  fece  nella 
sala  delle  statue  la  pastorella  in  musica  del  Sig.  Jacopo  Corsi."  It  is  of  course  pos- 
sible that  Corsi  had  composed  the  entire  ' '  Dafne  "  text  in  the  meantime  and  a  literal 
interpretation  of  the  entry  in  the  "Storia  d'etichetta"  would  therefore  mean  that  a 
"Dame"  score  by  Corsi  was  performed  on  January  21,  1599.  While  conceding  this 
possibility,  something  else  must  be  taken  into  consideration  which  weakens  this 
possibility  very  much. 

The  courtier  diarists  do  not  seem  to  have  taken  the  trouble  to  inform  themselves 
about  the  composers  who  furnished  the  music  for  these  court  entertainment.  Thus 
the  ambassador  of  Parma  wrote  to  his  duke  about  "Euridice":  "si  rappresent^  in 
casa  del  Granduca  da  un  gentiluomo  della  citt^  la  favola  di  Orfeo  et  Euridice  in 
versi  e  sempre  in  musica,  che  dur6  un  ora  e  mezza."  Furthermore  Tinghi  attributed 
the  score  oi  "Euridice"  to  Emilio  de'  Cavalieri  and  just  as  hazy  were  Giovanni  del 
Maestro 's notions  about  the  composer  of  "Euridice"  when  he  said  in  his  " Memorie " : 
"dopo  desinare  si  fece  una  commedia  nel  Palazzo  de'  Pitti  sul  salone  di  sopra,  tutta 
in  musica  ofera  del  Signor  Jacomo  Corsi  e  materia  del  Signer  Ottavio  Rinuccini." 
The  correct  state  of  affairs  was,  however,  recorded  by  Michelangnolo  Buonarotti  in 


OPEEA  LIBRETTOS  345 

La  Dafne — Continued. 

his  official  "  Descrizione "  (1600)  of  the  festivities.  Without  mentioning  Peri  or 
Caccini,  he  wrote:  "la  onde  avendo  il  Signor  Jacopo  Corsi,  fatta  messere  in  musica 
con  grande  studio  la  Euridice,  affettuosa  e  gentilissima  favola  del  Signor  Ottavio 
Rinuccini." 

Thus,  quite  in  keeping  with  the  ideas  of  the  time,  Jacopo  Corsi,  Maecenas  and 
"Padre"  of  music  (as  Marco  da  Gagliano  calls  him),  was  considered  to  have  had  a 
kind  of  proprietory  right  as  author  in  the  entertainments  planned  and  financed  by 
him  for  court.  It  was  of  no  particular  interest  to  courtiers  to  know  the  names  of 
professionals  engaged  to  provide  the  music  for  entertainments  under  the  auspices  of 
a  gentleman  like  Corsi.  Other  librettos  of  the  time  have  come  to  my  notice  which 
bear  out  this  impression.  In  such  cases,  as  in  the  case  of  "Dafne,"  words  like  "la 
pastorella  in  musica  del  Sig.  Jacopo  Corsi"  would  therefore  by  no  means  always 
signify  composed  by  Corsi,  but  the  "pastorella  in  musica"  which  Corsi  engaged  some 
musician  to  compose  for  entertainments  planned  by  him. 

Notwithstanding  the  plain  historical  fact  of  priority — Rinuccini's  "  primier  le  belle 
vie  calpesti"  is  more  than  a  mere  poet's  compliment — very  little  interest  was  taken 
in  Corsi's  share  in  the  first  opera  until,  quite  accidentally,  Miss  Hortense  Panum, 
while  collecting  material  for  her  and  Mr.  Behrend's  history  of  music,  discovered,  at 
the  Bruseels  Conservatory  library  in  1888,  two  excerpts  from  "Dafne"  in  a  collection 
of  (late  16th  and  early  17th  century)  monodies,  and  these  excerpts  bore  the  heading, 
"del  S?  Jacopo  Corsi."  Miss  Panum  then  published  these  two  excerpts  (the  one 
Apollo's  "Non  curi  la  mia  pianta,"  the  other  the  final  chorus,  "Bella  ninfa  fugi- 
tiva")  in  the  Musikalisches  Wochenblatt,  1888  (y.  19,  p.  346-347).  This  fact  was 
not  mentioned  by  Mr.  Wotquenne  when  he,  in  1901,  with  not  quite  correct  histor- 
ical notes,  published  the  two  Corsi  torsi  in  photographic  facsimile  on  two  fly-leaves 
between  p.  46-47  of  his  "Annexe  I"  of  the  "Catalogue  de  la  Bibliotheque  du  Con- 
servatoire Royal  de  musiqye.  "Bella  ninfa"  was  also  published  by  Hortense  Panum 
and  W.  Behrend  in  their  "lUustreret  Musikhistorie, "  1905  (p.  218-219),  and  both 
pieces  by  Solerti  in  his  "Gli  albori  del  melodramma"  (I,  Suppl.). 

It  is  one  of  the  caprices  of  fate,  indeed,  that  the  "  Dafne  scores  of  both  Peri  and 
Caccini  should  have  been  lost,  but  that  music  by  Jacopo  Corsi,  who  was  the  first  to 
compose  at  least  parts  of  Rinuccini's  text  of  this,  the  first  opera,  should  have  been 
preserved ! 

Dafni.  Favola  boschereccia  per  musica.  Da  rappresentarsi  nel 
Teatro  Malvezzi  I'anno  MDCXCVI  .  .  . 

Bologna,  gli  eredi  del  Sarti,  n.  d.     72  p.     13'=^. 

Prologue  and  three  acts.  Dedication  by  "Gli  Uniti"  and  notice  by  the  anon- 
ymous author,  Eustacchio  Manfredi,  to  the  reader,  beginning: 

"Tu  leggi  in  questo  piccol  volume  il  drama  steseo,  che  vedrai  rappresetare  sti 
queste  scene;  ne  per  altro  si  b  dato  alle  stampe,  che  per  aiutare  il  tuo  orecchio  mentre 
I'udirai  k  cantare.  Voglio  dire,  che  egli  non  b  fatto  per  leggerlo  fuori  di  queeta  occa- 
eione,  e  che  quando  quest'  opera  sia  udita  con  diletto  h^  attenuto  il  suo  intento. 
Siasi  ella  tragedia,  o  pastorale,  o  tragicomedia,  o  qualeivoglia  altro  poema,  che 
importa?  ella  6  un  divertimento  per  musica  addattato  al  gusto  presente,  ed  al  genio 
della  maggior  parte,  e  per6  dispensato  dalle  leggi  rigorose  della  Poetica  ..." 

The  composer,  Giuseppe  Antonio  Vincenzo  Aldrovandini,  is  not  mentioned. 

First  performed,  as  indicated,  August  18,  1696.  ML  50.2. D2 

II  Dafni.  Tragedia  satirica.  Da  rappresentarsi  in  musica  nel  famo- 
sissimo  Teatro  Grimano  di  S.  Gio-  Grisostomo  I'anno  1705. 

Venezia,  Marino  Rossetti,  1705.     82  p.     14^"^. 

Five  acts.  By  conte  Girolamo  Frigimelica  Roberti,  who  does  not  sign  his  lengthy 
"Proemio"  (p.  3-11)  giving  his  theories  of  a  proper  "tragedia  satirica."  Argument 
and  scenario.     Carlo  Francesco  Pollaroli,  the  composer,  is  not  mentioned. 

ScHATz  8279 

Dal  finto  il  vero.  Commedia  per  musica  di  Saverio  Zini  da  rappre- 
sentarsi nel  Teatro  Nuovo  nella  prima  vera  di  quest'  anno  1776  .  .  . 

Napoli,  n.  puhl,  1776.     60  p.     15'^'^. 

Three  acts.    Cast,  scenario,  and  name  of  Paisiello  as  the  composer.    Schatz  7604 


346  LIBRARY   OF   CONGRESS 

Dal  finto  il  vero — Continued. 

—  Dal  finto  il  vero.     Dramma  giocoso  per  musica  da  rappresentarsi 
Hel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia.      ' 
Dresda,  n.  puhl,  1782,     119  f.     15^"^. 

Two  acts.  Without  Zini's  name,  but  with  that  of  Paisiello.  German  title  page 
"Daa  ist  er  ia  selbst"  and  text  face  Italian. 

First  performed,  as  indicated,  1782.  •  Schatz  7605 

Dalisa.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Grimani 
di  S.  Samuele  nella  fiera  dell'  Ascensione  dell'  anno  MDCCXXX. 
Yenezia,  Carlo  Buonarigo,  n.  d.     4^,  [1]  p.     15^"^. 

Three  acts.  By  conte  Niccol6  Minato,  with  alterations  by  Domenico  Lalli,  who 
signs  the  dedication.  Argument,  scenario,  cast,  and  name  of  Johann  Adolph  Hasse 
as  the  composer.  Schatz  4577 

Daliso  e  Delmita.     Dramma  per  musica  da  rappresentarsi  nel  nobi- 
lissimo  nuovo  Teatro  di  Padova  nella  fiera  del  Santo  I'anno  1789  .  .  . 
Padova,  Conzatti,  n.  d.     52  p.     17 \^'^. 

Two  acts.  Dedication,  ailment,  cast,  scenario,  and  name  of  the  composer, 
Francesco  Bianchi.  The  text  is,  according  to  Schatz,  a  later  version  of  Giovanni  di 
Gamerra's  "Delmita  e  Daliso."  On  p.  4&-52  argument,  caet,  and  full  description  of 
"Ercole  e  Dejanira,  ballo  tragico  in  cinque  atti,"  by  Francesco  Clerico,  the  com- 
poser not  being  mentioned.  Schatz  997 

Daliso,  e  Delmita.  Dramma  per  musica  rappresentato  nell'  Impe- 
rial Teatro  di  Vienna  per  I'arrivo  de'  Reali  Sovrani  di  Toscana  nell' 
estate  dell'  anno  1776. 

n.  i.,  n.  d.     40  p.     WY"". 

Two  acts.  Argument  and  on  p.  4  "II  tenente  De  Gamerra  poeta  dell'  Imperial 
Teatro  al  pubblico  di  Vienna"  with  the  opening  remark: 

"I  primi  passi  che  avanzo  sull'  orme  gloriose  del  mio  immortal  maestro  dovrebbero 
farmi  temere  una  caduta,  se  non  mi  vedessi  da  lui  incoraggito  e  soetenuto." 

First  performed  on  July  29,  1776,  with  music  by  Antiono  Salieri  (not  mentioned) 
as  indicated,  but  with  title  "Delmita  e  Daliso."  ML  48.A5    v.45 

La  dama  awentuiiera.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Nuovo  Teatro  de'  Fiorentini  per 
prim'  opera  di  quest'  anno  1780. 

Napoli,  n.  puhl,  1780.     67  p.     15'='^. 

Three  acts.     Caet  and  name  of  Pietro  Guglielmi  as  the  composer.      Schatz  4240 

La  dama  immiagiiiaria.  Azione  teatrale  da  rappresentarsi  nel 
Teatro  Giustiniani  di  San  Moise  il  camovale  dell'  anno  1777. 

[Venezia],  n.  puhl.,  n.  d.     54  p-     17 Y"^. 

Two  parts.  Cast  and  name  of  Gennaro  Astaritta  as  composer.  The  author, 
Pietro  Antonio  Bagliacca,  is  not  mentioned.  Schatz  370 

La  dam.a  pastorella.     O.  T.  of  Salieri's  La  cifra. 

La  dama  soldato.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  Giustiniani  in  San  Mois^  Fautunno  dell'  anno 
1792. 

Venezia,  Modesto  Fenzo,  1792.     17 Y"". 

Incomplete  after  p.  54.  Two  acts.  By  Caterino  Mazzol^,  who  is  not  mentioned. 
Cast,  scenario,  and  name  of  Giuseppe  Gazzaniga  as  the  composer.        Schatz  3660 


OPERA   LIBRETTOS  347 

La  dama  soldato.  Draimna  giocoso  per  musica,  da  rappresentarsi 
nel  Teatro  elcttorale,  di  Caterino  Mazzola  .  .  . 

Dresda,  n.  puU.,  1791.     1^7  p.     15^""- 

Two  acts.  Johann  Gottlieb  Nauinann  is  mentioned.  German  title  page  "Die 
dame  als  soldat"  and  text  face  Italian. 

First  performed,  as  indicated,  May  7,  1791.  Schatz  7043 

—  Was  thut  die  liebe  nicht!  Eine  nach  der  oper:  La  dama  sol- 
dato des  Signore  Mazzola  frei  bearbeitete  operette  in  zwei  aufzuegen. 
Die  musik  ist  von  herm  kapellmeister  Naumann. 

Leipzig,  WiThelm  Heinsius  der  juengere,  1793.     87  p.     16'^^. 

Translator  not  mentioned  and  imknown  to  Schatz,  but  comparison  shows  that  the 
text  is  practically  the  same  as  in  our  Hamburg,  1804,  libretto,  attributed  by  Schatz 
to  Christian  August  Yulpius. 

First  performed  at  Konigsberg,  Ackermannsches  theater,  January  31,  1796. 

Schatz  7044 

Die  dame  als  soldat.     Tr.  of  Naumann's  La  dama  soldato. 

•^  Damira  placata.  Drama  da  rappresentarsi  nel  loco  ov'  era  il 
Teatro  Zane  a  S.  Moise.  Posto  in  musica  dal  Signor  Marc'  Antonio 
Ziani.     Consacrato  al  genio  de'  cm'iosi. 

Venetia,  Francesco  Nicolini,  1680.     4^  p.     14''™- 

Three  acts.  By  Filippo  Acciajuoli,  who  is  not  mentioned.  Prefatory  poem  to  the 
"eignori  curiosi,"  argument,  and  scenario. 

First  performed,  as  indicated,  cami\til,  1680.  Schatz  11200 

Damon  and  Phillida.  A  baUad  opera  in  one  act.  As  it  is  per- 
form'd  at  the  Theatre-Royal,  Drury-Lane,  by  His  Majesty's  servants. 
With  the  musick  prefix'd  to  each  song. 

London,  Printed  for  J.  and  R.  Tonson,  in  the  Strand,  1765.  31  p. 
19^"^. 

Lacks  front.     On  p.  [5],  a  publisher's  list. 

The  15  airs  are  mostly  printed  with  their  titles. 

Schatz  says,  under  "Damon  and  Phillida:"  "Words  by  CoUey  Gibber,  altered  from 
his  pastoral,  'Love  in  a  riddle.'  The  music  partly  composed,  partly  selected  out  of 
various  ballads  and  dance  tunes,  and  adapted  to  the  words  of  the  songs  by  Henry 
Carey.  First  acted  at  the  Theatre  Royal  in  Drury  Lane,  London,  1729."  The  date 
of  performance  and  Carey's  connection  with  "Damon  and  Phillida"  may  be  open  to 
discussion,  but  it  is  a  fact,  as  comparison  proved,  that  "Damon  and  Phillida,"  both  as 
to  characters,  words,  and  the  airs  used,  is  kin  to  Cibber'a  "Love  in  a  riddle."  If  Clar- 
ence says  ^^ entirely  taken  "  therefrom,  he  seems  to  be  mistaken,  but  certain  parts  have 
been  lilted  verbatim  from  "Love  in  a  riddle, "  for  instance,  from  the  air  III,  "Tell 
me,  Philly,  tell  me  roundly,"  to  air  VII,  "I'll  range  around  the  shady  bow'rs."  The 
modus  operandi  seems  to  have  been  to  lift  the  desired  scenes  out  of  "Love  in  a  riddle," 
and  to  connect  them  with  new  dialogue.  WTiether  this  condensed  version  under  a 
new  title  is  due  to  Gibber  himself,  I  am  unable  to  tell. 

Genest  says,  under  Drury  Lane,  January  7,  1729,  when  writing  of  the  first  per- 
formance of  Gibber's  "new  pastoral,"  "Love  in  a  riddle,"  on  that  day: 

"not  long  after,  formed  tne  best  scenes  of  'Love. in  a  riddle'  into  a  musical  enter- 
tainment— they  have  been  frequently  acted  as  'Damon  and  Phillida. '" 

The  British  Museum  has  the  work  in  the  Lopdon  1729  edition. 

ML  50.5.D17 
Second  copy  (perfect,  with,  front.).    Longe  26 

—  Damon  and  Phillida.  A  ballad  opera.  In  one  act.  By  Colley 
Cibber,  Esq. 

[241\-256  p.  W^.  {Collectionof  the  most  esteemed  farces  and  enter- 
tainments, t.  V,  Edinburgh,  1792.) 

Drury-Lane  cast.  Schatz  11753E 


348  LIBRARY  OF  CONGRESS 

Damon  and  Phillida.     Altered  from  Gibber  into  a  comic  opera. 
With  the  addition  of  new  son^s  and  chorusses.     As  it  is  performed  at 
the  Theatre  Royal  in  Drury-Lane. 
London,  T.  Lovmdes,  T.  Caslon  [etc]  1768.     1  p.  I,  34  p.     ^5^<="». 

One  act.  Cast,  in  which  Cymon  was  played  by  Charles  Dibdin,  who  is  not  men- 
tioned as  the  author  resp.  composer  responsible  for  this  new  version  of  "Damon  and 
Phillida."  Genest's  date  of  first  performance,  February  23,  1769,  is  contradicted  by 
the  title  page,  it  would  seem.  Longe  322 

The  Danaides;  or,  The  daughters  of  Danaus.  A  tragi-pantomime 
ballet. 

Noverre,  Jean  George,  Works,  Tr.  from  the  French,,  London,  1783, 
V.  3,  p.  1-28.     21^"^' 

Argument  and  detailed  description  of  the  nine  scenes.  GV  1787.N8 

Les  Danaides,  tragedie-lyrique,  en  cinq  actes,  representee  pour  la 
premiere  fois,  sur  le  Theatre  de  rAcademie-royale  de  musique,  le 
lundi  19  avril  1784  ..  . 

Paris,  P.  deLormel,  1784.     viii,  56  p.     ^3^"». 

Five  acts.  By  Du  RouUet  and  baron  von  Techudi,  who  are  not  mentioned.  On 
p.  iv,  the  note:  "La  mueique  est  de  MM.  le  chevalier  Gluck  &  Salieri."  Cast  and 
avertifisement,  which  reads,  in  part: 

"On  nous  a  communique  un  manuscrit  de  M.  de  Calzabiggi,  auteur  de  I'Orphee  & 
de  I'Alceste  italiens,  dont  nous  nous  sommes  beaucoup  aid^s.  Nous  avons  emprunt^ 
quelques  idees  du  ballet  des  Danaides  du  c^lfebre  M.  Noverre,  ce  modeme  rival  des 
Batilles  &  des  Pilades;  nons  y  avons  joint  les  ndtres,  &  du  tout  nous  avons  compost 
notre  plan. 

"Un  de  nos  amis,  que  sa  famille  nous  a  d^fendu  de  nommer,  a  bien  voulu,  pour 
acc^ldrer  I'ouvrage,  mettre  en  vers  une  partie  de  notre  composition,  &  ce  n'est  pas 
certain  ement  celle  dont  le  style  parattra  le  plus  n^glig^.  La  mort  vient  de  nous 
enlever  cet  excellent  homme  connu  par  plusieurs  ouvrages  en  prose  &  en  vers,  ^gale- 
ment  eetim^s." 

The  work  by  Calsabigi  alluded  to  is  supposed  to  have  been  his  "Ipermnestra  o  Le 
Danaidi."  Gluck's  name  as  joint-composer  was  merely  used  to  help  the  opera  to  a 
success.  After  twelve  performances  Gluck  notified  the  public  that  nis  collaboration 
had  consisted  merely  in  giving  his  former  pupil,  Salieri,  expert  advice. 

Cldment  and  Larousse  give  April  26,  1784,  as  the  date  of  first  performance.  So  does 
Schatz,  stating  that  the  date  of  April  19  in  the  libretto  and  in  the  score  is  an  error. 

ScHATZ  9285 

Le  Danaidi.     A.  T.  of  the  ballet  L'lpermestra. 

Le  Danaidi,  ballet.     See  Borghi's  La  morte  di  Semiramide. 

Le  Danaidi.  Draanma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  came  vale  dell'  anno  1795  .  .  . 

Milano,  Gio.  Batista  BiancM,  n.  d.     56  p.     16*^"^. 

Three  acts.  By  Gaetano  Sertor,  who  is  not  mentioned.  Impresario's  dedication, 
dated  Milan,  December  26,  1794,  argument,  cast,  scenario,  and  name  of  Angelo  Tarchi 
as  the  composer.  On  p.  r47}-56,  prefatory  note,  cast,  description,  but  not  name  of  the 
composer  of  the  music  or  Gaetano  Gioja's  "Cora,  o  La  vergine  del  sole,  ballo  eroico 
pantomimo  diviso  in  cinque  atti."  His  other  (comic)  ballet  was  "La  vindemmia  o  La 
contadina  impertinente.  Schatz  10217 

Die  dankbare  tochter.     A.  T.  of  Kuerzinger's  Julie. 

La  danse.  See  Fragments,  composes  .  .  .  de  I'acte  .  .  .  de  La 
danse. 


OPERA   LIBRETTOS  349 

D  Danubio  consolato.  Poemetto  drammatico  nel  giorno  del  glo- 
riosissimo  nome  della  Sac.  Ces.  R.  Maestk  di  Giuseppe  I.  augustissimo 
imperador  de'  Romani. 

Pietro  Antonio  Bemardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  123-136.     16^"^. 

The  composer,  Attilio  Ariosti,  is  not  mentioned . 

First  performed,  as  indicated,  March  19,  1707.  ML  49.A2B4 

La  danza. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  ii,  [455]-464.  p. 

IQcm 

One  act.  ML  49.A2M42 

—  L*,  danza.  Cantata  a  due  voci,  eseguita  la  prima  volte  alia  presenza 
de*  sovrani  da  una  dama,  e  da  un  cavaliere  ranno  1744,  con  musica 
del  Bonno. 

{385]-392  p.  26^.  (Pietro  Metastasio,  Opere,  t.  i,  Parigi,  vedova 
Herissant,  1780.) 

ML  49.A2M44 

La  danza  di  Diana. 

p.  105-141'  15Y^.  {Ottavio  TronsareUi,  Drammi  musicali,  Roma, 
Francesco  CorleUetti,  1632.) 

Ballet.    One  act.    No  composer  mentioned.  ML  49.A2T7 

Daphne  oder  Die  fruhlingsfeier  in  Arkadien.  See  Hensel's  Die 
geisterbeschwoerung. 

Daphne  and  Amintor.  A  comic  opera,  as  it  is  performed  at  the 
Theatre  Royal  in  Drury-Lane.     A  new  edition. 

London,  J.  Newhery,  W.  Griffin  [etc.],  1766.  front.,  1  p.  I.,  Hi, 
[4\-30  p.     lOY"^. 

One  act  with  prologue.  Cast  and  preface,  in  which  the  author,. Isaac  Bickerstaff 
(not  mentioned),  says  that  instead  of  utilizing  the  two  existing  English  translations 
of  St.  Foix'  "Oracle,"  he  thought  it  "juster  to  give  a  more  faulty  paraphrase  of  my 
own. 

"With  r^ard  to  the  music,  I  apprehend  it  must  please;  as  it  has  been  selected 
with  the  greatest  attention,  both  to  the  beauty  of  the  airs,  and  its  effect  upon  the" 
theatre.  There  are,  indeed,  some  people,  who  may  possibly  be  of  opinion,  that  I 
ought  to  have  chosen  old  English  and  Scotch  ballads;  or  got  music  composed  in  the 
same  taste.  But,  in  fact,  such  sort  of  compositions  scarce  deserve  the  name  of  music 
at  all;  at  least  they  can  have  little  or  no  merit  on  the  stage,  where  everything  ought 
to  be  supported  by  a  degree  of  action  and  character." 

A  pasticcio  made  up  from  music  by  Shalon,  Vento,  Cocchi,  Piccizmi,  Mon- 
signy.  Tuft's  statement  that  James  Hook  "wrote  some  of  the  music"  is  not  borne 
out  by  Squire's  Brit.  Mus.  catalogue,  which  merely  shows  that  later  on  interpola- 
tions by  Hook  were  used. 

First  performed,  as  indicated,  October  8,  1765.  Longe  26 

—  Daphne  and  Amintor.  A  comic  opera.  Altered  from  the 
Oracle  of  Monsieur  St.  Foix  and  Mrs.  Gibber.  By  Isaac  Bickerstaff, 
Esq. 

{367\-380  p.  19*^"*.  {Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  v,  Edinburgh,  1792.) 

Drury-Lane  cast.  Schatz  11753E 


350  LIBRARY   OF   CONGRESS 

Daphnis  and  Amaryllis:  a  pavstoral.  The  music  by  Mr.  Handel, 
and  other  eminent  masters  ...  * 

Exon,  Printed  hy  Andrew  Brice,  1766.     16  p.     W^"^. 

Two  acts.     The  text  is  the  same  as  of  James  Harris'  "The  spring."     Longe  293 

Daphnis  et  Alcimaduro,  pastouralo  toulouzeno  de  M.  de  Mondon- 
villo,  aceoiimoudadou  k  noste  patois  de  Mountpelli6,  per  estre  execu- 
tado  dins  nostro  Acadcmio   de  musiquo  lou  25   dou  mes  d'Aous 
d'aquesto  annado.     Nouvelle  Edition. 
Paris,  Didot,  1778.     27,  [1]  p.     20'^. 

Dedicatory  poem  and  Avis,  in  which  it  is  said  that  in  order  to  render  the  per- 
formance at  the  "Concert  de  cette  Ville"  easier  it  became  necessary  to  alter  the  text 
somewhat  on  account  of  the  great  difficulty  of  translating  the  patois  of  Toulouse  into 
that  of  Montpellier.  Where  the  translation  waa  impossible  without  interfering  with 
Mondon ville  s  music,  it  was  deemed  best  to  retain  the  words  in  the  patois  of  Toulouse. 
Text  and  music  by  Mondonville. 

First  performed  at  Fontainebleau,  October  29,  1754.  ML  50.2.D25M6 

Daphnis  et  Chloe. 

Libretto  of  first  act  and  outline  of  second  of  this  unfinished  opera  by  Jean  Jaques 
Rousseau,  text  by  Olivier  de  Corancez,  precedes  on  2  p.  1.  the  score  of  the  "Frag- 
mens  de  Daphnis  et  Chlo^,"  Paris,  Espru,  1779.  The  text  of  the  duo  "Dans  un 
nouveau  parentage  "  was  by  Rousseau,  who  has  told  us  that  he  composed  these  frag- 
ments 1775.  M  1500.R89 

Plan,  for  the  first  act  of  Daraxes.     An  opera:  of  two  acts  only. 

[1861-198  p.  21'^"'.  (Aaron  Hill,  Dramatic  worlcs,  London,  T. 
Lownds,  1760,  vol.  ii.) 

The  plan  for  both  acts  is  followed  by  the  complete  text  of  first  act  of  "Daraxes,  a 
pastoral  opera."  Longe  326 

Darby's  return. — A  comic  sketch.  As  performed  at  the  theatre  in 
this  city,  with  universal  applause  (Written  in  1789,  by  Mr.  William 
Dunlap).     Characters  [follows  cast]. 

For  this  one-act  libretto  see  the  New  York  magazine,  January,  1790,  p.  47-51. 
Dunlap  prescribes  that  as  an  introduction  "some  airs  from  the  Poor  Soldier"  be 
played.  I  do  not  know  who  arranged  the  music  for  this  potpourris  overture  and  of 
the  few  ballad  airs  used  in  the  sketch. 

First  performed,  as  indicated,  November  24,  1789.  AP  2.A2N5 

Dardanus,   trag^die  de  M'  Rameau,  represents  par  I'Acad^mie 
royale  de  musique,  avec  les  changemens  faits  par  Fauteur  en  1760. 
Paris,  Auxdepens  del' Academie,  1761.     27  p.     21'^'^. 

The  author,  Charles  Antoine  Le  Clerc  de  La  Brufere,  is  not  mentioned. 
First  performed  at  Paris,  Academic  royale  de  musique,  November  19,  1739. 

ML  50.2.D27R2 

Dardanus,  tragedie  en  quatre  actes;  representee  pour  la  premiere 
fois,  par  I'Academie  royale  de  musique,  le  mardi  30  novembre  1784. 

Paris,  P.  de  Lormel,  1784.     «,  4^  p.     23'='^. 

Four  acts.  Cast,  name  of  Sacchixu  as  the  composer  and  long  "avertissement" 
(p.  iii-vi)  in  which  Guillard  gives  at  length  his  reasons  for  the  changes  he  made  in  de 
La  Bruyfere's  "Dardanus"  of  1739  resp.  of  1744.  The  verses  which  he  added  are 
printed  throughout  with  quotation  marks.  This  preface  is  decidedly  of  interest  from 
a  dramatui^ic  standpoint. 

First  performed  at  Trianon,  before  the  King  on  September  18,  1784. 

SCHATZ  9217 


OPERA    LIBRETTOS  351 

Dardanus — Continued. 

—  Dardanus,    tragedie  en   trois   actes,   representee   devant  Leurs 
Majest^s  a  Fontainebleau,  le  20  octobre  1785;    et  a  Paris,  siir  le 
Theatre  de  FAcademie  royale  de  musique,  le  vendredi  13  Janvier 
1786. 
Paris,  P.  de  Lormel,  1786.     40  p.     ^4<=™. 

Cast.  On  p.  [2]  the  note:  "Le  poeme  est  de  la  Bruere  remis  au  th&itre  avec  les 
changemens,  par  M.  Guillard.     La  musique  est  de  M.  Sacchini." 

In  his  3-act  version,  too,  Guillard's  added  verses  are  printed  in  quotation.  The 
reduction  resulted  from  a  condensation  of  the  second  and  third  acts  into  one  act. 

ScHATz  9248 

II  Dario,  dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
alia  Cavallerizza  nella  fiera  di  Pascha  dell'  anno  MDCCLIII  in  Lipsia. 
n.  i.,  1753.     115  p.     17'^'^. 

Three  acte.  Author  not  mentioned  and  unknown  to  me.  German  text  faces 
Italian.  Argument,  cast,  scenario  and  note:  "La  musica  h  di  diversi  celebri  com- 
positori."  ML  50.2. D29 

Dario.  Dramma  da  rappresentarsi  nel  Regio  Teatro  di  Berlino  con 
musica  del  Sign.  Felice  Aiessandri  .  .  .  il  carnovale  dell'  anno  1791. 
Composto  con  balli,  pantomimi  e  insieme  analoghi  da  Antonio  de' 
Filistri. 

Berlino,  Haude  e  Spener,  n.  d.     167  p.     15^^^ 

German  title-page  "Darius"  and  text  face  Italian.  Three  acts.  Argument,  cast, 
and  scenario.  Schatz  144 

Dario.     L.  T.  of  Freschi's  L'incoronazione  di  Dario. 

Dario  in  Babilonia.  Dramma  per  musica  di  Francesco  Beverini, 
da  rappresentarsi  nel  Teatro  Vendramino  a  S.  Salvatore  I'anno 
1671  .  .  . 

Venetia,  Francesco  Nicolini,  1671.     76  p.     i-^<="*. 

Three  acts.  Author's  dedication  dated  Venice,  January  24, 1671,  argument,  notice 
to  reader,  and  scenario,  but  without  the  name  of  the  composer,  Giovanni  Antonio 
Boretti.  Schatz  1217 

»/Il  Dario  ravivato.     Drama  del  Sonnolento  Tassista.     Da  rappresen- 
tarsi in  musica  .  .  . 

Venetia,  Francesco  Batti,  1675.    front,  72  p.     ISY"^. 

Three  acts.  By  Giovanni  Antonio  Bonis.  Author's  dedication  dated  Venice, 
January  6,  1675,  notice  to  the  reader,  argument,  scenario.  Composers  not  mentioned, 
and  unknown  to  Schatz,  who  records  this  as  a  pasticcio.  Schatz  11318 

Darius.     Tr.  of  Alessandri's  Dario. 

Das  ist  er  ja  selbst.     Tr.  of  Paisiello's  Dal  finto  il  vero. 

Dasius  ein  junger  blutzeug  Jesu  Christi.  Ein  singspiel  in  zween 
choeren  [!]  Die  musikalischen  toene  zum  singspiele  hat  verfertigt 
herr  Michael  Demler,  componist  und  claviermeister  in  Augsburg. 

Gn  p.  [3-12]  of  "  Trebellius  koenig  der  Bulgarer  .  .  .  ein  trauerspiel  .  .  . 
aufgefuehrt  von  der  etudirenden  jugend  des  katholischen  schulhauses  zu  Augsbui^ 
bei  St.  Salvatorden  2.  3.  und6tenherb8tmondes[Sept.]1774,  Gedruckt  .  .  .  bey 
Joseph  Simon  Hueber    .     .     .  " 

With  cast.  On  p.  [5]  "in  zween  aufzuegen."  The  author  is  not  n^entioned  and 
is  unknown  to  Schatz.  Schatz  2504 


852  LIBRABY  OF  CONGRESS 

The  daughters  of  Danaus.     A.  T.  of  Noverre's  ballet  The  Danaides. 

A  day  at  Rome :  a  musical  entertainment,  in  two  acts.  As  it  was 
danmed  at  the  Theatre  Royal,  Covent-Garden,  on  Thm^day,  October 
11,  1798. 

London^  H.  D.  Symonds  and  G.  Cawthome,  1798.  vii,  [1],  S2  p. 
21"^, 

Cast  and  preface  by  the  author,  Charles  Smith,  of  date  James  Street,  Adelphi,  Octo- 
ber 20,  1798,  in  which  he  denies  that  Caleb  Whitefoord  wrote  any  of  the  text,  and 
asserts  that  the  text  is  correctly  printed  from  the  prompter's  book,  except  the  first  song 
in  the  second  act, 

"Where  the  original  is  restored,  in  lieu  of  a  substitute  written  at  the  request  of  one 
of  the  performers,  on  such  short  notice,  that  she  had  not  sufficient  time  to  commit  it 
to  her  memory." 

He  continues  by  saying: 

"It  was  not  till  towards  the  middle  of  the  piece  that  the  aukward  dress,  and  a 
deficiency  in  the  recitation  of  one  of  the  actors,  occasioned  marks  of  disapprobation; 
which  increased  so  as  to  preclude  the  possibility  of  hearing  even  the  elegant  and 
scientific  music  of  [Thomas]  Att-wood."  Longe  254 

De  gustibus  non  est  disputandum.     Dramma  di  tre  atti  per 
musica.     Rappresentato  in  Venezia  il  camovale  dell'  anno  MD(X)LIV. 
Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  88, 
[67]-125  p.     18^"^. 

PQ 

De  gustibus  non  est  disputandum.  Dramma  giocoso  per  musica. 
Da  rappresentarsi  nel  Teatro  Tron  di  S.  Cassiano  il  camovale  dell' 
anno  1754. 

Venezia,  Modesto  Fenzo,  1754.     59  p.     15^''^. 

Three  acts.  Cast,  scenario,  and  one  of  Carlo  Goldoni 's  (not  mentioned)  charming 
prefaces,  which  reads  in  part: 

"Lettor  carissimo,  se  uno  tu  sei  di  quegli,  a'  quali  abbia  io  protestato  di  non  volere 
quest'  anno,  e  forse  mai  piu  comporre  de'  eimili  drammi  buffi,  voglio  anche  com- 
municarti  la  ragione,  che  ad  astenermene  mi  obbligava,  ed  i  motivi,  che  mi  hanno 
fatto  dal  mio  proponimento  discendere.  II  dramma  serio  per  musica,  come  tu  saprai, 
fe  un  genere  di  teatrale  componimento  di  sua  natura  imperfetto,  non  potendosi  osser- 
vare  in  esso  veruna  di  quelle  regole,  che  sono  alia  tragedia  prescritte.  Molto  piu 
imperfetto  il  dramma  bufio  esser  dee  perch^  cercandosi  dagli  scnttori  di  tai  barzellette 
servire  piu  alia  musica,  che  a  sh  medesimi  e  fondando,  o  nel  ridicolo  o  nello  spettacolo 
la  eperanza  della  riuscita,  non  badano  seriamente  alia  condotta,  ai  caratteri,  all' 
intreccio,  alia  verity,  come  in  una  commedia  buona  dovrebbe  farsi.  Questa  4  poi 
la  ragione  per  cui  cotai  libretti,  che  si  dicono  buffi,  rarissime  volte  incontrano.  Io 
ne  ho  fatti  parecchi,  che  il  Tevemini  librajo  in  Merceria  alia  Providenza  ha  potuto 
Btampame  quattro  tometti  in  12.  Di  questi  alcuni  hanno  avuto  fortuna  grande, 
altri  mediocre,  ed  alcuni  altri  1'  hanno  sofferta  pessima,  e  questi  forse  saranno  i  men 
cattivi,  e  piii  regolati  de'  primi.  L'  esito  dipende  tal'  ora  dalla  musica,  per  Io  piii 
dagli  atton,  e  sovente  ancora  dalle  decorazioni.  II  popolo  decide  a  seconda  dell' 
esito,  se  1'  opera  h  a  terra,  il  libro  5  pessimo.  Se  6  un  poco  serio,  h  cattivo  perchfe 
non  fa  ridere;  se  b  troppo  ridicolo  h  cattivo  perch^  non  vi  6  nobilta  ..." 

Goldoni  does  not  mention  Giuseppe  Scarlatti  as  the  csmposer  of  this  "operetta" 
as  he  calls  it.  Schatz  9543 

The  dead  alive:  A  comic  opera.     In  two  acts.     As  it  is  performed 
at  the  theatres  in  London  and  Dublin.     By  Jolin  O'Keefe,  Esq. 
Dublin,  Sold  hy  the  hoolcsellers,  1783.     45  p.     16^"^. 

Cast.    The  composer,  Samuel  Arnold,  is  not  mentioned. 

First  performed  June  16,  1781,  as  indicated.  Longe  148 

—  The  dead  alive :  or,  The  double  funeral.  A  comic  opera.  In 
two  acts.    With  additions  and  alterations.     As  performed  by  the 


OPERA   LIBRETTOS  353 

The  dead  alive — Continued. 

Old  American  compan}"  in  New- York:  with  universal  applause.     By 

John  O'Keefe  .  .  .  with  an  account  of  the  author. 

New-York,  Printed  h/  Hodge,  Allen,  and  Campbell,  1789.  1  p.  I., 
iv,[7\-46p.     18^"^. 

Cast.     Composed  by  Samuel  Arnold,  who  is  not  mentioned. 

First  performed  June  16,  1781,  at  the  Haymarket,  London;  in  America,  as  indi- 
cated, September  24,  1789.  ML  50.6.D3 

The  death  of  captain  Faulknor;  or,  British  heroism.  An  opera' 
(in  one  act.)     As  performed  at  the  theatre  Koyal,  Co  vent-Garden. 

London,  Glindon  and  co.,  1795.     19  p.     20^^. 

Cast.    According  to  the  prefatory  note  of  date  London,  May  6,  1795: 

"The  dialogue  of  this  little  production,  first  brought  forward  at  Mrs.  Martyr's 
benefit,  was  purposely  written  to  introduce  songs,  for  the  most  part  selected  on  the 
occasion.  And  as  the  words  of  such  selected  son'gs  have  not  long  been  published  in 
the  operas  to  which  they  immediately  belong,  the  writer  of  the  present  trifle  does 
not  think  himself  at  liberty  here  to  insert  them.  The  words  of  the  new  songs,  there- 
fore, are  only  introduced." 

Author  not  known  to  Biog.  Dram.,  which  says  "not  printed  "!  Composer  unknown 
to  me.     First  performed  May  6,  1795  (Genest).  ML  50".2.D31 

Debora  e  Sisara.  Azione  sacra  per  musica  di  Carlo  Sernicola,  P.  A. 
Da  rappresentarsi  nel  Real  Teatro  di  S.  Carlo  nella  quaresima  dell' 
anno  1788  .  .  . 

Napoli,  Vincenzo  Flauto,  1788.     43  p.     19""^. 

Two  acts.  Impresario's  dedication  dated  Naples,  February  10,  1788,  argument, 
scenario,  cast,  and  name  of  Pietro  Guglielmi  as  the  composer.'  Schatz  1241 

—  Arsinoe  e  Breno.  Dramma  serio  per  musica  da  rappresentarsi 
nel  Nuovo  Teatro  della  nobiliss.  Accademia  Intronata  di  Siena  1' 
estate  dell'  anno  1790. 

Siena,  Pazzini  Carli,  n.  d.     40  p.     17^^™. 

Two  acts.  Argument  and  cast.  Comparison  proves  that  Semicola's  text  of 
"Debora  e  Sisara,  azione  sacra  "  was  simply,  more  or  less,  secularized  into  a  "dramma 
eerio  "  by  an  unknown  author.  For  instance,  whereas  the  words  of  the  finale  quartett 
of  the  first  act  "Rabbia,  furor,  dispetto"  were  retained,  the  original  finale  tutti  of 
the  second  act  "Tolse  il  ciel  le  nostre  pene"  has  become  "Con  noi  cantino  le  sfere." 
Both  operas  begin  "Ah!  qual  viltade  6  questa,"  but  after  that  their  texts  disagree 
very  much  oftener  than  not.    The  composer,  Pietro  Guglielmi,  is  not  mentioned. 

A  footnote  on  p.  6  says  that  the  title  of  the  first  ballet  by  Giacomo  Gentili  would 
be  "La  felicitk  nata  dalle  eventure"  and  of  the  second  "II  bottaro."  The  com- 
posers of  the  music  are  not  mentioned.  Schatz  4315 

Decio  sacrificato  alia  patria.     See  M.  Curzio. 

Decius  and  Paulina,  masque.     See  The  lady's  triumph. 

La  Deidamia.  Poema  di*ammatico  di  Scipione  Herrico.  Da  rap- 
presentarsi nel  Teatro  Novissimo  nell'  anno  1644  .  .  . 

Venetia,  Matteo  Leni  e  Giovanni  Vecellio,  1644-     106  p.     14*^^' 
Three  acts  with  prologue.    The  author's  dedication  is  dated  January  5,  1644.    The 
compo.«er,  Pietro  Francesco  Cavalli,  is  not  mentioned.  Schatz  1745 

La  Delia  o  sia  La  sera  sposa  del  sole.  Poema  dramatic©  di  Giulio 
Strozzi. 

Venetia,  Gio.  Pietro  Pinelli,  1639.     80  p.     13'="'. 

Three  acta.  Author's  dedication  dated  Venice,  January  20,  1639,  argument, 
allegoria,  and  notice  to  the  reader  which  reads  in  part : 

722."^1''— vol.  1—14 23 


354  LIBRARY   OF   CONGRESS 

La  Delia — Cotitinued. 

"La  musica  e  sorella  di  quella  poeeia,  che  vuole  aesorellarei  seco,  ma,  qiiando  non 
b'  intendono  bene  tra  di  loro,  non  sono  ne  attenenti,  ne  amiche. 

"II  canto,  che  raddolcisce  gli  animi,  riesce  in  due  maniere  im'  abborita  cantilena, 
6  quSdo  8'  hk  da  gir  dietro  alle  chimere  del  poeta,  6  quando  dileguandosi  la  parola,  6 
la  finale  d'  al  cuna  voce  nell'  ampiezza  de'  teatri,  emarriscono  gli  uditori  il  filo  de  gli 
ammaesati  concetti.  .  .  ,  Per  questo  io  son  ricorso  alia  stampa,  acci6  ch'  ella  sia  la 
contracifra  di  que'  musici,  che  cantano  talhora  piii  volontieri  k  loro  medeeimi,  ch'  agli 
ascoltanti  ... 

At  the  end  of  the  libretto  a  note  informs  us  that  more  than  three  hundred  verses 
were  dropped  in  the  performances  of  the  opera.  The  composer,  Francesco  Paolo 
Sacrati,  is  not  mentioned.  Schatz  9256 

Le  delire  ou  Les  suites  d'une  erreur,  comedie  en  un  acte,  en  prose 
m§16e  d'ariettes,  representee  pour  la  premiere  fois  le  16  frimaire,  sur 
le  Theatre  de  FOp^ra  comique  national,  an  8.     Paroles  du  citoyen 
R.  St.-Cir,  musique  du  citoyen  Berton. 
Paris,  Du  Pont,  an  VI I.     [1 798-99]  1  p.l.,  46  p.  {inch,  front. )     ^0«=™. 

Text  followed  by  4  imnumb.  pages  of  a  book-list  by  Martinet,  which  originally  can 
not  have  been  issued  in  this  form  with  the  libretto,  since  one  of  the  books  is  dated  1806. 
First  performed  December  6,  1799,  as  indicated.  ML  50.2.D35B2 

II  delirio  comune,  per  la  incostanza  de'  genii.  Drama  per 
musica  da  recitarsi  nel  Teatro  Grimani  in  S.  Gio.  Grisostomo,  di 
Matteo  Noris  I'anno  MDCCI  .  .  . 

Venezia,  Niccolini,  1701.     70,  [1]^.  {incl.  front.)     l^""^. 

The  additional  p.  contains  lines  omitted  by  the  printer  in  II,  10.  Three  acta. 
Notice  to  the  reader  and  scenario.  Carlo  Francesco  Pollaroli,  the  composer,  is  not 
mentioned. 

First  performed  fall  of  1700,  at  the  theatre  mentioned,  according  to  Schatz. 

Schatz  8280 

Delmita  e  Daliso.     O.  T.  of  Salieri's  Daliso  e  Delmita. 

II  Demetrio. 

[149]-225  p.  19'^^K  (Pietro  Metasta^o,  Opere  drammatiche,  Vene- 
zia, Giuseppe  BettineUi,  1733-37,  t.  i.) 

Three  acts  and  licenza.    Argument,    No  comp>oeer  is  mentioned.    ML  49.A2M4 

—  Demetrio. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  T,  [205]-319  p. 

Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Demetrio.  Rappresentato  con  musica  del  Caldara  la  prima  volta 
in  Vienna,  nell'  interno  gran  teatro  della  Cesarea  corte  alia  presenza 
de'  sovrani,  il  di  4  novembre  1731,  per  festeggiare  il  nome  dell* 
imperator  Carlo  VI  .  .  . 

J)l.,    [213]-S34.     26'='''.     (.Pietro    Metastasio,    Opere,    t.    1,    Parigi 
ova  Herissant,  1780.) 
Three  acts  and  licenza.     Argument.  ML  49.A2M44 

B  Dem.etrio.     Dramma  per  musica  del  Sig.  Pietro  Metastasio  da 
rappresentarsi  in  Livomo  nel  Nuovo  Teatro  dagli  Armeni.     L'au- 
tunno  deir  anno  1785  .  .  . 
Livomo,  Antonio  Larni  e  corap.,  n.  d.     62  p.     14i'^"'- 


OPERA   LIBRETTOS  355 

II  Demetrio — Continued. 

Two  acts.    Argument,  cast,  scenario,  and  impresario's  prefatory  note,  in  which  he 


"si  e  dovuto  mutilare  forse  troppo  quest'  opera,  e  defraudarla  di  gran  parte  delle 
sue  bellezze.  II  togliere  tutti  a  un  tratto  gl'inconvenienti,  e  gli  abusi  introdotti  nelli 
spettacoli  teatrali  sarebbe  cosa  troppo  pericolosa  ad  un  impresario.  Dal  canto  mio 
vorrei  veder  tomare  quei  tempi  in  cm  il  buon  sense,  il  buon  gusto,  e  la  propriety  preva- 
levano  al  gran  spettacolo:  vorrei  che  un  drama  di  celebre  autore  facesse  gustare  tutt'  i 
meriti  suoi,  e  che  ima  rappresentazione  non  si  riduceese  ad  una  Accademia  di  canto, 
come  pare  che  ammano  ammano  vada  a  ridursi:  vorrei  che  la  dansa  si  limitasse  nella 
dansa  medesima.  Ma  epetta  ad  un  pubblico,  non  a  me,  a  correggere  gli  abusi,  col  dar 
moto  ad  una  riforma  degna  d'un  secolo  illuminato." 

Composer  not  mentioned,  and  unknown  to  Schatz.  As  third  ballet  was  given, 
composer  of  the  music  not  mentioned,  Domenico  Ricciardi's  "II  barbier  di  Siviglia." 

Schatz  11319 

Demetrio.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  di  Corte  .  .  .  nel  camevale  dell'  anno  MDCCLXXII.     La 

goesia  e  dell'  Sig.  abbate  Pietro  Metastasio  ...     La  musica  e  dell' 
ig.  Andrea  de  Bemasconi  .  .  . 
Monaco,  Francesco  Gioseppe  TJiuiUe,  n.  d.     147,  [39]  p.     15^'^- 

Three  acts.  Argument,  cast,  and  scenario.  German  title-page  "Demetrio,"  and 
text  face  Italian .  The  unnumb .  p .  contain  cast  and  description  of  the  ballets, ' '  Medee 
et  Jason,  ballet  tragique  .  .  .  par  le  Sieur  Trancart "  ("Medea  und  Jason ")  and  "Lea 
fdtes  ou  Jalousies  du  serial,  ballet  tragi-comique  .  .  .  par  le  Sieur.  Trancart  ..." 
("Daa  Festin,  oder  Die  eifersucht  der  frauenzimmer  des  tuerkischen  kaisers ").  The 
composer  of  the  music  is  not  mentioned. 

First  performed  at  Munich  in  Januarj%  1772.  Schatz  857 

II  Demetrio,  dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1780. 
Venezia,  Modesto  Fenzo,  1780.     45  p.     H'^'^. 

Two  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  the  composer, 
Francesco  Bianchi.  On  p.  [21]-30,  cast  and  full  description  of  ' '  Le  congiure  del  duca 
di  Guiea,  ballo  eroi-tragico  in  quattro  atti,"  by  Domenico  Ricciardi,  the  composer  of 
the  music  not  being  mentioned. 

First  performed  in  January,  1780,  as  indicated.  Schatz  1008 

Dem.etrio.  Drama  per  musica  di  Pietro  Metastasio  .  .  .  Da 
rappresentarsi  neL  Teatro  delle  Dame  nel  camevale  dell'  anno 
IVIDCCXXXII  .  .  . 

[Roma],  Pasquino,  n,  d.     81  p.     IS*^^.    ' 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of  Gio- 
vanni Antonio  Giai  as  the  composer.  Schatz  3816 

Dem.etrio.  Dramma  per  mUsica  da  rappresentarsi  nel  Teatro  Gri- 
mani  di  San  Samuele  per  la  fiera  dell'  Ascensione  dell'  anno  1742  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     4^  V'     i4Y^- 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication  dated  May  1, 
1742,  argument,  cast,  scenario,  and  name  of  Gluck  as  the  composer. 

First  performed,  as  indicated.  May,  1742.  Schatz  3929 

II  Demetrio.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascensione  dell'  amio 
MDCCLXXV. 

Venezia,  Modesto  Fenzo,  n.  d.     66  p,     17'^K 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario 
and  name  of  Pietro  GugUelmi  as  the  composer.  On  p.  [25}-42  cast,  ar^ment  and 
description  of  Giuseppe  Canziani's  "Ines  di  Castro,  ballo  tragico  in  cinque  atti." 
The  composer  of  the  mu.^ic  is  not  mentioned. 

First  performed,  as  indicated.  May  24,  1775.  Schatz  4310 


356  LIBRARY   OF   CONGRESS 

II  Demetrio.  Dramma  per  musica  da  rappresentarsi  nel  famosis- 
simo  Tfeatro  Grimani  di  S.  Gio.  Grisostomo  nel  camevale  dell'  anno 
MDCCXXXII  .  .  . 

Venezia,  Marino  Rossetii,  17S2.     72  p.     i^^*^™- 

Attached  to  this  copy  are  5  p.  of  arias  in  ms.  which  possibly  were  intended  as 
substitutes.  Three  acts.  By  Metastasio.  Dedication,  argument,  cast,  scenario, 
and  name  of  Johann  Adolph  Hasse  as  the  composer.  Schatz  4532 

—  II  Demetrio,  dramma  per  musica  rappresentato  alia  regia  elet- 
toral  corte  di  Dresda  il  carnovale  dell'  anno  MDCCXL. 

n.  i.,  n.  d.     (double)  HI  p.     16'="'. 

Three  acts.  Argument,  cast  and  names  of  Metastasio  as  author,  of  Joh.  Ad.  Hasse 
as  composer.  German  title  page,  "Demetrius  .  .  .  Dresden,  gedruckt  .  .  .  bey  der 
verw.  .  .  .  Stoesselin  "  and  text  face  the  Italian,  which  is  not  quite  the  same  as  in 
the  Venice,  1732,  edition.  For  instance,  in  I,  7,  the  chorus,  "Ogni  Nume,  ed  ogni 
Diva"  precedes  the  dialogue,  "Dal  tuo  labbro  o  Regina,"  with  which  the  1732  ed. 
begins,  and  the  aria  in  I,  8,  is  now  "Se  libera  non  sono"  instead  of  "Se  non  posso 
su  quel  trono."    Schatz  and  Mennicke  call  this  Basse's  second  version. 

First  performed,  as  indicated,  February  8,  1740.  Schatz  4533 

—  Demetrio.  Drama  per  musica  da  rappresentarsi  nel  Regie  Teatro 
di  Torino  nel  carnovale  del  1748  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  e  jigliuolo,  n.  d.     4  V-  ^v  ^^  V- 

Three  acts.  Argument,  scenario,  cast  and  names  of  Jon.  Ad.  Hasse  as  composer 
of  the  opera,  of  Alessio  Rasetti  as  composer  of  the  ballets.  The  text  is  not  quite  the 
same  as  in  the  original  Dresden,  1740,  edition  for  Basse's  second  "Demetrio"  ver- 
sion. For  instance,  the  aria,  "Fra  tanti  pensieri  Di  regno,  e  d'amore"  (I,  3)  has 
become  "Fra  il  tumulto  de'  pensieri  Dell'  impero  e  del  mio  affetto;"  "Ogm  procella 
infida"  (I,  5)  has  been  replaced  by  "Chi  non  sa,  che  gran  conforto,"  and  the  aria, 
"Pensa,  che  sei  crudele"  has  been  dropped  from  III,  2,  and  "Quel  labbro  adorato" 
from  III,  4.  Schatz  4585 

II  Dem.etrio.  Dramma  per  musica  da  rappresentarsi  alia  Corte 
elettorale  Palatina  il  giorno  del  nome  del  Serenissimo  elettore  .  .  . 
I'anno  MDCCLIII. 

Mannheim,  Niccolo  Pierron,  n.  d.     S  p.  I.,  103  p.     15\'=™'. 

Three  acts.  Argument,  cast  and  names  of  Metastasio  as  author,  of  Niccol6  Jom- 
melli  as  composer. 

First  performed,  as  indicated,  November  4,  1753;  at  Parma,  Teatro  Ducale,  car- 
nival, 1750,  as  "Demetrio,  re  di  Siria."  Schatz  4850 

—  Demetrius.  Ein  musicalisches  schau-spiel  welches  an  dem  glor- 
reiclien  nahmens-tag  Iliro  Churfuerstl.  Durchleucht  zu  Pfaltz  .  .  . 
aufgefuehret  worden,  im  jahr  1753. 

Mannheim,  Nicolaus  Pierron,  n.  d.     3  p.  I.,  Ill  p.     16'='"\ 

Three  acts.  Argument,  cast,  and  names  of  Metastasio  and  Jonunelli.  German 
translation  for  the  above  performances.  Schatz  4851 

II  Dem.etrio.  Drama  per  musica.  Di  Giacomo  dall'  Angelo.  Da 
rappresentarsi  nel  Teatro  di  S.  Moise  I'anno  1666  .  .  . 

Venetia,  Francesco  Nicolini,  1666.    7  p.  I.  (incl.  front),  94  p.    l^Y^- 
Three  acts.    Author's  dedication  dated-  Venice,  January  1,  1666,  notice  to  the 
reader  with  name  of  Carlo  Pallavicino  as  the  composer,  argument  and  scenario. 

Schatz  7735 


OPERA   LIBRETTOS  357 

II  Demetrio.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nella  Fiera  dell'  Ascensione  dell'  anno  1768. 
Venezia,  Modesto  Fenzo,  1768.     Jfi  p.     17'''^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Ailment,  cast,  scenario 
and  name  of  Antonio  Gaetano  Pampani  as  the  composer.  Schatz  7761 

Demetrio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Samuelle  per  la  fiera  dell'  Ascensione  dell'  anno  MDCCLI. 

Venezia,  In  Merceria,  1751.     4^,  [1]  p.     15*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  Bcenario 
and  name  of  David  Perez  as  the  composer.  On  the  additional  p.  the  additional 
arias:  "Gi^  della  morte  il  gelo"  and  "Crude  etelle  piii  serene."  Schatz  7876 

Demetrio.     See  Pescetti's  Demetrius. 

Demetrio.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  came  vale  del  1762  .   .  . 

Torino,  Gaspare  Bayno,  n.  d.     viii,  67  p.     16Y'"K 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario 
and  names  of  Giuseppe  Ponzo  (on  a  printed  slip)  as  composer  of  the  opera,  of  Giuseppe 
Antonio  Le-Meesier  of  the  three  ballets  which  have  only  general  titles  like  "Di 
pastori,  giardinieri  e  pastorelle." 

First  performed  December  26,  1761,  as  indicated.  Schatz  8354 


Demetrio.     Drama  per  musica. — Demetrius  .  .  . 

Hamburg,  Spiering,  1744-     HI  p-     19*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Scenario,  cast,  argument,  and 
name  of  Paolo  Scalabrini  as  composer  "a  risserva  di  alcune  arie  di  diversi  autori.". 
German  text  faces  Italian. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  November  4,  1744. 

Schatz  9516 

Demetrio.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
in  Padova  per  la  solita  fiera  di  giugno  1752  .  .  . 

Padova,  Stamperia  Conzatti,  1752.     69  p.     17^"^- 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication,  argument,  cast, 
scenario,  and  name  of  Giuseppe  Scarlatti  as  the  composer.  Schatz  9544 

Demetrio.  Drama  per  musica,  del  Signor  abb.  Pietro  Metastasio 
...  da  rappresentarsi  in  Lisbona  nel  Teatro  Novo  alia  rua  dos  Condes 
I'anno  1739  ..  . 

Bologna,  Giuseppe  le  Longi,  1739.     4  p.  ?.,  151  p.     16^"^. 

Three  acts.  Portuguese  t.-p.  and  text  face  Italian.  Argument,  cast,  Bcenario. 
Gaetano  Maria  Schiassi,  the  composer  is  not  mentioned. 

First  performed  at  Milan,  Regio  Ducal  Teatro,  August  28,  1732.    ML  50.2.D37S3 

II  Dem.etrio.     Dramma  per  musica  del  Sig^  abbate  Metastasio.     Da 
rappresentarsi  nel  Teatro  dell'  illustrissima  cittk  di  Lodi  il  camevale 
delr  anno  1764  ..  . 
Lodi,  Gli  eredi  di  Nicola  TrabaMi,  n.  d.     6  p.  I.,  48  p.     15*'"*. 

Three  acts.  Dedication,  cast,  scenario,  and  name  of  "maestro  Vagenzail,  "  Georg 
Christoph  Wagenseil,  as  composer. 

First  performed,  according  to  Schatz,  at  Florence,  Teatro  via  della  Pei^ola,  Decem- 
ber 26,  1746.  ML  48.A5    v.  10 


358  LIBRARY   OF   CONGRESS 

Demetrio  a  Rodi.     Festa  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  per  le  nozze  delle  LL.  AA.  KK.  Vittorio  Emauuele 
.  .  .  e  Maria  Teresa  .  .  .  I'aimo  MDCCLXXXIX. 
Torino,  Onorato  Derossi,  n.  d.     viii,  48  y.     16"^^ 

Two  acts.  Argument,  cast,  and  names  of  Giandomenico  Boggio  as  the  author,  of 
Gaetano  Pugnani  as  the  composer  of  the  opera,  and  of  Vittorio  Amedeo  Cauavasso  as 
the  composer  of  the  music  of  Giuseppe  Banti's  four  act  "II  trionfo  improvviso,  ballo 
pantomimo,"  which  is  described,  with  cast,  on  p.  44-48.  Schatz  8503 

Demetrio  e  Tolomeo.     Drama  per  musica.     Da  rappresentarsi  nel 
Teatro  di  S.  Angelo  I'autunno  dell'  anno  1702  .  .  . 
Venezia,  Marino  Rossetti,  1702.     60  p.     15'''^. 

Three  acts.  Dedication  dated  Venice,  November  16,  1702,  and  signed  by  the 
author,  Antonio  Marchi,  argument,  scenario,  and  notice  to  the  reader,  with  name  of 
Antonio  Polaxoli  (Pollaroli)  as  the  composer.  Schatz  8258 

Demetrio  in  Athene.     A.  T.  of  Wilderer's  II  giorno  di  salute. 

II  Demetrio  re  della  Siria.     Drama  per  musica  .  .  .     Demetrius, 
Koenig  in  SjTien  in  einer  opera  vorgestellet  auf  dem  grossen  Braun- 
schweigigen  Tlieatro  in  der  winter-messe  anno  1734. 
Wolfenhuettel  C.  Bartsch,  n.  d.     Unpaged.     IS*^. 

By  Metastasio  (not  mentioned).  Three  acts.  Argument,  scenario,  and  name  of 
the  composer,  Antonio  Caldara.    German  text  faces  Itahan. 

First  performed  at  Vienna,  Hoftheater,  November  4,  1731.  Schatz  1480 

Dem.etrio,  re  di  Siria.     O.  T.  of  Jommelli's  Demetrio. 

Demietrio  tiranno.  Drama  rappresentato  nel  nuovo  Teatro  di 
Piacenza  .  .  .  Poesia  d'Aurelio  Aureli  .  .  .  e  musica  di  D.  Ber- 
nardo Sabadini  .  .  . 

Parma,  Stampa  di  corte,  1694-     71  p.     iJ^"™. 

Three  acts.     Dedication,  argument,  cast,  scenario.  Schatz  9193 

Dem.etrius.     Tr.  of  Bernasconi's  Demetrio. 

Demetrius.     Tr.  of  Hasse's  Demetrio. 

Demetrius.  An  opera.  As  perform'd  at  the  Theatre  Royal  in  the 
Hay-Market.     Composed  by  John  Baptist  Pescetti. 

London,  J.  Chnchle]/^J737.     61  p.     17"''. 

Three  acts.  English  text  faces  Italian.  By  Metastasio,  who  is  not  mentioned. 
Dedication  signed  by  Angelo  Cori,  argument,  and  cast. 

First  performed,  as  indicated,  February  12/23,  1737.  Schatz  7964 

Demetrius.     Tr.  of  Scalabrini's  Demetrio. 

Dem.etrius  in  Athen.     A.  T.  of  Wilderer's  Der  tag  des  heyls. 

Democrit  der  zweyte.     Tr.  of  Dittersdorf's  Democrito  corretto. 

Democrito.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 

S.  A.  S.  di  Carignano. 

Torino,  Francesco  Antonio  Gattinara,  1718.     2  p.  I.,  75  p.     Ij^Y^- 
Three  acta.    Author  not  mentioned,  and  unknown  to  Schatz.    Argument,  scenario, 

and  name  of  Carlo  Francesco  Gasparini  as  the  composer.  Schatz  3563 


OPERA   LIBRETTOS  369 

Democrito  corretto.     Opera  giocosa  in  due  atti. 

Composed  by  Dittersdorf,  and  first  performed  at  Vienna  Jan.  27,  1787. 
Not  in  L.  of  C. 

—  Gesaenge  aus  dam  singsjiiele:  Democrit  der  zweyte,  in  zwey 
aufzuegen,  nach  dem  italienischen.  Die  ihusik  ist  von  Ditters  von 
Dittersdorf. 

Hamburg  J  Jdhann  Matthias  Michaelsen,  179  L     Ifi  y.     17^. 
Translator  unknown  to  Schatz;  not  identical  with  Schmieder's  version. 
First  performed  at  Hamburg,  Theater  beim  Gaenaemarkt,  July  27,  1791. 

Schatz  2588 

II  Demofonte.  Drama  per  musica  di  Francesco  Beverini  Luc- 
chese  .  .  . 

Eoma,  Moneta,  1669.     5  p.  l,  96  p.     IS""^. 

Three  acts.  Author's  dedication,  dated  Rome,  June  23, 1669,  and  Antefatto.  Com- 
poser not  mentioned.  ML  50.2.D38 

Demofonte.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Vendramin  di  San  Salvatore  la  prossima  fiera  dell'  Ascensione  dell' 
anno  1754, 

Venezia,  Modesto  Fenzo,  1754.     47  p.     i^"™. 

Three  acts.  By  Metastasio.  Cast,  scenario,  and  name  of  the  composer,  Giovachino 
Cocchi.  Schatz  2042 

II  Demofoonte. 

{32S]-392  p.  19'^'^.  (Pietro  Metastasio,  Opere  drammaticJie,  Vene- 
zia,  Giuseppe  BettineUi,  1733-37,  v.  2.) 

Three  acts  and  licenza.    Argument.    No  composer  mentioned.        ML  49.A2M4 

—  Demofooiite. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  Hi,  [357^-463  p. 

Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Demofoonte.  Rappresentato  con  musica  del  Caldara  la  prima 
volta  in  Vienna  nell'  mtemo  gran  Teatro  della  Cesarea  Corte,  .  .  . 
11  di  4  novembre  1733,  per  festeggiare  il  Home  dell'  imperator  Carlo 

pi.,  [151]-262  p.  26"'^.  (Pietro  Metastasio,  Opere,  t.  4,  Parigi, 
vedova  Herissant,  1780.) 

Three  acts  and  licenza.    Argximent.  ML  49.A2M44 

—  Demophon. 

Metastasio,  Tragedies-opera,  Vienne,  1751,  t.  iv,  p.  [21]-144'     14*^* 
Three  acts.    Richelet's  translation  of  "Demofoonte."  ML  49.A2M47 

Demofoonte.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  da 

S.  Agostino  la  primavera  aell'  anno  1774  .  .  . 
Geneva,  Stamperia  Gesiniana,  n.  d.    6  p.  I.,  56  p.     14Y^- 
Three  acts.    By  Metastasio.     Impresario's  dedication,  argument,  cast,  and  sce^ 

nario.     "La  musica  h  in  parte  del  celebre  maestro  Sig.  Pasquale  Anfossi,  e  parte  di 

varj.  altri  celebri  autori.'* 

The  ballets,  by  Vincenzo  Galleotti,  composer  of  the  music  not  mentioned,  were 

entitled:  "La  dolce  vendetta"  and  "La  caccia  d' Enrico  Quarto."         Schatz  274 


360  LIBBARY   OF   CONGRESS 

Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
teatro  di  corte  .  .  .  nel  came  vale  dell'  anno  MDCCLXVI.  La  poesia 
h  dell'  Sig.  abbate  Pietro  Metastasio  ...  La  musica  e  del  Sig. 
Andrea  de  Bernasconi  .  .  . 

Monaco,  Francesco  Gioseppe  ThuiUe,  n.  d.  12  p.  I.,  167,  [19]  p. 
14'='". 

Three  acts.  Argument,  cast,  and  scenario.  German  title-page  ' '  Demophoon, ' '  and 
text  face  Italian.  The  unnumb.  p.  contain  cast  and  description  of  the  anonymous 
ballets  "Les  amours  d'Arion  &  de  L^ucosie"  ("Die  lieb  dee  Arion  gegen  die  Leu- 
cosie")  and  "L'assemble^  des  dieux  pour  le  manage  d'Alcide  &  d'Hebe." 

SCHATZ  864 

Demofoonte,  a  serious  opera;  as  performed  at  the  King's  Theatre, 
in  the  Hay-Market.  The  poetry  by  Metastasio,  the  most  part  of  the 
music  by  Signor  Ferdinando  Bertoni. 

London,  G.  Bigg,  1778.     51  p.     20^"^. 

Three  acts.    Argument,  cast,  Italian  and  English  text.  Schatz  911 

Demofoonte.     See  Duni's  Demophontes,  king  of  Thrace. 

Demofoonte,  dramma  per  musica  da  rappresentarsi  nel  Regio  Ducal 
Teatro  di  Milano,  nel  camovale  dell'  anno  1759  .  .  . 

Milano,  Giuseppe  RicJiino  Malatesto,  n.  d.     ^5  p.     14V"^- 
Three  acts.     By  Metastasio.     Dedication,  argument,  scenario,  cast,  and  name  of 
the  composer,  Antonio  Ferradini. 

First  performed,  as  indicated,  December  26,  1758.  Schatz  3063 

II  Demofoonte.     Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  in  Padova  per  la  solita  fiera  di  giugno  1758  .  .  . 
Padova,  Conzatti,  1758.     62  p.     18<'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  and  name  of  Galuppi  as  composer. 

First  performed  at  Madrid,  R.  Colisco  del  Buen  Retu-o,  December  18, 1749. 

Schatz  3484 

Demofoonte.     See  Graun's  Demofoonte,  re  di  Tracia. 

Demofoonte.     Dramma  per  musica,  da  rappresentarsi  nel  Regio 
Teatro  alia  corte  di  Dresda  nel  came  vale  dell'  anno  MD(X!XLVIII. 
La  poesia  e  del  celebre  Sigr.  abbate  Pietro  Metastasio  ...     Fu  posto 
in  musica  dal  Sigr.  Gio.  Adolf o  Hasse  .  .  . 
n.  i.,  n.  d.     7  p.  l,  203  p.     16^"^. 

Three  acts.  Argument,  scenario,  cast.  German  title  page,  "Demophoon,"  and 
text  face  Italian. 

First  performed,  as  indicated,  February  9,  1748.  Schatz  4534 

—  Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  di  Grimani  di  S.  Gio.  Grisostomo,  il  camovale  dell' 
anno  1749  .  .  . 


icm 


Venezia,  AW  in^egnu  deUa  scienza,  1749.     60  p.     16*^ 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Johann  Adolph  Hasse  as  the  composer.  A  leaf  inserted  between  p.  8-9 
contains  the  aria  (I,  12)  "Padre  perdona,  oh  pene, "  changed  from  "Deh  perdona,  o 
padre  amato."  The  text  is  not  quite  the  same  as  in  the  original  Dresden,  1748,  edi- 
tion. For  instance,  the  aria  "Del  cielo  edegnato"  (I,  4)  has  replaced  "Sperai  vicino 
il  lido"  and  "Ah  che  ne  mal  verace"  (III,  3)  has  been  replaced  by  "Non  si  d^  fra 
Tumane  vicende."     "T'intendo  ingrata"  (I,  5)  has  been  retained.       Schatz  4582 


OPERA   LIBRETTOS  361 

Demofoonte — Continued. 

—  II  Demofoonte.  Dramma  per  musica  del  Signer  abbate  Pietro 
Metastasio  ...  da  rappresentarsi  nel  Teatro  della  cittk  Valletta  in 
Malta  nell'  autmmo  di  quest^  anno  MDCCLXV. 

Malta,  Capaci,  n.  d.     48  p.     14^''"'. 

Three  acts.  Impresario's  dedication  dated  Malta,  July  15,  1765,  and  name  of 
Johann  Adolph  Hasse  as  the  composer.  The  text  is  somewhat  different  from  the 
Dresda,  1748,  edition.  For  instance,  the  aria  "T'intendo,  ingrata"  has  been  dropped 
from  I,  5,  and  "Ah  che  nel  mal  verace"  from  III,  3.  This  second  version  01  the 
opera  (Schatz  and  Mennicke)  was  first  performed  at  Naples,  Teatro  di  San  Carlo, 
November  4,  1758.  Schatz  4574 

Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Obizzi  in  Padova  in  occasione  della  Fiera  [June]  dell'  anno 
MDCCXLIII. 

Padova,  Giovamhatista  Conzatti,  n.  d.     72  p.     17 Y^- 

Three  acts.  Argument,  scenario,  cast,  name  of  Niccolo  Jommelli  as  composer 
("La  musica  sar^")  and  notice  to  the  reader  which  begins: 

"Questo  h  il  quinto  anno  che  s'apre  di  primavera,  con  qualche  grido,  questo  teatro, 
ed  altretanti  sono  i  drammi  in  musica  che  vi  si  eono  fatti  rappresentare  del  celebre 
Sig.  abate  Metastasio  con  solo  displacere  di  doverli  per  comodo  della  stagione  abbre- 
viare,  che  per6  in  questo,  come  negl'  altri,  nel  dichiararsi  chi  vi  ha  mesto  mano  che 
lo  ha  fatto  senza  pregiudizio  alia  somma  stima  che  nutre  per  un  tanto  virtuoso,  rimette 
il  lettore  a  leggeme,  e  ammirame  il  vero  originate  nelle  opere  stampate  del  mede- 
suno  .  .  ." 

This  was  done,  and  it  was  found  that  indeed  Metastasio's  text  was  slightly  short- 
ened. For  instance,  in  the  dialogue  of  I,  5  (with  aria  "T'intendo  ingrata")  in 
Creusa's  monolo^e  the  lines  "Dove  and6  quel  sereno,"  etc.,  were  dropped,  as  were 
the  arias  "Tu  sal  chi  son"  (II,  1),  "E'soccorso  d'incognita  mano"  (II,  4),  "Ah  che 
ne  mal  verace"  (III,  3)  and  the  entire  scene  III,  9  "Dove,  crudel,  dove  mi  guidi." 

Otherwise  Metastasio  was  not  tampered  with,  since  only  the  aria  in  I,  13  "Se 
ardire,  e  eperanza"  was  replaced  by  "Temo  in  un  punto."  ML  50.2.D39J5 

—  Demofoonte,  dramma  per  musica  da  rappresentarsi  nel  Regio- 
Ducal  Teatro  di  Milano,  nel  carnovale  dell'  anno  1753  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  n.  d.  6  p.  I.,  51,  [1]  p.  14Y^- 
Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication  ("il  secondo 
dramma")  dated  Milan,  January  27,  1753,  argument,  cast,  scenario  and  name  of 
Niccol6  Jomraelli  as  composer.  The  unnumb.  p.  contains  the  aria  "Solo  effetto  era 
d'amore"  substituted  for  "II  suo  leggiadro  viso  in  I,  8.  The  text  in  this  Libretto 
does  not  coincide  fully  with  that  in  the  Padova,  1743,  edition.  For  instance,  I,  5 
of  the  Milan  ed.  has  become  much  different  in  the  dialogue  and  has  no  aria.  Scene 
I,  13  has  now  the  aria  "Di  pena  si  forte"  (from  Metastasio's  "Ipermestra)"  instead 
of  "Temo  in  un  punto"  and  II,  3  has  now  the  aria  "Bench^  innocente  sia"  instead 
of  "  Se  tronca  in  ramo."  ML  50.2.D39J6 

—  Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Ducale  di  Stutgart  festeggiandosi  il  felicissimo  giorno  natalizio  di  Sua 
Altezza  Serenissima  Carlo,  duca  regnante  di  mrtemberg  e  Teck  .  .  . 
La  poesia  e  del  .  .  .  Pietro  Metastasio  ...  La  musica  e  nuova- 
mente  composta  dal  Signor  Nicold  Jommelli  ...  I  balli  sono  inven- 
tati  dal  Signor  Giovanni  Giorgio  Noverre  .  .  . 

Stutgart,  Gotta,  1764.    231,  [2]  p.    21 Y"^. 

Three  acts.  Argument,  cast,  scenario.  German  title  page,  "Demophon,"  and 
text,  by  Caj.  Neusinger  (Abert),  face  Italian.  Schatz  and  Abert  call  this  Jommelli's 
second  version. 

The  text  of  the  Stuttgart  version  differs  somewhat  from  that  of  the  Padova  version. 
For  instance,  Stuttgart  starts  out  with  an  added  scene  "Adrasto!  Ah  dunque"  with 
aria  "Per  lei  fra  I'armi"  which  originally  belonged  to  I,  4.  The  original  I,  1  scene 
"Credimi,  o  padre"  has  now  become  I,  2.  In  I,  5  the  dialogue  is  again  different 
(also  from  Milan,  1753)  and  there  is  no  aria.    The  scene  I,  13,  "Consigliatemi,  o  Dei" 


362  LIBRARY  OF   CONGRESS 

Demof oonte — Continu  ed . 

has  been  dropped  entirely.  Instead,  the  former  I,  12  "O  1^  miniatri"  in  a  much 
longer  form  is  used  as  last  scene  of  the  first  act  and  now  with  a  duet  instead  of  with 
a  solo  aria. 

On  p.  82-109  cast  and  description  of  the  ballet  "La  morte  di  Licomede — La  mort 
de  LicomMe  ...  La  musica  di  nuova  composizione  del  Signor  Teller"  [Florian 
Deller],  on  p.  160-187  cast  and  description  of  the  ballet  "Ipermestra-Hipermenestre," 
"musica  .  .  .  "novamente  composta  dal  Signor  Rodolfo."  [Rudolph.  This  settles 
Abort's  query  on  p.  80  of  his  Jommelli  biography].  The  third  ballet,  without  name 
of  the  composer,  was  called  "Atalanta  ed  Ippomene — Atalante  et  Hippomene." 

First  performed,  as  indicated,  February  11,  1764.  Schatz  4852 

—  Demof  oonte.     Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  delF  Ajuda  nel  felicissimo  giomo  natalizio  del  fedeUssimo 
monarca  D.  Giuseppe  I  .  .  .  nel  di  6.  giugno  1775. 
Lishona,  Stamperia  reale,  n.  d.    88  p.     15'^'^. 

Three  acts.  Argument,  cast,  scenario  and  names  of  Metastasio  as  author,  of  Niccol5 
Jommelli  as  composer.  Text  only  very  slightly  different  from  the  Stuttgart  ed. 
For  instance,  the  whole  first  act  is  the  same,  also  the  third,  except  that  III,  7  (which 
is  in  the  other  librettos)  with  aria  "Che  mai  risponderti "  has  been  dropped. 

Schatz  4853 

Demof  oonte.  Dramma  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatri  Grimani  di  S.  Gio.  Grisostomo  nel  camevale  dell'  anno 
1738. 

Venezia,  Marino  Rossetti,  n.  d.     72  p.     Id'^^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  and 
name  of  Gaetano  Latilla  as  composer.  Schatz  5458 

Demof  oonte.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  camovale  del  1754  .  .  . 

Torino,  Zappata  ed  Avondo,  n.  d.     5  p.  I.,  63  p.     15^"^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  scenario,  cast  and 
names  of  Gennaro  Manna  as  composer  of  the  opera,  of  Rocco  Gioanetti  as  composer 
of  the  dances.  Schatz  5903 

II  Demofoonte.     Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  il  camovale  dell'  anno  1769  .  .  . 
Venezia,  Modesto  Fenzo,  1769.    56  p.     17"'^. 

Three  acts.    By    Metastasio  who  is  not  mentioned.     Impresario's  dedicatory 
sonnet,  argument,  cast,  scenario  and  name  of  the  composer,  Joseph  Misliweczek. 
First  performed  in  January,  1769,  as  indicated.  Schatz  6529 

II  Demofoonte.     Drama  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  il  carnovale  dell  anno  MDCCLXXV. 
Venezia,  Modesto  Fenzo,  1775.     1  p.l,  56  p.     17^"^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  and 
name  of  Paisiello  as  the  composer. 

On  p.  23-32  cast  and  description  of  Jean  Favier's  "IflBigenia  in  Tauride,  hallo 
eroico  pantomimo."    The  composer  of  the  music  is  not  mentioned.        Schatz  7698 

Demofoonte.     Dramma  per  musica  da  rappresentarsi  nel  nuovo 
Teatro  Tron  in  S.  Cassano  il  carnovale  dell'  anno  1764. 
Venezia,  Paolo  Colomhani,  1764.    62  p.     17"'^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  an 
name  of  Gaotano  Pampani  as  the  composer. 

With  the  opera  were  performed  Giuseppe  Salamoni's  ballets,  "La  isola  incantata  di 
Circe  la  maga  "  and  "II  matematico."    The  composers  of  the  music  are  not  mentioned. 

First  performed  at  Rome,  Teatro  Alibert,  1757.  Schatz  7752 


OPERA   LIBRETTOS  363 

Demofoonte.  Dramma  per  musica  da  rappresentarsi  ael  Teatro 
Raiigone  il  came  vale  delF  anno  1783  .  .  . 

Modena,  Erecli  di  Bartolomeo  Solani,  n.  d.     Jfi  p.     i5<"". 

Three  acts.    By  Metastasio  who  is  not  mentioned.     Impresario's  dedication,  argu- 
ment, cast  and  name  of  Antonio  Pio  as  composer  ("La  musica  h  tutta  nuova"). 
First  performed  as  indicated,  Dec.  26,  1782.  ML  48.A5    v.  30 

Demofooiite.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 

alia  Scala  il  carnevale  dell'  anno  1794  .  .  . 

Milano,  Gio.  Batista  Bianclii,  n.  d.     58,  [6]  p.     W^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Impresario's  dedication  dated 
Milan,  February  8,  1794,  argument,  cast,  scenario  and  name  of  "Marco  Portogalli  di 
Pbrtogallo"  as  the  composer.  The  unnumb.  p.  contain  argument  and  description 
of  a  four-act  ballet  bv  Gaetano  Gioja,  the  composer  of  the  music  not  being  mentioned. 

ScHATz  8403 

Demofoonte.     Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  il  camovale  dell  anno  MDCXULXXXVII. 
Vmezia,  Modesto  Fenzo,  1787.     56  p.     17''"'. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  and 
name  of  Alessio  Prati  as  the  composer.  On  p.  53-56,  ai^ument,  cast,  scenario,  but 
not  the  name  of  the  composer  of  the  music  of  Filippo  Beretti's  "Li  due  sposi  efortu- 
nati,  ballo  tragico  pantomimo." 

First  performed  December  26,  1786,  as  indicated.  Schatz  8454 

Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1788  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  72  p.     15^'^^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Argument,  cast,  scenario  and 
names  of  Graetano  Pugnani  as  composer  of  the  opera,  and  of  Vittorio  Amedeo  Cana- 
vasso  as  composer  of  Giuseppe  Trafieri's  ballets  "Adone  e  Venere,"  "I  viaggiatori 
areostatici"  and  "Di  popoh  di  Frigia,"  of  which  the  first  is  described  with  cast  on 
p.  65-71. 

First  performed  as  indicated,  December  26,  1787.  Schatz  8504 

Demofoonte.  Drama  per  musica  di  Artimio  Corasio  Pastore 
Arcade.  Da  representarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio 
Grisostomo  il  camovale  dell'  anno  1735  .  .  . 

Venezia,  Marine  [!]  Rossetti,  n.  d.     72  p.     15Y^- 

Three  acts.  By  Metastasio.  Dedication  by  Domenico  Lalli,  argument,  scenario, 
cast,  and  name  of  Gaetano  Maria  Schiassi  as  the  composer.  Schatz  i;600 

Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  delli  quattro  Signori  associati  cavalieri,  e  patrizj  de  la  Regio- 
inclita  cittk  di  Pavia  il  carnevale  dell'  anno  1777  .  .  . 

Pavia,  Giuseppe  Bolzani,  n.  d.     65  p.,  1  I.     15'^^. 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, cast,  scenario  and  name  of  Joseph  Schuster  as  the  composer. 

First  performed  at  Forli,  Nuovo  Teatro  della  Citt^,  spring  of  1776.    Schatz  9760 

Demofoonte.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  dell'  ill™*  cittk  di  Crema  in  occasione  del  solenne  suo  primo 
aprimento  il  giomo  24  settembre  dell'  anno  1786  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.    68  p.     16^'^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  and  name  of  Angelo  Tarchi  as  the  composer.  With  the 
opera  was  performed,  composer  of  the  music  not  mentioned,  Sebastiano  Gallet's 
"ballo  serio  II  Pizarro  nell'  America,  ossia  La  conquista  del  Perd."      Schatz  10218 


364  LIBRARY   OF   CONGRESS 

Demofoonte.  Dramma  per  musica  del  Signor  abate  Pietro  Metasta- 
sio,  Poeta  Cesareo.  Da  rappresentarsi  nel  Regie  Ducal  Teatro  Vecchio 
(li  Mantova  il  camovale  dell'  anno  1770  .  .  . 

Mantova,  L'erede  di  Alberto  Pazzoni,  n.  d.     61  p.     17'^'^. 

Three  acts.  Dedication,  dated  Feb.  3,  1770,  aigument,  cast,  scenario,  and  name 
of  Tommaso  Trajetta  as  composer.  Schatz  10408 

Demofoonte.     Drama  per  musica  da  rappresentarsi  sul  famosissimo 

Teatro   di  Brunsviga   nella  fiera  d'  invemo   I'anno    1742. — Demo- 

phoon  .  .  . 

Wolffenhuttel,  Christian  Bartsch,  n.  d.     Unpaged.     1 7Y^' 

Three  acts.    By  Metastasio,  who  is  not  mentioned.    German  text  faces  Italian. 

Argument,  scenario,  and  name  of  Giovanni  Verocai  as  the  composer. 

First  performed,  as  indicated,  February,  1742.  Schatz  10719 

Demofoonte,  dramma  per  musica  del  Signore  abatt.  Pietro  Metasta- 
sio da  rappresentarsi  nel  Teatro  di  Lucca  nel  camovale  delF  anno 
MDCCXLL 

Lucca,  Francesco  Marescandoli,.n.  d.    80  p.  I4  "'^. 
Three  acts.    Ai^ument,  cast,  scenario  and  name  of  Leonardo  Vinci  as  the  com- 
poser. Schatz  10745 

Demofoonte  e  Fillide.  Cantata  a  due  voci  da  rappresentarsi  in 
beneficio  di  Irene  Tomeoni  e  di  Vicenzo  MafFoli  nel  Teatro  presso  la 
Corte. 

Vienna,  Antonio  Patzowsky,  1794.     ^4  V-     ^?'i'"'- 

Two  parts.     Argument  and  ' '  protesta  " : 

"Con  idea  ben  di  versa  da  quella  di  rappresentarla  in  teatro  fu  composta,  senza 
apparato  d'intreccio,  e  di  spettacolo,  la  seguente  cantata,  che  dipinge  semplicemente 
11  contraato  di  due  amanti  nell'  atto  di  una  violenta  separazione  .  .  .  L'introdu- 
zione  di  alcuni  pezzi  di  musica,  e  il  cambiamento  di  qualche  verso  debbonsi  attri- 
buire  alia  necessity." 

Author  and  composer  unknown  to  Schatz. 

First  performed  1794,  as  indicated.  Schatz  11320 

Demofoonte,  re  di  Tracia.  Dramma  per  musica  da  rappresentarsi 
nel  Regio  Teatro  di  Berlino  .  .  . 

Berlino,  A.  Haude,  1745.     I4I,  [3]  p.     16'^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  and 
name  of  Carl  Heinrich  Graiin  as  the  composer.  German  title-page  "Demophontes, 
koenig  in  Thracien,"  and  text  face  Italian.  Frederick  the  Great  composed  two  or 
three  arias  for  the  opera. 

First  performed  at  Berlin,  Kgl.  Opemtheater,  January  17,  1746.        Schatz  4113 

—  Demofoonte,  opera  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Berlino  ...  nel  camovale  del  MDCCLXXIV. 
Berlino,  Haude  e  Spener,  177 4.     97,  [S\  p.     18^=^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author  of  the 
text  ("Si  h  dovuto  abbreviarla  e  far\'i  qualche  cangiamento")  and  of  Carl  Heinrich 
Graiin  as  composer  of  the  music  ("  Vi  sono  molti  cangiamenti ").  German  title  page, 
"Demophontes,"  and  text  face  Italian.  Schatz  4094 

Demokrit.     Eine  komische  oper  in  drei  akten  vom  verfasser  der 
Grossen  toilette.     In  musik  gesetzt  von  C.  Kalkbrenner,  kapellmeister 
Sr.  K.  H.  des  prinzen  Heinrich  von  Preussen  ... 
Berlin,  Friedrich  Maurer,  1791.     72  p.     17^"^. 

Author  unknown  to  Schatz. 

First  performed  at  Rheinsberg,  Theatre  of  Prince  Henry  of  Prussia.    Schatz  4997 


OPERA   LIBRETTOS  365 

^11  demone  amante,  overo  Giugurta.     Drama  per  musica  da  rap- 
presentarsi  nel  Teatro  di  Sant'  Aiigelo,  Tanno  1686  .  .  . 
Venetia,  Francesco  Nicolini,  1686.     84  p.     14*^^. 

Three  acts.  Publisher'a  dedication,  notice  to  the  reader  (calling  this  "un'  allegro 
capriccio  della  dramatica  fantasia  "),  and  scenario.  Neither  the  author,  Matteo  Noria, 
nor  the  composer,  Carlo  Francesco  Pollaroli,  is  mentioned.  Schatz  8281 

Demophon.     Tr.  of  Metastasio's  text  Demofoonte. 

Demophon.     Tr.  of  Jommelli's  Demofoonte. 

Demophon,  opera  lyrique  en  trois  actes,  represent e  pour  la  premiere 
fois,  par  1' Academic  royale  de  musique  le  mardi  15  septembre  1789. 
Paris,  P.  de  Lormel,  1789.     vi,  7-54  p.     23^'^. 

Cast  and  names  of  Desriaux  as  author,  of  [Johann  Christoph]  Vogel  as  composer. 
CI.  &  L.  and  Schatz  give  Sept.  22  as  the  date,  the  printed  score  as  above. 

ML  50.2.D4V6 

—  Demophon,  opera  lyri<jue  en  trois  actes.     Represents  pour  la 
premiere  fois,  par  Vacad6nue[!]-royale  de  musique,  le  mardy  15  sep- 
tembre 1789.     Les  paroles  sont  de  M.  Deriaux.     Musique  de  Vogel. 
Paris,  Ruault,  1789.     26  y.     22'^"'. 

ML  50.2.D4V62 

Demophontes.     Tr.  of  Graun's  Demofoonte. 

Demophontes,  king  of  Thrace.  An  opera.  As  f)erform'd  at  the 
Theatre  Royal  in  the  Hay-Market.  Composed  by  Egidio  Duni  Napo- 
lilano. 

Londmi,  J.  Chrichley,  1737.     63,  [;]  p.     ^7*^™. 

Three   acts.    Metastasio's   "Demofoonte"    with   English   translation   facing  the 


Italian.    Dedication  by  Angelo  Cori,  argument,  cast.    On  the  add.  p.  the  aria, 
"Mi  fai  gioire"  (II,  1),  substituted  for  "Nel  tuo  dono." 

First  performed,  as  indicated.  May  24,  1737.  *  Schatz  2837 


Demophontes,  koenig  in  Thracien.     Tr.  of  Graun's  Demofoonte, 
re  di  Tracia. 

Demophoon.     Tr.  of  Bernasconi's  Demofoonte. 

Demophoon.     Tr.  of  Hasse's  Demofoonte. 

Demophoon.     Tr.  of  Verocai's  Demofoonte. 

Le  depart  de  1' opera -comique;  compliment,  en  un  acte.     Repr4- 
sente  k  la  cloture  de  la  Foire  S.  Laurent  1759. 

Paris,  Duchesne,  1759.  22,  [2]  p.  W"^.  {Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  viii.) 

Cast.  Prose  and  vaudevilles.  No  airs  printed  in  the  text,  nor  following  the  text. 
The  [2]  p.  contain  catalogues  of  plays.  Font  does  not  mention  Favart  s  musical 
collaborator. 

First  performed  on  October  9,  1759.  ML  49.A2F1 

—  Le  depart  de  1' Opera  comique,  compUment  en  un  acte.     Repr6- 
sent6  b,  la  cl6ture  de  la  Foire  St.  Laurent  1759. 
Paris,  la  veuve  Duchesne,  1766.    28  p.     19'^'^. 

On  p.  22-28,  "Airs:"  "Aux  epectateurs  indulgens,"  "J'avois  un  petit  oiseau," 
"  Viens  calmer  ma  douleur."    Favart  is  not  mentioned.  Schatz  11489 


366  LIBRARY   OF   CONGRESS 

Le  dereiglement  des  passions,  etc.     See  Ballet  du  dereiglement. 

Descrizione  dell'  apparato  della  comedia  et  intermedii  d'essa  reci- 
tata  in  Firenze  il  giorno  di  S.  Stefano  raimo  1565.  nella  gran  Sala 
del  palazzo  di  sua  Ecc.  iUust.  nelle  reali  nozze.  Dell  illustriss.  & 
eccell.  S.  il  S.  Don  Francesco  Medici  principe  di  Fiorenza.  &  di 
Siena,  &  della  regina  Giouanna  d'Austria  sua  consorte.  Ristam- 
pata,  con  nuoua  aggiunta. 

Fiorenza,  i  Giunti,  1566.     26,  [2]  p.     16^"^. 

The  last  [2]  p.  contain  colophon  and  printer's  mark. 

On  p.  [3^-10  a  most  minute  and  fascmating  description  of  the  apparatus  {i.  e.  audi- 
torium, seating  arrangements,  etc.)  with  name  of  Giovanni  Battista  Cini  as  author  of 
the  intermedii  "Psiche  ed  Amore"  performed  with  Francesco  d'Ambra's  comedy 
*'La  Cofanaria."  From  II  Lasca's  edition  of  the  "Descrizione"  (see  below)  we  know 
that  it  was  originally  written  by  C^ni. 

On  p.  10-23  description  and  text  of  the  six  intermedia.  The  text  of  these  is  exactly 
the  same  as  in  the  edition  below,  but  the  description  is  shorter.  Also  this  difference 
appears  that  the  musical  data  (substantially  the  same  as  in  the  edition  below)  follow 
each  intermedio,  instead  of  being  grouped  together  at  the  end.  Alessandro  Striggio 
is  mentioned  as  the  composer  of  the  first,  second,  fifth  intermedio,  Francesco  Cor- 
teccia  of  the  third,  fourth  and  sixth. 

On  p.  24-26  description  of  the  banquet,  etc.,  following  the  performaiice. 

ML  52.2.D3 

—  Descrizione  de  gl'interniedii  rappresentati  con  la  commedia  nelle 
nozze  deir  illustrissimo,  ed  eccellentissimo  Signor  principe  di  Firenze 
e  di  Siena. 

Firenze,  Filippo  Giunti,  1593.    22  p.     15"^. 

Forme  part  of  "La  cofanaria.  Commedia  di  Francesco  d'Ambra.  Con  gl'inter- 
medii  di  Giovambattista  Cini.  Recitata  nelle  nozze  del  .  .  .  Don  Francesco  de 
Medici,  &  della  Sereniss.  regina  Giovanna  d'Austria.  Di  nuovo  ristampata,"  same 
publisher,  same  date. 

Thedescriptionof  the  six  "intermedii  .  .  .  tratti  dalla  novella  di  P«icA«,  ed'-4wor6 
descritta  molto  piacevolmente  da  Apuleio  nel  suo  Asin  d'oro  "  is  preceded  by  a  dedica- 
tion signed  "II  Lasca  "  .(psewrf.  of  the  poet,  Antonio  Francesco  Grazzini).  It  is  un- 
dated, but  is  obviously  of  about  the  same  date  as  the  dedication  of  the  comedy  by  the 
editor,  Alessandro  Ceccherelli,  "Firenze  il  di  15.  di  gennaio  1565."    II  Lasca  says: 

"Essendo  da  altri  con  fretta  &  per  ci6  con  poca  cura  stati  mandati  in  luce  gl'inter- 
medij  che  con  la  commedia  si  fecero  nelle  Lor  Realissime  NozzecaA^atidaunasemplice 
descrittione  fatta  dall'  autor  loro  innanzi  a  la  lore  rappresentatione  ad  instanzia  di 
Sua  Altezza  accioche  ella  potesse  piu  agevolmente  intenderli,  mosso  di  lui,  &  di  loro  k 
compassione  che  pareva  che  poca  cura  se  ne  prendesse  mi  eon  messo  ad  allargargli 
alquanto,  e  ridurli  nella  forma  che  le  vedranno  ..." 

With  these  remarks,  II  Lasca  refers  to  the  publication  of  the  "Descrizione  dell' 
apparato  della  commedia  ed  intermedia  d'essa,  fatta  in  Firenze  il  giorno  di  S.  Stefano 
I'anno  1565." 

The  description  of  the  intermedii  proper  II  Lasca  follows  up,  "a  soddisfazione  de' 
curiosi  musici,"  with  a  description  of  the  orchestra  employed  and  other  musical 
features,  and  then  says: 

"L'invenzione,  &  le  parole  de  gFintermedij  furonodi  M.  Gio.  Battista  Cini,  &  sotto 
la  sua  cura  fumo  condotti  si  come  la  commedia,  e  tutto  il  restante  ad  essa  apparte- 
mente  .  .  . 

"Messer  Alessandro  Strig[g]io  fece  le  musiche  del  prime  del  secondo,  &  del  quinto, 
intermedio.  Quelle  del  terzo,  del  quarto,  &  dell'  ultimo  fumo  fatte  ^al  Maestro  della 
cappella  di  Lor  Eccellenze  illustrissime:  Messer  Francesco  Corteccia." 

The  music  is  generally  considered  lost,  but  a  remark  on  p.  18  of  II  Lasca's  descrip- 
tion makes  it  clear  that  it  was  in  the  press  in  1565  ("  stampandosi  la  musica  ").  II  Lasca 
issued  an  edition  of  his  "Descrizione  de  gl 'intermedii"  in  1566,  with  a  "rather 
better"  text  and  a  different  dedication,  as  Mr.  G.  E.  P.  Arkwright,  the  editor  of  the 
Musical  Antiquar>\  added  to  a  footnote  of  mine  in  my  reprint  (with  introductory 
remarks)  of  the  1593  "Descrizione  "  in  his  journal,  October,  1911.  The  "Descrizione 
had  previously  been  reprinted  in  the  fifth  volume  of  the  "Teatro  Comico  Fiorentino," 
Firenze,  1750  (copy  in  L.  of  C). 


OPERA   LIBEETTOS  367 

The  deserter.     Tr.  of  Pietro  Guglielmi's  II  disertore. 

The  deserter.     Tr.  of  Monsigny's  Le  deserteur. 

Songs,  etc  m  the  Deserter  of  Naples;  or,  Royal  clemency:  To  which 
is  added,  An  ode  to  friendship  .  .  .  and  other  favorite  pieces  per- 
formed at  the  Royalty  Theatre. 

[L(mdon],  Printed  for  A.  Cleugh,  C.  Stalker,  [etc.],  n.  d.     16  p.    21"'^, 

The  text  of  "The  Deserter  of  Naples,"  on  p.  [l]-8.  Of  the  last  song,  "Anacreon" 
("To  banish  life's  troubles")  [Richard  John  Samuel]  Stevens  is  mentioned  as  the 
composer.    A  note  on  p,  [3]  says: 

"This  beautiful  and  by  far  most  interesting  piece  ever  performed  on  the  boards  of 
the  Royalty  Theatre,  is  the  production  of  Mr.  Delphini,  and  executed  under  his 
direction." 

He  imdoubtedly  utilized  Dibdin's  "The  deserter,"  but  does  not  seem  to  have  used 
any  of  the  songs  in  Dibdin's  version  of  Monsigny's  "Le  deserteur."  , 

Performed  1788,  as  indicated.  Longb  102  \ 

Le  deserteur,  drame  en  trois  actes,  en  prose,  m^lee  de  musique;  par 
M.  Sedaine.  La  musique  par  M.  *  *  *  Representee  pour  la 
premiere  fois  per  les  Com^diens  italiens  ordinaires  du  Roi,  le  lundi 
6  mars  1769. 

Paris,  Claude  Herissani,  1769.     68  p.     19^"^. 

Composed  by  Monsigny,  who  is  not  mentioned.  Schatz  6569 

—  Le  deserteur.  Drame  en  trois  actes,  en  prose,  m^le  de  musique. 
Par  M.  Sedaine.     La  musique  par  M.     *     *     *     Repr6sent6  a  Paris, 

{)our  la  premiere  fois,  par  les  Com6diens  italiens  oroinaires  du  roi,  le 
undi  6  mars  1769.  Et  a  Fontainebleau,  le  8  octobre  1769,  en  pre- 
sence' de  Sa  Majesty.     Seconde  edition,  revue  par  I'auteur. 

Paris,  Claude  Herissant,  1770.     viii,  84,  [4]  p.     18^"^. 

Cast  and  preface,  in  which  Sedaine  comments  on  the  troubles  of  a  librettist  in 
general  and  on  his  in  particular.     He  says  in  part: 

"Dans  ce  genre  d'ouvrage,  I'interet  doit  soutenir  la  musique  pendant  les  pre- 
mieres representations,  d<it-elle  y  nuire;  mais  lorsqu'en  suite  la  piece  est  s^ue, 
lorsqu'on  peut  I'entendre  sans  I'inqmetude  de  ce  qui  doit  arriver,  la  musique  fait 
Pouter  le  poeme  eans  d^goiit,  cinquante  representations  dans  la  meme  ann^e,  avan- 
tage  qTie  n  ont  pas  des  ouvrages  de  litterature  beaucoup  plus  estimables  .  .  ." 

The  text  is  the  same  as  in  the  1769  edition.  ML  50.2.D45 

—  The  deserter;  a  new  musical  drama,  as  it  is  performed  at  the 
Theatre-Royal  in  Drury  Lane. 

London,  T.  Becket,  1773.     vi,  [2],  36  p.     20<^^. 

Two  acts.    Cast  and  preface  signed  by  Charles  Dibdin,  who  says: 

'  'Le  Deserteur  [text  by  Sedaine,  music  by  Monsigny],  is  well  known  to  have  been 
these  five  years  the  most  favourite  musical  piece  on  the  French  stage :  .  .  . 

"It  was  thought,  therefore,  that  if  the  unnecessary  incidents  were  expunged,  and 
those  retained  were  rendered  more  probable;  if,  by  making  an  uniform  parti tioa 
between  the  dialogue  and  the  songs,  it  could  be  brought  more  to  wear  the  complexion 
of  an  Opera,  The  Deserter  might  be  entitled  to  a  favourable  reception  on  the  English 
stage:  how  far  these  suggestions  were  reasonable,  the  public  (who  are  the  best  judges, 
and  by  whose  arbitration  I  shall  always  be  proud  to  abide)  will  determine. 

"With  regard  to  the  music,  as  I  found  it  a  work  of  great  invention,  I  should  have 
kept  it  in  its  original  state,  had  it  been  possible;  but,  besides  the  excessive  length  of 
the  songs,  the  continual  breaks  into  recitative,  the  frequent  suddep  alterations  of  the 
etile^  and  above  all,  that  sameness  which  so  particularly  characterizes  the  French 
music,  I  found  it  much  too  grave  to  stand  the  lea^t  chance  of  success  in  an  after- 

Siece:  I,  therefore,  selected  what  I  thought  the  beauties,  and  what  I  could  not  effect 
y  having  recourse  to  the  original,  I  have  endeavoured  to  supply  myself. 
"In  justice  to  the  French  comf>oser,  I  think  it  absolutely  necessary  to  declare, 
that  the  songs,  beginning  'One  conduct's  for  both  love  and  war,'  'The  nymph  who  in 


368  LIBRARY   OF   CONGRESS 

Le  deserteur— Continued. 

my  bosom  reigns,'  and  'The  whims  of  folks  in  love';  are  wholly  my  own;  and  that 
the  first  air  in  the  piece  ["  I  can't  for  my  life  "],  and  that  beginning,  'My  life's  three 
parts  diminish'd '  are  by  Philidor,  a  name  of  no  inconsiderable  note  in  the  musical 
world." 

In  Broderip  &  Wilkinson's  vocal  score  also  "I'd  have  you  to  know"  and  "I'll 
fly  these  groves  "  are  headed  as  composed  by  Dibdin. 

First  performed,  as  indicated,  November  2,  1773.  Lonoe  13 

—  The  deserter,     m  two  acts.     By  C.  Dibdin. 

[22]-48  p.  19'^'^.  {Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  iv,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  (1782)  casts.  Schatz  11753D 

—  The  deserter,  a  comic-opera ;  in  two  acts,  as  performed  at  the 
theatre,  New- York,  with  universal  applause.     By  I^lr.  C.  Dibdin. 

New-Yorlc,  Samuel  Campbell,  1787,    31,  [1]  p!    IJ'^^, 

New  York  cast. 

First  performed  in  America,  as  indicated,  June  8,  1787.  ML  50.6. D36 

—  Der  deserteur,  ein  singspiel  in  drey  aufzuegen  aus  dem  franzoe- 
sischen  uebersetzt  mit  musik. 

FranTcfurt  am  Mayn,  mit  Andredischen  schriften,  n.  d.  103  p.,  11 
p.  (folded  music,  dated  1773) 

(;ast.  Johann  Joachim  Eschenburg's  version,  who  is  not  mentioned.  The  music 
contains  (voice  and  bass)  "Ein  solches  herz  zu  kranken,"  "Mein  schaferstab  war 
fort,"  "Aller  Welt  blut,"  "Ach!  vergesset  alle  schmerzen."  Schatz  6570 

• 
Les  desesperes,  prologue  des  deux  pieces  suivantes.     Par  M".  Le 

5  *  *,  &  d'Or  *  *  *  Representee  k  la  Foire  S.  Laurent. 
1732. 

—  Sophie  et  Sigismond.     Pidce  d'un  acte.    Par  M"^-.  Le  S    *    *. 

6  d'Or    *     *     *.     Representee  a  la  Foire  S.  Laurent.     1732. 

—  La  sauvagesse.  Piece  d'un  acte.  Par  M'^.  Le  S  *  *.  & 
(j'Or    *     *     *     Representee  k  la  Foire  S.  Laurent.     1732. 

Le  Theatre  de  U  foire,  Paris,  1737,  t.  ix,  [117]-B74  V-     ^^'"'• 
By  Le  Sage  and  d'Omeval.     Largely  en  vaudevilles.    The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Grillier,  are  printed  at  the  end  of  the  volume  in 
the  "Table  des  airs." 

First  performed  July  7,  1732.  ML  48.L2IX 

Desiderius,  koenig  der  Longobarden,  musicalisches  schauspiel, 
an  dem  frohen  gebuhrts-tage  des  AUerdurchlauchtigsten  .  .  .  Joseph 
I,  erwehlten  roemischen  kaeysers  .  .  .  zu  allerunterthaenigster  freu- 
denbezeugung  auf  dem  Hamburgischen  Schau-platz  vorgestellet,  im 
Jahrl709,  den  26  Julii. 

n.  i.,  n.  d.     Unpaged.     19^"^. 

Five  acts.  Towards  the  end  of  his  astrological,  historical,  and  what  not  "Vor- 
bericht"  the  author,  Barthold  Feind  (not  mentioned),  says  that  the  part  of  Flori- 
ana  is:  » 

"einigermassen  eine  imitation  des  Silvani,  in  seinem  Duello  d'amore  e  di  vendetta, 
die  ich  bloss  darum  erwehlt,  weil  sie  gelegenheit  zu  allerhand  actiones  auf  dem 
theatro  giebt,  und  ich  nicht  geme  schauspiele  vorfertige,  worinnen  die  acteu^  viel 
zeit  zu  traeumen  habeu  ..." 

The  composer,  Reinhard  Keiser,  is  not  mentioned.  To  some  arias  the  Italian 
text  has  been  added.  Schatz  5085 


OPERA  UBKETTOS  369 

Despina  e  Niso.  Intermezzi  da  rappresentarsi  nel  Teatro  Tron  di 
San  Cassano  Tanno  1724. 

Venezia,  Marino  Rossetti,  n.  d.     10  p.     15*^^. 

Two  parts.  Neither  the  author  (unknown  to  Schatz)  nor  the  composer,  Alessandro 
Scarlatti,  is  mentioned.  Mentioned  by  Dent?  According  to  Schatz,  the  intermezzi 
were  performed  1724,  with  Orlandini's  "L'Antigona,"  but  originally  with  Scarlatti's 
own  "L'amorgeneroso"  at  Naples,  Teatro  del  R.  Palazzo,  October  1,  1714. 

Schatz  9534 

The  destruction  of  the  world.     A.  T.  of  Noah's  flood. 

Les  dettes,  comedie  en  deux  actes  et  en  prose,  mdlee  d'ariettes, 
paroles  de  M.  Forgeot,  musique  de  M.  Champein.  Represents,  pour 
la  premiere  fois,  a  Paris,  par  les  Comediens  Italiens  ordinaires  du 
Roi,  le  8  Janvier  1787;  &  k  Versailles,  devant  Leurs  Majestes,  le  23 
fevrier  suivant. 

Paris,  Prault,  1787.     46  p.     21^^^. 

Cast.  Schatz  1794 

—  De  schulden,  zangspel  gevolgd  naar  het  fransche.  Door  Hen- 
drik  Ogelwight,  junior. 

Amsterdam,  J.  Helders  en  A.  Mars,  1791.     63  p.     16^^'^. 

First  performed  at  Amsterdam,  Stads  Schouwburg,  July,  1791.  Schatz  1795 

Deukalion  und  Pyrrha.     Ein  musikalisches  drama  mit  gesaengen. 

Breslau  und  Leipzig,  Christian  Friedrich  Gutsch,  1779.     Jfi  p.     16'^'^. 

Neither  the  author,  Karl  Emil  Schubert,  nor  the  composer,  Franz  Andreas  Holly, 
is  mentioned. 

First  performed  at  Breslau,  Schuch'eches  Theater,  December  18,  1780. 

Schatz  4769 

Les  deux  avares,  comedie  en  deux  actes  en  prose,  m^lee  d'ariettes; 
representee  pour  la  premiere  fois  k  Fontainebleau,  devant  Sa  Majesty, 
le  samedi  27  octobre  1770.  Les  paroles  sont  de  M.  Fenouillot  de 
Falbaire.     La  musique  est  de  M.  Gretry. 

[Paris'],  Pierre  Robert  CJiristophe  Ballard,   1770.    2  p.   I.,  58  p. 

19^"^' 

Cast  and  "Description  du  lieu  de  la  sc^ue."  ML  50.2.D48G7     • 

First  performed,  as  indicated,  at  Paris,  Comedie  italienne,  December  6,  1770. 

—  Les  deux  avares,  comedie  en  deux  actes  en  prose,  m^lee  d'ariettes; 
represents  pour  la  premiere  fois  a  Fontainebleau,  devant  Sa 
Majeste,  le  samedi  27  octobre  1770.  Les  paroles  sont  de  M.  Fenouillot 
de  Falbaire.     La  musique  est  de  M.  Gretry. 

Paris,  Pierre  Robert  Christophe  Ballard,  1771.     64  p.     18'^"'. 
Cast,  "Description  dulieu  de  lascfene"  and  on  p.  31-34  (1, 15),  the  air  of  the  "Duo. 
La  garde  passe,  il  est  minuit." 

Schatz  4143 

—  Les  deux  avares,  comedie  en  deux  actes  en  prose,  meslee  d'ariettes ; 
representee  pour  la  premiere  &  la  seconde  fois  k  Fontainebleau, 
devant  Sa  Majesty,  le  27  octobre  &  le  7  novembre  1770.  Et  pour  la 
premiere  fois,  h  la  Comedie  italienne,  le  6  dicembre  de  la  m^me 
annee.     Par  Monsieur  de  Falbaire.     La  musique  est  de  M.  Gr6tri. 

Paris,  Delalain,  1771.    47,  [4]  p.     18^"^. 

Cast,  prefatory  note,  and  description  of  the  place  of  action.  The  last  4  p.  contain 
the  air  of  the  vaudeville,  "De  tous  nos  projets"  (II,  6).  Schatz  11704 

72251°— VOL  1—14 ^24 


370  LIBRARY   OF   CONGRESS 

Les  deux  avares — Continued. 

—  Das  grab  des  Mufti  oder  Die  zwey  geitzigen.  eine  komische  oper 
in  zwey  akten  nach  dem  franzoesischen  des  nerrn  Feuvillet  de  Fel- 
baire  und  Gretris  composition,  (zum  erstenmal  aufgefuehrt  auf  des 
Markgrafen  Heinrichs  Koenigl.  Hoheit  Hof theater  zu  Schwedt. 

Stettin,  Johann  Franz  Struck,  1778.    103  p.     15^"^. 

SCHATZ  4144 

—  Die  beiden  geizigen,  ein  singspiel  in  zween  aufzuegen  aus  dem 
franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schrifften,  1772.  80  p.,  12 
p.  {folded  music)     17*^^. 

German  version,  by  Johann  Heinrich  Faber.  The  music  (voice  and  bass)  consista 
of  "Nur  meinem  schatze  bin  ich  hold"  ("Sans  cesee  aupr^s  de  mon  tr^sor"),  I,  4; 
"Lass  Dich  nicht  mehr  vom  kummer  platen  "  ("Plus  de  d^pit,  plus  de  trietesse"), 
1,7;  and  " Die  Wache  ziehet  schon  vorbey  "  ("La  garde  passe,  il  est  minuit"),  I,  XV. 

SCHATZ  4146 

Les  deux  baillis.     A.  T.  of  Les  vendangeurs. 

Les  deux  charbonniers,  ou,  Les  contrastes,  com^die  en  prose  at 
en  deux  actes.  M^lee  d'ariettes.  Representee,  pour  les  premieres 
fois,  les  7,  9,  13,  15,  17,  19,  21,  23,  27  et  30  fructidor  an  VII,  par  les 
Com6diens  du  Theatre  du  palais  Egalit6,  dit  Montansier.  Paroles  et 
musique  du  Cousin-Jacques. 

Paris,  Moutardier,  an  VIII  [1799-1800]     74  p.     21^"^. 

Cast  and  Avant-propos  according  to  which  Cousin  Jacques  (Beffroy  de  Reigny)  first 
offered  his  piece  to  the  Th^§.tre  Faydeau,  Nov.  16, 1798.  He  then  practically  rewrote 
it  in  accordance  with  suggestions  of  the  actor  Juliet.  Then  the  Theatre  Faydeau  was 
closed  for  five  months,  and  the  author  decided  to  transfer  his  work  to  the  Theatre  Mon- 
tansier.   He  concludes  his  remarks  with  observations  on  the  cast. 

First  performed,  as  indicated,  August  24,  1799.  Schatz  705 

Les  deux  chasseurs,  et  la  laitiere,  com6die  en  un  acte,  mesl6e 
d'ariettes;    representee  j)our  la  premiere  fois  sur  le  Theatre  des 
Comediens  italiens  ordinaires  du  Roi,  le  21  juillet  1763. 
.     Paris,  la  veuve  Duchesne,  1771.     32  p.     18'='^. 

By  Anseaume.  Neither  he  nor  the  composer,  Buni  mentioned.  With  the  melo- 
dies of  the  ariettes,  "Je  suis  perce  jusq'aux  os,"  "Le  briquet  frape  la  pierre,"  " Voilll 
la  petite  laitiere,"  "H^las,  j'ai  r^pandu  mon  lait,"  and  the  vaudeville  "J'^tois 
gissant  k  cette  place."  Schatz,  Clement  &  Larousse,  and  others  give,  incorrectly, 
July  23  as  the  date.  Schatz  2838 

—  Les  deux  chasseurs  et  la  laitiere,  comedie  en  un  acte,  m^l^e 
d'ariettes,  representee  pour  la  premiere  fois  sur  le  Theatre  des  Come- 
diens italiens  ordinaires  du  roi,  le  21  juillet  1763. 

Paris,  la  veuve  Duchesne,  1780.     32  p.     19'^'^. 

On  p.  3-5  the  air  of  "Je  suis  perc6  jusqu'aux  os,"  12-13  "Le  briquet  frappe  la 
pierre,"  25-27  "Helas!  h^las!  j'ai  r^pandu  mon  lait,"  and  on  p.  30-31  the  vaudeville 
J'^tois  gissant  k  cette  place."    Neither  Anseaume  is  mentioned,  nor  Duni. 

Schatz  11694 

—  Das  milch  maedchen  und  die  beiden  jaeger,  ein  singspiel  in 
einem  aufzuge  aus  dem  franzoesischen  uebersetzt.     Mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1772.  4^  p.,  11  p. 
(folded  dated  music).     17'''^. 


OPEBA   LIBEETTOS  371 

Les  deux  chasseurs,  et  la  laitiere— Continued. 

German  version  by  Christian  Friedrich  Schwan.  With  cast.  The  musical  sup- 
plement (voice  and  bass)  contains:  "Wenn  der  stein  den  stahl  beruhrt "  ["Le  briquet 
frappe  la  pierre]",  p.  1-4;  "Hier  ist  das  kleine  milchmiidchen "  ["Voilk  la  petite 
laitiere"],  p.  4-5;  "Sag,  wie  dir  dasgefallt"  ["Voici  tout  men  projet"],  p.  6-10;  "Ich 
lag  in  lauter  anget  und  beben  "  ["J'etois  gissant  k  cette  place  "],  p.  10-11. 

First  performed  at  Mannheim,  Theater  a.  d.  Fruchtmarkt,  1771.       Schatz  2839 

—  Das  xnilchmaedgeii  und  die  zween  jaeger.  Eine  operette,  aus 
dem  franzoesischen  des  herm  Anseaume.     1773. 

n.  i.,  n.  d.     IS  p.     i7<="». 

Lyrics  only.    The  composer  is  not  mentioned.    Not  Schwan'e  version. 
First  performed  at  Berlin,  Theater  i.  d.  Behrenstrasse,  August  5,  1772. 

Schatz  2840 

Leg  deux  coffrets.     A.  T.  of  the  pasticcio  Le  genie  Asouf. 

Les  deux  cousines,  ou  La  bonne  amie;  com6die  en  un  acte,  mesl6e 
d'ariettes;  par  M.  Delaribadiere ;  la  musique,  de  M.  Desbrosses: 
Representee  pour  la  premiere  fois  far  les  Com^diens  italiens  ordi- 
naires  du  roi,  le  21  may  1763. 

BruxeUes,  Jean  Joseph  Boucherie,  1764.     38,  [2]  p.     W"^. 

With  author's  dedication  and  cast.  The  two  additional  pages  contain  the  "Appro- 
bation "  of  Mai  1,  1763,  and  the  "Extrait  du  privilege."  Schatz  2528 

Les  deux  milieiens,  ou  L'Orpheline  villageoise,  com^die  en  un  acte 
et  en  prose,  meslee  d'ariettes;  par  M.  d'Azemar  ...     La  musique 
est  de  M.  Fridzeri.     Representee  pour  la  premiere  fois  par  les  Com^- 
diens  italiens  ordinaires  du  roi,  le  24  aotit  1771  .  .  . 
Paris,  la  veuve  Duchesne,  1772.     Jfi  p.     i5<='». 

Cast.    On  p.  36-40  the  melody  of  the  ^^ Pastorale.    Colin  un  jour  sur  la  fougere." 

Schatz  3370 
Second  copy.    Yuin  PQ 

—  Die  beiden  militzen,  ein  sin^spiel  in  einem  aufzuge  aus  dem 
franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1773.  67  p.,  16  p. 
{fill,  folded  music).     16^"^. 

Cast.    By  Johann  Heinrich  Faber.    The  8  p.  of  music  incorrectly  bound  in  with 
this  copy  belong  to  "Der  Holzhauer,"  by  Philidor,  whereas  the  16  p.  that  belong 
with '  *  Die  beiden  militzen  "  are  incorrectly  bound  in  with  Philidor's  ' '  Der  holzhauer. 
They  consist  of  "0!  wie  qualet  doch  die  Hebe"  (I,  1),  "Sobald  es  tagt"  (I,  5), 
"Letzthin  erzahlte  auf  den  wiesen"  (I,  6).  Schatz  3371 

Les  deux  morts,  ou  La  ruse  de  camaval,  op6ra-comique.  Par  J. 
Patrat.  Represents  sur  le  Theatre  des  Com6aiens  italiens  ordinaires 
du  roi,  le  mardi  27  fSvrier  1781. 

Paris,  Vente,  1781.     43  p.     20<^^. 

One  act.  En  vaudevilleg.  Cast.  Arranger  of  the  music  not  mentioned  and 
unknown  to  me.  ML  50.2.D487 

Les  deux  pages.     See  Dez^de's  Auguste  et  Theodore. 

Les  deux  petits  Savoyards,  comedie  en  un  acte,  m§16e  d'ariettes 
par  M.  Mars.  .  .  .  des  V  .  .  .  Musique  de  M.  Dal  .  .  .  Repre- 
sentee, pour  la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du 


372  LIBRARY   OF  CONGRESS 

Les  deux  petits  Savoyards — Continued. 

roi,  le  mercredi,  14  Janvier  1789  et  k  Versailles,  devant  Ijeurs  Majesty, 

le  vendredi  suivant. 

Paris,  Brunei,  1789.     70  p.     18"^. 

Cast.    By  Marsollier.    Music  by  Dalayrac.  Schatz  2336 

Second  copy.    ML  48.061 

—  Les  deux  petits  Savoyards,  opera  en  iin  acte.  Musiqiie  de  Mr. 
d'AJayrac. 

Hambourg,  P.  F.  Fauche,  1795.     15  p.     i^J*^™. 

The  author,  Maryollier,  is  not  mentioned.  ML  50.2.I)49D2 

—  Les  deux  petits  Savoyards,  opera  en  iin  acte,  musique  de  Mr. 
d'Alayrac. 

Hamburg,  Mees  pere  et  comp.,  n.  d. 
The  author,  Marsollier,  is  not  mentioned. 

First  performed  at  Hamburg,  Theatre  de  la  Society  fran^aise  dramatique  et  lyrique, 
March  4,  1795.  Schatz  11688 

—  Die  beyden  kleinen  Savoyarden,  ein  singspiel  in  einem  aufzuge. 
Nach  dem  franzosischen. 

Leipzig,  C.  G.  Martini,  1795.     4I  p.     16''"'. 

Translation  revised  by  Heinrich  Gottlieb  Schmieder  according  to  Schatz. 
Dalayrac  is  not  mentioned  as  composer.  Schatz  2338 

—  Die  zween  Savoyarden,  ein  singspiel  in  einem  aufzuge.  Aus  dem 
franzoesischen  auf  die  musik  des  herrn  Dallayrac  uebersetzt.  Von 
J.  Perinet.  Aufgefuehrt  auf  dem  k.  k.  privilegierten  Marinellischen 
theater  in  der  Leopoldstadt. 

Wien,  Matthias  Andreas  Schmidt,  1792.     47  p.     16^""- 

Schatz  2340 

—  Os  dois  rapazes  Saboyanos:  Comedia  com  musica  em  hum  so' 
acto,  para  se  representar  no  Real  Theatro  de  S.  Carlos,  no  dia  11  de 
Janeiro  de  1796  em  beneficio  de  Miguel  Cavana. 

Lishoa,  Simao  Thaddeo  Ferreira,  1796.     I42  p.     14""^. 
Dalayrac  is  mentioned  as  composer.     Portuguese  text  faces  Italian,  by  Giuseppe 
Carpani  (Schatz),  first  used  at  Monza,  Teatro  Arciducale,  fall  of  1791.     Schatz  2339 

Les  deux  prisonniers.     A.  T.  of  Dalayrac 's  Adolphe  et  Clara. 

Les  deux  soeurs.     A.  T.  of  Belle  et  bonne. 

Les  deux  soeurs  rivales,  comMie  en  un  acte;  mesl^e  d'ariettes. 
Representee  pour  la  premiere  fois  par  les  Comediens  italiens  ordi- 
naires  du  roi  le  jeudi  22  juillet  1762.  Les  paroles  sont  de  M.  de 
Laribadiere.     La  musique  de  M.  Desbrosses. 

Paris,  Ballard,  1762.     48  p.     W''^. 

Author's  dedication  and  cast.  The  text  interspersed  throughout  with  the  airs  of 
the  ariettes.  ML  50.2.D495D2 

Les  deux  Suisses.     O.  T.  of  Gaveaux'  L'amour  filial. 


OPERA  LIBEETTOS  878 

Les  deux  suivantes,  opera-comique  en  trois  actes;  represente  pour 
la  premiere  fois  siir  le  Theatre  de  la  Foire  S.  Laurent  en  1730. 

Charles  Francois  Pannard,  TJiedtre.  Paris,  Duchesne,  1763,  v.  2, 
128  y.     17'^'^. 

Prose  and  vaudevilles.  According  to  Parfaict,  the  text  was  written  jointly  by 
Pannard  and  Pontau,  composed  by  Gilliers,  and  first  performed  July  20,  1730. 

PQ  2019.P3 

Les  deux  sylphes,  comedie  en  un  acte  et  en  vers,  m^lee  d'ariettes, 
par  M.  Imbert.  Representee  pour  la  premiere  fois  par  les  Com6diens 
italiens  ordinaires  du  roi  le  18  octobre  1781. 

Paris,  Jean  Francois  Bastien,  1781.     46,  [1]  p.     22""^. 

Cast.    The  composer,  DSsaugiers,  is  not  mentioned.  ML  50.2. D5D2 

Les  deux  tuteurs,  comedie  en  deux  actes,  en  prose,  mMee  d'ariettes. 
Representee,  pour  la  premiere  fois,  h  Fontainebleau,  devant  Leurs 
Majestes,  le  11  octobre  1783,  &  a  Paris,  au  TheS,tre  italien,  le  8  mai 
1784. 

Paris,  Brunei,  1784.     2  p.l,  56  p.     20""^. 

Cast.  ML  50.2.D51D2 

—  Les  deux  tuteurs,  comedie  en  deux  actes,  en  prose,  m^lee 
d'ariettes.  Representee  pour  la  premiere  fois  a  Fontainebleau 
devant  Leurs  Majestes  le  11  octobre  1783  &  a  Paris,  au  Theatre 
italien,  le  8  mai  1784.  Par  M.  de  la  Chabeaussiere.  Musique  de  M. 
le  chevalier  d'Aleyrac. 

Toulouse,  J.  B.  BrouThiet,  1785.     39  p.     19<^. 

Cast.  ML  50.2.D51D22 

—  Gesaenge  aus  dem  singspiele :  Die  zwey  vormuender,  in  zwey 
aufzuegen,  nach  dem  franzoesischen  von  d'Arien.  In  Musik  gesetzt 
von  Dalayrac. 

Hamburg,  J.  M.  Michaelsen,  1788.     24  p.     i^i«"^ 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  August  4, 1788. 

SCHATZ  2341 

The  devil  of  a  duke :  or,  Trapolin's  vagaries.  A  (farcical  ballad) 
opera,  as  it  is  acted  at  the  Theatre-Royal  in  Drury-Lane.  To  which 
is  prefix'd  the  musick  to  each  song,  set  for  the  spinnet,  harpsichord, 
German  flute,  violin,  and  hautboy,  with  the  thorough  base  to  each 
tune.     The  second  edition. 

London,  Charles  Corhett  and  John  Torbuck,  1732.  1  p.l.,  43,  [1]  p. 
19""'. 

One  act.  Cast,  and  on  last  (unnumb.  page)  the  table  of  the  21  songs,  the  airs  of 
which  are  indicated  in  the  text  by  title.  The  musick  is  not  prefixed  to  any  of  the 
eongs  in  this  edition  of  Robert  Drury'e  text,  nor  is  Mr.  Seedo  mentioned  as  the  com- 
poser of  any  of  them,  his  airs  in  the  first  ed.  (1732)  having  been  engraved  separately. 
(Squire).    In  this  second  ed.: 

'^  the  first  ["Seguacci — Do  not  ask  me  if  I  love  you  "]  and  eighteenth  ["Fly,  Cupid, 
fly,  and  give, "  'Rtle  of  air  not  mentioned]  were  wrote  by  another  hand  and  inserted 
at  the  desire  of  the  performers." 

First  performed  Sept.  23,  1732,  as  indicated.  Lonoe  120 


374  LIBRAE!'  OF  CONGRESS 

;  The  devil  to  pay;  or,  The  wives  metamorphos'd.     An  opera.     As  it 

J  is  perform'd  at  the  Theatre-Roval  in  Drury-Lane,  by  His  Majesty's 
servants.  Written  by  the  autnor  of  The  beggars  wedding.  With 
the  musick  prefix'd  to  each  song. 

Londmi,  J.  Watts,  1732.     4  p.  l,  31  p.     19^^. 

One  act.  Cast,  table  of  the  16  songs,  prologue,  and  dedication,  signed  by  the 
author,  Cha.  (Coffey,  though  John  Mottley  is  said  by  some  to  have  collaborated  and 
Theophilua  Gibber  to  have  been  responsible  for  this  reduction  of  the  original  three 
acta  to  one.  Ballad  opera,  in  which  air  IV,  "Ye  Gods!  you  gave  to  me  a  wife,"  is 
marked  as  "set  by  Mr.  Seedo."    The  airs  are  printed  in  the  text  with  their  titles. 

JHrst  performed  August  6,  1731,  (in  three  acts  according  to  Squire,  reduced  to  one 
act  in  1732).  ML  50.5.D37 

—  Thedevil  to  pay:  or,  The  wives  metamorphos'd.    An  opera.    As 
^       it  is  perform'd  at  the  Theatre-Royal  in  Drury-Lane,  by  His  Majesty's 

servants  .  .  .  With  the  musick  prefix'd  to  each  song. 
London,  J.  Watts,  1748.  front.,  4  p.  I,  30  p.  21^'^'^. 
One  act.    Same  dedication,  prologue,  table  of  songs,  but  a  different  cast. 

ML  50.5. D39 

—  The  devil  to  pay :  or  The  wives  metamorphos'd.     An  opera.     As 
it  is  performed  at  the  Theatres-Royal,  by  His  Majesty's  servants  .  .  . 

London,  T.  Lowndes,  1771.     37  p.  {incl  front.) ,  10  p.     WY"^. 
The  10  p.  contain  catalogue  of  "Books  printed  for  T.  Lowndes." 
One  act.     Dedication,  prologue,  cast,  table  of  the  16  songs,  their  airs  being  indi-- 
cated  in  the  text  by  title.  Lonoe  69 

1       —  The  devil  to  pay :   or,  The  wives  metamorphos'd.    By  Charles 
^        Coffey,  Esq. 

{64\-88  p.  19'^^.  {Collection  of  the  most  esteemed  farces  aTid  enter- 
tainments,  t.  II,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  (1782)  casts.  Ballad  opera.  The  air  IV,  "Ye  Gods! 
you  gave  to  me  a  mfe,"  was  "set  by  Mr.  Seedo."  Schatz  11753B 

/''     '     Le  devin  du  village,  intermede;  par  J.  J.  Rousseau;  repr^sent6  pour 
la  premiere  fois  a  Fontainebleau,  sur  le  Th6fi.tre  de  la  Cour,  devant 
Leurs  Majestes,  les  18  &  24  oct.  1752.     Et  h,  Paris,  par  I'Acad^mie 
royale  de  musique  le  1  mars,  1753. 
Geneve,  Pierre  Gosse,  1760.     59  p.     18Y^. 

One  act.  Text  by  Rousseau,  with  exception  of  that  of  the  ariette  "Avec  I'objet 
de  mea  amours,"  which  was  by  Cahusac.  Cast,  Rouaseau's  "premiere  &  unique 
dMicace"  to  Duclos,  his  "Avertissement"  and  (printed  in  the  text)  the  airs  as  in 
the  score  published  by  M**®  Boi\dn,  Le  Clerc,  etc.  The  Avertissement  reads: 
"Quoique  j'aie  approuv^  les  changemens  que  mes  amis  jugferent  ^  propos  de  faire  h 
cet  intermMe,  quand  il  fut  jou6  k  la  cour  et  que  son  succes  leur  soit  dd  en  grande 
partie,  ie  n'ai  pas  juge  ^  propos  de  les  adopter  aujourd'hui,  &  cela  par  plusieurs  rai- 
sons.  La  premiere  est,  que  puisque  cet  ouvrage  porte  mon  nom  il  faut  que  ce  soit 
le  mien,  dut-il  en  etre  plus  mauvais.  La  seconde,  que  ces  changemens  pouvoient 
etre  fort  bien  en  eux  memes,  &  6ter  pourtant  k  la  piece  cette  unite  si  peu  connue, 
qui  seroit  le  chef-d'oeuvre  de  I'art,  si  I'on  pouvoit  laconserver  sans  repetitions  &  sans 
monotonie.  Ma  troisi^me  raison  est,  que  n  ayant  fait  cet  ouvrage  que  pour  mon  amuse- 
ment, son  vrai  succes  est  de  me  plaire;  or  personne  ne  sait  mieux  que  moi  comment 
il  doit  dtre  pour  me  plaire  le  plus." 

First  performed  at  Fontainebleau  October  18,  1752,  with  recitatives  by  Yeliotte 
and  Francoeur  instead  of  those  by  Rousseau  and  with  an  overture  and  a  final  Diver- 
tissement made  up  from  music  by  Rameau,  Dauvergne  and  others.  First  performed 
at  Paris,  Academic  royale  de  musique  together  with  Michel  Blavet's  one  act  opera- 
bouffon  "Le  jaloux  corrig^"  on  March  1,  1753,  with  an  overture  and  a  final  Diver- 


OPERA   LIBRETTOS  375 

Le  devin  du  village — Continued. 

tissement-Pantomime  composed  by  Rousseau  in  the  meantixae.  Either  at  this  or 
the  second  Paris  performance  Rousseau's  own  recitatives  were  restored. 

ML  50.2.D515R6 

—  Le  devin  du  village,  intermede;  represent  e,  h,  Fontainebleau,  le 
mercredi  14  novembre  1770.  Les  paroles  et  la  musique  sont  de  J.  J. 
Rousseau.     Les  ballets  sont  de  la  composition  de  Laval. 

Geneve,  n.  puhl,  1796.     13  y.    21'='^. 

Cast.  One  act.  Of  the  first  seven  scenes  the  text  in  this  edition  is  practically  the 
same  as  in  the  score  published  by  M™«-  Boivin  (175-)  and  Le  Clerc  (176-)  but  that 
of  the  eighth  (last)  scene  differs  considerablv.  Nor  I  do  not  find  it  in  the  Le  Due 
(178-)  or  Dufant  et  Dubois  scores  (181-).  The  most  striking  difference  is  this  that 
the  Choeuravec  le  Devin  "Colin  revient  a  sa  bergere"  does  not  appear  in  this  Geneva 
edition  of  the  text  and  that  CoUn's  Romance  "Dans  ma  cabane  obscure"  is  preceded 
by  the  chorus  "Chantons,  chantons  le  dieu  qui  regne  en  nos  hameaux." 

ML  50.2.D5515R7 

—  The  cunning -man,  a  musical  entertainment,  in  two  acts.  As  it 
is  performed  at  the  Theatre  Royal  in  Drury-Lane.  Originally  writ- 
ten and  composed  by  M,  J.  J.  Rousseau.  Imitated,  and  adapted  to 
his  original  music,  by  Charles  Burney  .  .  . 

London,  T.  Becket  and  P.  A.  de  Hondt,  1 766.     4*p.  I.,  30,  [1]  y.    20"-^ . 

Two  acts.  Cast  and  preface,  in  which  Bumej'  apologizes  for  defects  in  his  trans- 
lation: 

"The  native  simplicity  and  beauty  of  the  original  poetry,  he  could  not  flatter  him- 
self with  the  hopes  of  preserving  in  the  translation  .  .  .  However,  the  airs  have  been 
scrupulously  preserved  from  change  or  mutilation  ..." 

In  a  foot-note  he  adds: 

"Upon  rehearsing  the  music,  it  has  been  thought  necessary  to  retrench  the  second 
act,  for  fear  of  satiety." 

These  cuts  are  printed  in  the  text  with  inverted  commas. 

First  performed,  as  indicated,  November  21,  1766.  Longe  257 

—  The  cunning-man  .  .  .    The  second  edition. 

Same  title,  imprint,  date,  text,  cast,  and  preface.  Lonoe  26 

—  The  cunning  man.  A  musical  entertainment.  In  two  acts. 
From  the  Devin  du  village  of  Rousseau.     By  Dr.  Charles  Burney. 

f.  [196]-207.  19'^^.  (CoUection  of  the,  most  esteemed  farces,  per- 
formed on  the  British  stage,  Edinburgh,  1792,  vol.  ii.) 

Cast.  ScHATz  11753B 

—  Les  amours  de  Bastion  et  Bastienne,  parodie  du  Devin  de 
village.  Par  Madame  Favart,  &  Monsieur  Hamy.  Representee 
pour  la  premiere  fois,  par  les  Com^diens  itahens  ordinau'es  du  roi,  le 
samedi  4  aodt  1753. 

La  Haye,  Jean  Neaulme,  1755.     32  p.     IB'^,  ML48.A4 

—  Les  amours  de  Bastien  et  Bastienne,  parodie  du  Devin  de 
village,  par  Madame  Favart,  &  Monsieur  Hamy;  representee  pour 
la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le  mer- 
credi 26  septembre  1753.     Nouvelle  edition. 

Paris,  N.  B.  Duchesne,  1759.  47,  [1]  p.  19^'".  (Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  v.) 

One  act.  En  vaudevilles.  Cast.  Written  in  collaboration  with  Favart,  who  is 
not  mentioned.    The  arranger  of  the  music  not  known  to  Font.  ML  49.A2F1 


y 


y 


376  LIBBARY   OF   CONGBESS 

Le  devin  du  village — Continued. 

—  Les  amours  de  Bastien  et  Bastiene  parodi6  du  Devin  du  Vil- 
lage par  Madame  Favart  et  Mr.  Hamy.  Representee  pour  la  pre- 
miere fois  par  les  Com^diens  ordinaires  du  roi  le  mercredi  26  Sep- 
tembre  1753  &  augment^e  depuis  d'une  Ronde  qui  se  trouve  apres 
la  Parodie. 

Avignon,  Jacques  Garrigan,  1768.     24  p.     ^5^*="*.  ML48.M2M 

—  Les  amours  de  Bastien  et  Bastienne,  parodie  du  Devin  de 
village,  par  Madame  Favart  &  monsieur  Harny;  representee  pour  la 
premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  mer- 
credi 26  septembre  1753.     Nouvelle  edition. 

Paris,  la  veuve  Duchesne,  1770.     ^3  p.     18Y^. 

One  act.  Printed  in  the  text  are  the  airs  of  "J'ons  pardumonami,"  "Hulas'!  Tu 
t'en  vas!"  "Plua  matin  que  raurore,"  "Quand  un  tendron  viant,"  "Autrefois  k  sa 
maltresse,"  "De  ce  volage  Colas  r^pond,"  "La  voici  .  .  .  t6t  d^campons,"  "On  n'a 
dans  I'mariage,"  "Ma  peine  vous  rend  fiere,"  "Non,  infidele,  cours  k  ta  Belle," 
"Va,  je  te  rens  la  pareiUe,"  "Mes  enfants,  apr^s  la  pluie,"  "A  present  J'nons  pus 
lian,"  "Autrefois  la  jeune  Thdrfese."  Schatz  11481 

Les  devins  de  la  Place  Saint-Marc.  Entree  in  Campra's  Les  festes 
venitiennes.  * 

Di  rado  ruom  sa  giudicar  se  stesso,  ballet.  See  P.  Guglielmi'a 
Alessandro  nell'  Indie. 

Le  diable  a  quatre,  ou  La  double  metamorphose,  opera-comique 
en  trois  actes.  Par  M.  S.  .  .  .  Represente  pour  la  premiere  fois 
sur  le  TheMre  de  la  Foire  S.  Laurent,  le  19  aoftt  1756.  Et  repris  le 
12  fevrier  1757,  a  ta  Foire  S.  Germain. 

La  Haye,  Jean  Neaulme,  1757.     56  p.     19^"^^. 

See  next  entry.  ML  50.2,D52P4 

—  Le  diable  a  quatre,  ou  La  double  metamorphose,  opera-comique 
en  trois  actes,  par  M.  S 

Paris,  Duchesne,  1762.     51  p.     i5«"». 

By  Sedaine.  The  music  consisted  of  popular  aire.  It  is  therefore  a  mistake  if 
sometimes  Philidor  is  recorded  as  the  composer  instead  of  as  the  arranger  of  the  score. 

Schatz  11490 

—  Le  diable  a  quatre,  ou  La  double  metamorphose,  opera  comique, 
en  trois  actes,  represente  pour  la  premiere  fois  sur  le  Theatre  de  la 
Foire  Saint  Laurent,  le  19  aoM  1756;  &  repris  le  12  fevrier  1757  a  la 
Foire  Saint  Germain.     Par  M.  S  .  .  .  . 

Paris,  Duchesne,  1770.     60  p.     19"'^. 

Cast.  On  p.  4-6  the  ariette  "Oui,  oui,  je  veux  en  sortir"  (I,  3),  22-24  "En  grand 
silence,  avec  prudence"  (II,  1),  37-40  "An!  quel  plaisir  hors  de  moi"  (III,  1). 

Schatz  11691 

Le  diable  d'argent.  Prologue.  Represente  par  la  Troupe  du  Sieur 
Francisque  a  la  Foire  S.  Germain  1720.  Pendant  laquelle  le  chant 
ayant  ete  defendu,  ovl  joiia  par  tolerance  ce  prologue  &  les  deux 
pieces  suivantes  en  prose. 

—  Arlequin,  roi  des  Ogres,  ou  Les  bottes  de  sept  lieues.  Pi^ce 
d'un  acte.  Representee  par  la  troupe  du  Sieur  Francisque  a  la  Foire 
de  S.  Germain  1720. 


OPERA   LIBBETTOS  377 

Le  diable  d'argent — Continued. 

—  La  queue  de  verite.  Piece  d'un  acte.  Represents  par  la 
troupe  du  Sieur  Francisque  k  la  Foire  de  Saint  Germain.     1720. 

Le  Theatre  de  U  foire,  Paris,  1724,  t.  iv,  3  pi,  {95]-211  p.     17''^. 

According  to  a  note  on  2d  p.  1.  the  plays  in  t.  iv  were  by  Le  Sage,  Fuzelier,  and 
D'Omeval.  The  title-page  of  "Le  diable  d'argent"  explains  the  absence  of  operatic 
features  in  these  three  plays.  ML  48.L2IV 

Diana.     See  Reiser's  Die  entdeckte  verstellung. 

Diana  al  bagno,  ballet.    See  Grazzan^a's  Amor  per  ore. 

Diana  e  Endimione,  ballet.    See  Bertoni's  L'anello  incantato. 
Diana  ed  Endimione.     A.  T.  of  the  ballet  L'amor  vincitore. 

Diana  ed  Endimione,  ballet.    See  P.  Guglielmi's  II  disertore. 

Diana  sorpresa,  ballet.     See  Marescalchi's  II  tutore  ingannato. 

Diana  su  I'Elba,  introduzione  musicale  alia  gran  caccia  fatta  tsuIP 
acqua  nelle  vicinanze  di  Dresda  per  ordine  di  S.  M.  in  occasione  delle 
nozze  di  L.L.  A.A.  R.R. — Diane  sur  I'Elbe  .  .  . 
Dresde,  J.  C.  Stossel,  n.  d.     Upaged.     18^^^. 

Author  not  mentioned,  and  unknown  to  Schatz,  Italian  and  French  (prose)  text. 
Johann  David  Heinichen  is  mentioned  as  composer. 

First  performed,  as  indicated,  September  18,  1719.  Schatz  4704 

Diana  und  Endymion.  Ein  singspiel  von  Friedrich  Karl  von 
Strombeck.     Nach  Metastasio. 

Braunschweig,  J  oh.  Christoph  Meyer,  1795.    ^7  p.     18^'^. 

Two  acts.    Nocomposer  or  performance  recorded  by  Schatz.  Schatz  11604 

Diana's  mask. 

See  p.  59-62  (4th  act)  of  Sir  Robert  Stapylton's  tragi-comedy,  "The  stepmother 
.  .  .  acted  with  great  applause  at  the  Theatre  in  Little  Lincolns-Inn -fields, "  Lon- 
don, J.  Straeter,  1664. 

—  Apollo's  mask. 

Ibidem,  p.  42-44  (3d  act).  Longe  122 

Diane,  divertissement  pour  le  roi. 

\S5i\S58  p.  17^'^.  {Antoine  Danchet,  Theatre,  Paris,  1751, 
t.  Hi.) 

One  act.  Apparently  identical  with  the  entr^,  "Diane  &  Endimion,"  in  the  con- 
densed version  of  Quinault-LuUy's  ballet,  "Le  triomphe  de  I'amour,"  which  Danchet 
and  Campra  edited  for  its  revival  on  Sept.  11,  1705.  PQ  1972.D2 

Diane  et  Endimion.     Entree  in  Quinault's  Les  amours  des  Deesses. 

Diane  et  Endimion.     A.  T.  of  de  Bury's  La  vengeance  de  I'amour. 

Diane  sur  I'Elbe.     Tr.  of  Heinichen's  Diana  su  I'Elba. 

La  diavolessa.  Dramma  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  I'autunno  dell'  anno  MDCCLV  con 
musica  del  Buranello. 

Carlo  Goldoni,  Opere  Teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  43, 
[179]-239  p.     18^"^.  PQ 


378 


LIBRARY   OF   CONGRESS 


/ 


La  diavolessa.  Dranima  giocoso  })er  musicu  di  Polisseno  Fegejo, 
P.  A.  Da  rappresentarsi  nel  Teatro  di  S.  Samuele  rautunno  dell' 
anno  MDCCLV. 

Venezia,  Angiolo  Geremia,  n.  d.    52  p.     16""*. 

Three  acts.     ByGoldoni.    Cast  and  name  of  Baldassare  Galuppi  as  composer. 

ScHATz  3449 

—  Li  vaghi  accidenti  fra  atnore,  e  gelosia.  Dramma  giocoso  per 
musica,  da  rappresentarsi  nel  Nuovo  Teatro  alia  Cavallerizza  nella 
fiera  di  Giubilate  dell'  anno  MDCCLVI.  In  Lipsia.  —  Die  artigen 
zufaelle  zwischen  liebe  und  eifersucht  .  .  .  Auf  dem  neuerrichteten 
Theater  im  allhiesigen  Reuthause  ...  in  Leipzig  aufgefuehret  .  .  . 
n.  i.,  n.  d.     159  p.     16^^'^'^. 

Three  acts.     By  Goldoni.     Scenario  and  name  of  Galuppi  as  composer.    German 
text  faces  Italian  text,  which  is  practically  identical  with  that  of  "La  Diavolessa." 

ScHATz  3450 

II  diavolo  a  quattro,  ballet.     See  Calvi's  Ezio. 


y      II  diavolo  a  quattro  ossia  La  dcppia  metamorfosi,  ballet.     See 
Calegari's  Artemisia. 

II  diavolo  a  quattro  ossia  La  doppia  metamorfosi,  ballet.     See 
Caruso's  II  matrimonio  in  conunedia. 


II  diavolo  a  quattro  ossia  La  doppia  metamorfosi,  ballet. 
Grassmann's  L'amore  artigiano. 


See 


Didio  Giuliano.     Drama  rappresentato  nel  nuovo  Teatro  Ducale  in 
Piacenza  .  .  .     Poesia  del  dottor  Lotto  Lotti,  e  musica  di  Don  Ber- 
nardo Sabadini  .  .  . 
Parma,  Stamparia  Bucdle,  1687.     20  p.     14'^^K 

Three  acts.  Impresario's  dedication,  argument,  scenario,  and  curious  not'ce  to 
the  reader  which  reads  in  part : 

"ci6  che  si  rende  oscuro  nel  verso,  non  riesce  poi  chiaro  a  gl'idioti,  massime  fra 
le  consonanze  della  mu.sica;  essendo  hoggidi  un  gran  precetto  il  sodisfare  I'udito 
commune;  abbenche  per6  se  ne  servissero  anche  i  primi  maestri;  di  questa  verity 
te  ne  fh,  fede  Tacito  parlando  di  Seneca  k  cui  bisognava  esse  auribuLS  saeculi  accomo- 
dattis.  Legilo  dunque  solo  in  teatro,  contemplando,  chi  lo  rappresenta  xmito  all' 
ingegnosa  armonia  del  Sig.  D.  Bernardo  Sabadini  eroico  compositore  de  nostri  tempi; 
mS  non  applicare  a  trascorrerlo  con  occhio  curioso  fuori  di  teatro,  perche  non  ne 
caverai  alcuna  allettazione,  cosa  che  pure  da  sudetti  antichi  era  considerata  .  .  ." 

ScHATZ  9199 

Dido;  a  comic  opera.     As  it  is  performed  at  the  Theatre  Royal  in  the 
Hay-Market. 

London,  T.  Davies,  1771.     2  p.  I.,  34  p.     19^'^. 

Two  acts  with  prologue.  Neither  Thomas  Bridges,  the  author,  nor  the  composer 
is  mentioned.  Towers  is  presumably  mistaken,  if  he  attributes  the  music  to  Dr. 
Arne.  He  probably  confused  this  with  Arne's  masque  with  harlequinade  "Dido 
and  Aeneas,     compo.sed  1733.     {See  Cummings.) 

First  performed,  as  indicated,  July  24,  1771.  Lonoe  32 

Dido.     Tr.  of  Albinoni's  Didone  abbandonata. 


Dido.     Tr.  of  Piccinni's  Didon. 


OPEKA  LIBKETTOS  379 

Dido,  koenigin  von  Carthago  in  einem  singe-spiel  auf  dem  Ham- 
burgischen  Theatro  vorgestellet. 

[Hamburg],  Gedruckt  im  jdhr  1707.      Unpaged.     i<?i<="*. 

Three  acts.  Neither  the  author,  Hinsch,  nor  the  composer,  Chrietoph  Graupner, 
is  mentioned  in  the  '"Vorrede."  Schatz  4122 

Didon,  tragedie  represents  par  I'Academie  royale  de  musique  I'an 
1693.  Les  paroles  de  Mad.  Xaintonge,  &  La  musique  de  M.  Des- 
marets.     XaX  opera. 

n.  i.,  n.  d.  front ,  p.  281-344  (Recueil  general  des  opera,  t.  iv,  Paris, 
1703).     14'^'^. 

Detached  copy.     Prologue  and  five  acts. 

First  performed,  as  indicated,  September  11,  1693.  Schatz  2531 

Second  copy.    ML  48. R4 

Didon,  tragedie  lyrique  en  trois  actes;  represents  a  Fontainebleau 
devant  Leiu-s  Majestes,  le  16  octobre  1783  et  pour  la  premiere  fois 
sur  le  Theatre  de  rAcademie-royale  de  musique  le  lundi  V  decembre 
1783. 

Pans,  P.  de  Lormel,  1783.     viii,  51,  [1]  p.     23'="'. 

Three  acts.  Cast  and  names  of  Marmontel  as  author,  of  Niccol6 Piccinni  as  com- 
poser. Schatz  8088 

—  Dido,  heroische  oper  in  drev  akten;  zur.musik  von  Piccini,  nach 
dem  franzoesischen  von  C.  Herklots. 
Berlin,  n.  puhl.,  1799.     48  p.     15'='^. 

Three  acts.    Cast. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  March  18."  1799.      Schatz  8089 

Didon  abandonnee.     Tr.  of  Jommelli's  Didone  abbandonata. 

La  Didone  di  Gio.  Francesco  Busenello.  Opera  rappresentata  in 
musica  nel  Teatro  di  San  Casciano  nell'  anno  1641. 


cm 


Venetia,  Andrea  Giuliani,  1656.     80  p.     15 

Three  acts  with  prologue.  Argument.  Without  name  of  the  composer,  Pietro 
Francesco  Cavalli.  Schatz  1718 

Didone.     Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1773  alia  presenza  di  S.  S.  R.  M. 
Torino,  Onorato  Derossi,  n.  d.    viii,  64  p.     15^^^^. 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser, Giuseppe  Colla.  One  of  Bartolommeo  Lany's  ballets  performed  with  the 
opera  was  called  "Piramo  e  Tisbe"  and  is  described  on  p.  vii-viii;  the  music  was  by 
Paolo  Ghebard.  Schatz  2107 

Didone.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  S.  Carlo.  In  benefizio  di  Marianna  Albani  la  sera  dei  16  ottobre 
1799. 

Lishona,  Simone  Taddeo  Ferreira,  1799.    99  p.     15^'^. 

Incorrectly  dated:  MDCCLXXXXVIX.  Three  acts.  By  Metastasio  (who  is  not 
mentioned)  with  alterations  by  the  theatre  poet  Giuseppe  Caravita.  Arguinent.  cast, 
scenario  and  name  of  Settiminio  Marino  as  the  composer.  Portuguese  text  faces 
Italian.  Schatz  5968 


380  LIBRARY   OF   CONGRESS 

La  Didone.  Dramma  di  Paolo  Moscardini  colla  musiea  del  Sig.  D. 
Andrea  Mattioli  mastro  di  capella  del'  Altezza  Sereniss.  di  Mantoua. 

Bologna,  Giacomo  Monti,  1656.     119  'p.     ISV"". 

Three  acts  with  prologue.  Author's  dedication  dated  Bologna,  April  25,  1656, 
brief  scenario,  and  notice  to  the  reader  in  which  the  author  pays  his  compliments  to 
Mattioli,  to  the  "nuoua,  e  bizzarra  inuentione  delle  machine  del  Sig.  Gio.  Battista 
Barbieri  Ferrarese"  and  the  "nobilissima  maestria  e  magnificenza  delle  scene  de' 
Sig.  Angelo  Michele  Colonna,  Agostino  Metelli,  e  Domenico  Santi."      Schatz  6102 

La  Didone.  Dramma  in  musiea  da  rappresentarsi  nel  pubblico 
Teatro  di  Forli  nella  primavera  dell'  anno  1779  .  .  . 

ForZl,  AchiUe  Marozzi,  n.  d.     66  p.     17 Y"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication,  dated 
Forli,  May  8,  1779,  cast,  scenario,  and  name  of  Bernard(in)o  Ottani  as  the  composer. 

Schatz  7364 

La  Didone.  Dramma  serio  in  musiea.  Da  rappresentarsi  in 
Firenze  nel  R.  Teatro  dei  Risoluti  posto  in  via  S.  Maria  nell'  estate 
deir  anno  1795  ..  . 

Firenze,  Anton  Giuseppe  Pagani  e  comp.,  1796.     39  p.     16^^- 
Three  acts.    Cast  and  names  of  Metastasio  as  the  author,  of  Paisiello  as  the  com- 
poser. 

First  performed  as  indicated,  August  1,  1795;  as  "Didone  abbandonata,"  at 
Naples,  Teatro  di  S.  Cario,  November  4,  1794.  Schatz  7699 

Didone.  Drama  per  musiea  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  camovaie  del  1750  ,  .  . 

Torino,  Pietro  Giuseppe  Zappata  eJigliuolo,n.d.     4P-^-:^^  P-    16*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Domingo  Terradellas  as  composer.  Schatz  10285 

Second  copy.    ML  48.A5    v.  4 

La  Didone,  ballet.     See  Tritto's  Apelle  e  Campaspe. 

La  Didone  abbandonata. 

[435]-o06  p.  19*^^.  {Pietro  Metastasio,  Opere  drammatiche,  Vene- 
zia,  Giuseppe  BetineUi,  1733-37,  t.  i.) 

Three  acts.  Argument,  No  composer  is  mentioned.  This  is  one  of  his  texts 
which  Metastasio  later  on  revised.  Here  are  a  few  telling  differences  between  the 
original  and  the  later  version:  The  original  version  has  in  I,  11  the  aria  "Ogni  ama- 
tor  suppone;  the  later  version  has  no  aria.  In  the  original  version  I,  14  begins  "Lo 
so,  quel  cor  feroce"  and  has  the  aria  "Infelice  e  sventurato."  This  scene  was  sup- 
pressed in  the  later  version,  so  that  the  later  I,  14  is  the  same  as  the  original  I,  15 
*Come!  Da'  labbri  tuoi."  In  the  original  version  II,  1  begins  "Signer  ove  te'n 
vai,"  in  the  later  version  "Chi  fu  che  all  inumano."  ML  49,A2M4 

—  Didone  abbandonata. 

Metastamo,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  ii,  [S07]-J!f.03  p. 

Three  acts  and  licenza.  Argument.  "Nella  forma  in  cui  sono  stati  ridotti  dall' 
autore."    (See  note  on  p.  169  of  t.  vi.) 

—Same,  t.  vi,  [281}-390  p.    16^. 

"Come  .  .  .  neir  altre  edizioni."  ML  49.A2M42 

—  Didone  abbandonata.  Primo  drama  dell'  autore,  rappresentato 
la  prima  volta  con  musiea  del  Sarro  in  Napoli,  nel  carnevale  dell' 
anno  1724. 

pi,  [3]-108  p.  ^^c™.  (Pietro  Metastasio,  Opere,  t.  Hi,  Parigi, 
vedova  Herissant,  1780.) 

Three  acts  and  licenza.    Ai^ument.  ML  49.A2M44 


• 


OPERA   LIBRETTOS  381 

Didone  abbandonata.  Tragedia  di  Pietro  Metastasio  ...  Da 
rappresentarsi  in  musica  nel  Teatro  delle  Dame  nel  camevale  dell' 
anno  MDCCXXXII  ... 

[Eoma],  Pasquino,  n.  d.     83,  [1]  p.     15*^^. 

Three  acts.  Last  unnumb.  p.  contains  the  aria,  "M'offendi;  e  pur  conviene,"  aa 
substitute  for  "Tacero  se  tu  lo  brami"  (II,  12).  Impresario's  dedication,  argument, 
scenario,  cast.     Composer  not  mentioned,  and  unknown  to  Schatz.       Schatz  11380 

Didone  abbandonata.  Tragedia  per  musica  ridotta  ad  use  del 
nuovo  famosissimo  Teatro  di  S.  Girolamo.  Da  rappresentarsi  nel 
camovale  delF  anno  1747. 

Venezia,  Luigi  Pavini,  1747.    69  p.     ll*^^. 

Three  acts.  Cast,  scenario,  and  name  of  composer,  Andrea  Adolf  ati.  Based  on 
Metastasio's  libretto  of  the  same  title.  Schatz  57 

Didone  abbandonata.  Tragedia  di  Artino  Corasio,  pastore  Arcade, 
da  rappresentarsi  in  musica  nel  Teatro  Tron  di  S.  Cassano  il  camevale 
deir  anno  MDCCXXV  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     67  f.     15^'^. 

Three  acts.  By  Metastasio.  Dedicatory  sonnet,  argument,  scenario,  east,  and 
name  of  Tommaso  Albinoni  as  composer.  Schatz  89 

—  Dido,  musiclische  [!]  opera,  welche  auff  dem  Theatro  zu  Bresslau 
in  Novembr.  amio  1726  vorgestellet  .  .  . 

n.  i.,  n.  d.     Unpaged.    5*=™. 

Three  acts,  with  Italian  and  German  text,  name  of  Albinoni  as  composer,  and  argu- 
ment.   Closely-trimmed  copy.    Pagination  possibly  cut  off  in  trimming. 

Schatz  90 

Didone   abbandonata.     Dramma  per  musica   del  Signore   abate 
Pietro   Metastasio  Poeta  Cesareo   da   rappresentarsi  nel  Teatro   di 
Lucca  neir  autunno  dell'  anno  1775. 
Lucca,  Filippo  Maria  Benedini,  1775.    60  p.     14"™. 

Three  acts.    Argument,  cast,  scenario,  and  name  of  Paequale  Anfossi  as  coniposer. 
First  performed  at  Venice,  Teatro  di  S.  Mois6,  in  May,  1775;  at  Lucca  on  August  23, 
1775.  Schatz  233 

La  Didone  abbandonata.  Da  rappresentarsi  in  musica  nel  Teatro 
nuovo  di  corte  .  .  .  nel  camovale  1760.  La  poesia  6  del  Signor 
abbate  Pietro  Metastasio  ...  La  musica  ^  del  Sig.  Andrea  di 
Bemasconi  .  .  . 

Monaco,  Giov.  Giac.  Votter,  n.  d.     89,  [8]  p.     iJ^m 

Three  acts.  Argument,  cast,  and  scenario.  The  unnumb.  p.  contain  description 
in  I'rench,  of  the  ballets,  "Le  prie  del'  oiseau  ou  du  Papegai,  ballet  pantomime  de 
demi-caractdre "  and  "La  coquette  de  village,  pantomime  comique.''  The  ballets 
were  invented  by  Du  Buisson  de  Chalandray.  The  composer  of  the  music  ia  not 
mentioned. 

Previously  performed  at  Munich,  carnival  of  1756,  and  at  Venice,  Teatro  di  S.  Giov. 
Grisostomo,  carnival,  1741.  Schatz  858 

Didone  abbandonata,  ballet.     See  Cherubini's  Ifigenia  in  Aulide. 

La  Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi 
sopra  il  famoso  Ducal  Teatro  di  Bronsevigo  nella  fiera  d'Inverno  dell 
anno  1751. 

Bronsevigo,  gli  heredi  Keitel,  n.  d.     131  p.     18^"'^. 

Three  acts.  By  Metastasio.  German  text  and  title-page,  "Die  verlaesene 
Didone,"  face  Italian.  Argument,  scenario,  and  names  of  the  author  and  the  com- 
poser, "Ignatio  Fiorillo,  maestro  di  capella  di  corte." 

First  performed,  aa  indicated,  February,  1751.  Schatz  3200 


382  LIBRARY  OF  CONGRESS 

La  Didoue  abbandonata,  dramma  per  musioa  da  rappresentarsi  nel 
Regio-ducal  Teatro  di  Milano,  nel  carnovale  dell'  anno  1755  .  .  . 
Milano,  Giiiseppe  Richino  Malatesta,  1755.     5  p.  I.,  60  p.     ^h'^^- 
Three  acts.    By  Metastaeio.     Dedication,  argument,  scenario,  cast,  and  name  of  the 
composer,  Giovanni  Andrea  Fioroni.  Schatz  3206 

Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Benedetto  il  carnevale  dell'  anno  MDCCLXIV. 

Venezia,  Giorgio  Fossati,  n.  d.     71  p.     17*^^. 

Three  acts.  By  Metastaeio.  Reprint  of  the  author's  e«nnet  from  the  first  edition 
of  his  drama,  now  used  as  a  dedication  to  the  moat  excellent  ladies  of  Venice,  argu- 
ment, scenario,  cast,  and  name  of  Galuppi  as  composer. 

First  performed  at  Modena,  Teatro  Molzo,  carnival,  1741  (Piovano).    Schatz  3503 

[La  Didone  abbandonata]. — Die  verlassene  Dido,  ein  musicalisclies 
drama,  welches  auf  dem  koeniglichen  schlosse  zu  Hubertusburg  an 
dem  hoechstbeglueckten  geburthstage  Ihro  Majestaet  August i  III 
.  .  .  aufgefuehret  worden. 

Dresden,  hey  der  verw.  Stoesselin,  17^2.     {double)  102,  [2]  p.     16'^'". 

The  Italian  title-page  apparently  missing. 

Three  acts  and  licenza.  By  Metastasio,  who  is  not  mentioned.  Argument  and 
name  of  Johann  Adolph  Hasse  as  composer. 

First  performed,  as  indicated,  October  7,  1742.  Schatz  4535 

—  Didone  abbandonata.     Tragedia  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  per  ordine  di  Sua  Maesta. 
Berlino,  Haude  e  Spenez,  1769.     131,  [3]  p.     15^"^. 

Three  acts.  Argument,  scenario,  and  names  of  Metastasio  as  author,  of  Johann 
Adolph  Hasse  as  the  composer.  German  title-page,  "Die  verlassene  Dido,"  and 
text  face  Italian,  which  is  not  q^uite  the  same  as  in  the  Dresden  version.  For  instance, 
the  eleventh  scene,  "Non  partir6  se  pria,"  has  been  dropped  and  "Non  h  piii  tempo, 
Araspe,"  originally  the  twelfth,  has  become  the  eleventh  scene. 

Performed  December,  1769,  as  indicated;  previously,  December  29,  1752. 

Schatz  4536 

La  Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  Ducale  di  Stutgart  festeggiandosi  il  felicissimo  giomo 
natalizio  di  Sua  Altezza  Serenissima  Elisabetta  Sofia  Federica 
duchessa  di  Wurtemberg  et  Teck  ...  La  poesia  e  del  .  .  .  Pietro 
Metastasio  ...     La  musica  h  del  Sig.  Nicolo  Jommelli  .  .  . 

Stutgart,  Giovanne  Georgio  Gotta,  1751.     117  p.     18'^^. 

Three  acts.  Argument,  cast,  scenario.  German  title  page,  "Die  verlassene 
Dido,"  and  text  face  Italian.    Schatz  calls  this  Jommelli's  second  version. 

First  performed,  as  indicated,  August  30,  1751.  At  Vienna  this  "Neuschopfung** 
(Abort)  was  first  performed  on  December  8,  1749.  According  to  Abort,  the  first 
version  of  the  opera  was  first  performed  at  Rome,  Teatro  di  Torre  Argentina  in  1746, 
according  to  Schatz  on  Saturday,  January  28,  1747.  Schatz  4854 

La  Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  Ducale  di  Stuttgart  festeggiandosi  il  felicissimo  giorno 
natalizio  di  Sua  Altezza  Serenissima  Carlo,  duca  regnante  di  Wirtem- 
berg  e  Teck  etc.  La  poesia  e  del  Signor  abbate  Pietro  Metastasio  .  .  . 
La  musica  d  nuovamente  composta  dal  Signor  Nicol5  Jommelli  .  .  . 
I  balli  sono  inventati  dal  Signor  Giovanni  Giorgio  Noverre  .  .  . 
Stuttgart,  Gotta,  1763.     207  p.     21'^'^. 

Three  acts.  Argument,  scenario,  cast.  French  title-page,  "Didon  abandonn^e," 
and  text  face  Italian.  On  p.  [74J-89  cast  and  description  of  the  ballet  "Medea  e 
Giasone-Medee  et  Jason,"  music  by  Rudolph  (Abort);  on  p.  [138J-157  of  "Orfeo  ed 


OPERA   LIBRETTOS  383 

La  Didone  abbandonata — Continued. 

Euridice,  ballo  eroico-Orph^e  &  Euridice,"  music  by  Deller  (Abert).  Schatz  and 
Abert  call  this  Jommelli's  third  setting.  The  text  is  strikingly  different  from  that 
of  the  1751  edition.  For  instance,  Adrasto  has  been  dropped  from  the  list  of  charac- 
ters, the  opera  begins  "  No  principessa,  amico"  instead  of  "Non  piii.  Fedel  Adrasto." 
The  aria  "D'aversa  sorte"  has  been  dropped  from  the  first  scene,  in  fact  the  text  of 
the  three  first  scenes  has  been  condensed  into  one,  so  that  the  aria  "Dir5  che  fida 
sei"  in  I,  5,  now  comes  in  I,  3,  the  aria  "Fra  lo  splendor  nel  trono"  has  been  dropped 
from  I,  9  (resp.  I,  7),  the  scene  (I,  10)  "De  gli  nomini  omamento"  with  the  aria 
"Vorrei  pria  esanime"  has  been  replaced  by  (I,  8)  "Empio!  L'orror,  che  porta"  with 
the  aria  "Se  dalle  stelle  tu  nou  sei  guida,"  etc.,  etc. 

First  performed,  as  indicated,  February  11,  1763.  Schatz  4855 

Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  S.  Benedetto  il  camovale  dell'  anno  1770. 

Venezia,  Modesto  Fenzo,  1770.     61  p.     17""^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  "Sonetto  dell'  autore,  pre- 
messo  alia  prima  edizione  di  questo  suo  dramma,"  argument,  cast,  scenario,  and 
name  of  Francesco  de  Ma  jo  as  composer. 

First  performed  December  26,  1769,  as  indicated.  Schatz  5855 

Didone  abbandonata,  dramma  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  camovale  dell' 
anno  MDCCLI. 

Venezia,  In  merceria  all'  insegna  della  scienza,  n.  d.     68  p.     15"". 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Ai^ument,  scenario,  cast,  and 
name  of  Gennaro  Manna  as  composer.  Schatz  5901 

Didone  abbandonata.     A  serious  opera.     Written  by  Metastasio. 
As  performed  at  the  Bang's  Theatre  hx  the  Hay-Market.     The  music 
by  the  most  celebrated  composers  under  the  direction  of  Signor 
Sacchini. 
London,  T.  CadeU,  n.  d.     55,  [1]  p.     IS"""^. 

Three  acts.  Cast.  English  translation  faces  Metastasio's  much  altered  text- 
The  unnumb.  page  contains  a  list  of  R.  Bremner's  ' '  New  music."  Probably  a  libretto 
for  the  performances  at  London,  1775-76,  of  which  Bumey  (IV,  504)  says  "chiefly 
by  Sacchini."  Schatz  11321 

Didone  abandonata.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Bartolomeo  nel  carnevale  dell'  anno  1724  .  .  . 

Napoli,  Francesco  Ricciard,  1724-     72  p.     15'^'". 

Three  acts.  By  Metastasio  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, scenario,  cast  and  name  of  Domenico  Sarro  as  the  composer.    ML  50.2.D55S2 

—  Didone  abbandonata.  Tragedia  di  Artino  Corasio,  pastore 
Arcade  da  rappresentarsi  nel  famosissimo  Teatro  di  S.  Gio.  Grisostomo 
nell'  autunno  dell'  anno  1730  .  .  . 

Venetia,  Carlo  Buonarigo,  n.  d.     1  p.l.,  72  p.     15"". 

Three  acts.  By  Metastasio.  Domenico  Lalli's  dedication,  argument,  cast, 
scenario,  and  name  of  Domenico  Sarro  as  the  composer.  Schatz  9422 

Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi  sul 
Regio  Teatro  Danese,  I'invemo  dell'  anno  1762.  —  Den  forladte 
Dido  .  .  . 

Ki0henhavn,  Lars  Nielsen  Svare,  n.  d.     127  p.     15^"". 

Three  acts.  Argument,  cast,  and  names  of  Metastasio  as  author,  of  Giuseppe 
Sarti  as  composer.     (''La  musica  k  tutta  nuova.")  Schatz  9432 


384  LIBBABY  OF   CONGBESS 

La  Didone  abbandonata.  Dramma  per  musica  da  rappresentarsi 
in  Ferrara  nel  Teatro  Bonacossa  da  San  Steffano  il  camevale  dell' 
anno  1763  .  .  . 

Ferrara,  Fomari,  n.  d.     59  p.     15'^^. 

Three  acts.  By  Metastasio.  Impresario's  dedication,  argument,  cast,  scenario, 
and  name  of  Giuseppe  Scolaxi  as  composer.    ( "  La  musica  tutta  nova  sar^  composta . "  ) 

ScHATz  9806 

Didone  abbandonata,  dramma  per  musica  del  Sig.  abate  Pietro 
Metastasio  da  rappresentarsi  nel  Teatro  Giustiniani  di  S.  Mois6. 
L'autunno  dell'  anno  1757. 

Venezia,  Modesto  Fenzo,  1757.     58  p.     15''^. 

Three  acts.     Cast,  argument,  scenario,  and  name  of  Tommaso  Tra  jetta  aa  composer. 

SCHATZ  10402 

Didone  abbandonata.  Drama  di  Artino  Corasio  Pastore  Arcade. 
Da  rappresentarsi  in  musica  nel  Teatro  delle  Dame  nel  carnevale  dell' 
anno  1726  ..  . 

Roma,  Bemaho,  n.  d.     78  p.     l^Y"^- 

Three  acts.  By  Metastasio.  Dedication,  argument,  scenario,  cast  and  name  of 
Leonardo  Vinci  as  composer.  ML  50.2.D55V4 

La  Didone  abbandonata.     Dramma  per  musica  da  rappresentarsi 
in  Perugia  nell'  apertura  del  Nuovo  Teatro  Civico  del  Verzaro  Tau- 
tunno  deU'  anno  MDCCLXXXI  .  .  . 
Perugia,  Mario  Riginaldi,  n.  d.     xii,  68  p.     18^'^'^. 

Three  acts.  By  Metastasio.  Cast,  ailment,  scenario,  name  of  Francesco  Zanetti 
as  composer,  and  (on  xii  p.)  description  and  historical  sketch  of  the  new  theatre,  the 
erection  of  which  was  begun  on  June  12, 1778,  and  which  was  to  be  opened  in  Septem- 
ber, 1781. 

On  p.  [25]-31,  argument  and  description  of  "II  trionfo  di  Alessandro  o  sia  La 

Srigionia  di  Dario,  ballo  eroico  in  quattro  atti,  composto  e  diretto  dal  signor  Domenico 
icciardi."    Music  ("tutta  nuova  ")  by  Mattia  Stabingher. 
First  performed  at  Livomo,  Teatro  di  San  Sebastiano,  carnival,  1766. 

ML  48.A5  V.  5, 

x/La  Didone  delirante.  Drama  da  rappresentarsi  in  musica  nel 
famoso  Teatro  Grimano  di  SS.  Gio.  e  Paolo  I'anno  MDCLXXXVI. 
Di  Antonio  Franceschi  .  .  . 

Venetia,  Francesco  Nicolini,  1686.     72  p.     l^Y"^. 

Three  acts.  Author's  dedication,  notice  to  the  reader,  in  which  the  author  calls 
this  "primo  parto  del  mio  debole  ingegno,"  and  names  Carlo  Pallavicino  as  the  com- 
poser, argument,  and  scenario.  Schatz  7736 

Diesmal  hat  der  mann  den  willen!  Ein  originalsingspiel  in 
einem  aufzuge.  Aufgefiihrt  auf  der  K.  K.  NationalschauDiihne. 
Die  musik  ist  vom  herm  Ordonez. 

Wien,  ley  dem  logen  meister,  1778.     28  p.     16^"^. 

By  Johann  Friedrich  Schmidt,  who  is  not  mentioned. 

First  performed,  as  indicated,  April  22,  1778.  Schatz  7291 

Les  Dieux  acteurs.     Entrle  in  Brassac's  L'empire  de  I'amour. 

Les  dieux  d'figipte.     A.  T.  of  the  ballet  Les  f^tes  de  I'Himen. 

II  difficile  per  inganno  facile,  ballet.  See  Andreozzi's  II  dis- 
prezzo  vinto. 


OPERA  LIBRETTOS  385 

II  dilettante.     A  petit  burletta,  in  two  parts.     As  performed  at 
Marybone-Gardens.     The  music  composed  by  Mr.  Hook. 
London,  W.  Wood/all,  1772.     19  p.     23'^. 

Author  not  recorded.    Cast  and  author's  dedication,  dated  August  1772: 

"This  piece  being  merely  thrown  together  for  the  purpose  of  giving  excellent 

talents  an  opportunity  of  exertion,  is  inscribed  to  that  delicate  composer,  Mr.  Hook; 

and  those  able,  very  approved  performers  ..."  ML  50.2.D56H6 

Dioclesian.  See  H.  Purcell's  The  prophetess  or  The  history  of 
Dioclesian. 

•  II  Dioclete.     Drama  per  musica  da  rappresent&rsi  nel  Teatro  di  S. 
Angelo  I'amio  MDCLXXXVII  ... 

Venetia,  Francesco  Nicolini,  1687.     70,  [1]  p.     l^Y"^. 

Three  acts.  By  Andrea  Rossini,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  scenario,  and  notice  to  the  reader,  in  which  the  author  calls  this  "la  mia 
terza  fatica,"  and  Teofilo  Orgiani  the  composer  of  the  opera.  The  imprimatur  at  the 
end  is  dated  January  15,  1687. 

First  performed,  as  indicated,  January  18,  1687.  Schatz  7297 

Diocletiano.  Drama  per  musica  da  rappresentarsi  nel  sempre 
famoso  Teatro  Grimano  a  SS.  Gio.  e  Paolo.  L'anno  MDCLXXV. 
Di  Matteo  Noris  .  .  . 

Venetia,  Francesco  Nicolini,  1685.    front,  72  p.     13^^. 

Three  acts.  Author's  dedication,  dated  Venice,  December  10, 1674,  ai^ument,  and 
scenario.    The  composer,  Carlo  Pallavicino,  is  not  mentioned.  Schatz  7721 

Diogene  tentato  ma  non  vinto  daU'  azuore,  ballet.  See  Rust's  II 
conte  Baccelone. 

Diomede,  tragedie  representee  par  TAcademie  royale  de  musique 
Tan  1710.  Les  paroles  de  M.  de  la  Serre.  La  musique  de  M.  Bertin. 
LXXIV.  opera. 

n.  i.,  n.  d.  pi.,  63-128  p.  14'^^.  (Recueil  general  des  opera, 
Paris,  1714,  t-  x-) 

Detached  copy.     Prologue  and  five  acts. 

First  perlormed,  as  indicated,  April  28,  1710.  Schatz  879 

Second  copy.    ML  48. R4 

Diomede  punito  da  Alcide.  Drama  di  Aurelio  Aureli  posto  in 
musica  dal  Signor  Tomaso  Albinoni  da  rappresentarsi  nel  Teatro  h. 
Sant'  Angelo  .  .  . 

Venezia,  Nicolini,  1701.     4.8  p.     14<'^. 

Three  acts.    Author's  dedication,  argument,  scenario,  and  cast.        Schatz  107 

Diom.ede    punito   da   Alcide.     Drama   rappresentato   nel   nuovo 
Teatro    Ducale    di    Piacenza  .  .  .     Poesia    d'Aurelio    AureH  .  .  .  e 
musica  singolare  di  D.  Bernardo  Sabadini  .  .  . 
Parma,  Stampa  ducale,  1691.     80  p.     15^"^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  brief  description  of  the 
ballets.  Schatz  9194 

Dionisio  overo  La  virtil  trionfante  del  vizio.  Drama  per  musica  da 
rappresentarsi  nel  sempre  famoso  Teatro  Grimano  di  S.  Gio.  e  Paolo 
l'anno  MDCLXXXI  .  .  . 

Venetia,  Francesco  Nicolini,  1681.     67  p.     13^*^. 
72251°— VOL  1—14 25 


386  LIBBABY  OF  CONGBESS 

Dionisio — Continu  ed . 

Three  acts.  By  Matteo  Noris,  who  dates  his  dedication,  Venice,  January  12, 
1681.  Argument,  scenario,  and  notice  to  the  reader  informing  him  that  Petronio 
Franceschini  having  died  after  the  composition  of  the  first  act,  the  other  two  acts 
and  the  overture  were  composed  by  [Giovanni  Domenico]  "Dottor  Partenio." 

SCHATZ  3319 

Dionisio  re  di  Portogallo.     Drama  per  musica  rappresentato  neUa 
Villa  di  Pratolino. 

Firenze,  Anton  Maria  ATbizzini,  1707.     4  P-  ^-t  ^i  V-     ■^^'^"'• 
Three  acts.    Argument  and  scenario.     Neither  the  author,  Antonio  Salvi,  is  men- 
tioned, nor  the  composer,  Giacomo  Antonio  Perti. 

First  performed,  as  indicated,  September,  1707.  ML  50.2.D57P3 

Dionisio  Siracusano.     Drama  per  musica  da  rappreseutarsi  nel 
nuovo  Teatro  Ducale  di  Parma  il  camevale  dell'  anno  1689  .  .  . 
Parma,  Stamperia  ducale,  n.  d.     88  p.     15'^'^. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  and  notice  to  the  reader  which  reads  in  part: 

"Se  .  .  .  .vedrai  il  suddetto  drama  cangiato,  diminuito,  6  accresciuto,  sappi  che 
essendo  trabalzati  simili  componimenti  da  un  teatro  a  I'altro,  cangiando  rappresen- 
tanti,  ^  necessario^il  dar  nuova  forma  alle  parti  secondo  le  ability  appoiche  un'  abito 
fabbricato  per  la  vita  d'un'  uomo  di  rado  s  acconcia  a  quella  d'un  altro." 

Bibiena,  the  scene  painter,  is  mentioned,  also  Torelh,  the  "inventore  degli  abiti," 
but  not  the  composer,  Giacomo  Antonio  Perti.  Schatz  7955 

Le  directeur  dans  Tembarras.     Tr.  of  Cimarosa's  L'impresario  in 
angustie. 

La  direttrice  prudente.     Commedia  per  musica  da  rappresentarsi 
nel  Teatro  de'  Fiorentini  nell'  autunno  di  quest  'anno  1767. 
Napoli,  Vincenzo  Flauto,  1767.     72  p.     15^"^. 

Three  acts.  Pages  3-4,  presumably  containing  the  cast  and  name  of  Niccol6  Pio- 
cinni  as  composer  and  possibly  the  name  of  the  author  are  wanting.      Schatz  8122 

The  disappointed  virgin.     A.  T.  of  The  marriage  promise. 

The  disappointment :  or,  The  force  of  creduUty.     A  new  American 
comic-opsra,  of  two  acts.     By  Andrew  Barton,  esq.  .  .  . 

New-YorJc,  Printed  in  the  year,  1767.     v,  [7]-S8  p.     16^"^- 

Epilogue  and  prologue  which  begins: 

"  Tho'  distant  far,  from  fam'd  Britania's  isle. 
Where  comic-scenes,  call  cynics  forth  to  smile;   • 
Our  artless  muse,  hath  maae  her  first  essay 
T'instruct  and  please  you  with  a  modem  play  " 
and  preface,  si^ed  by  Andrew  Barton,  which  reads  in  part: 

"The  following  local  piece,  intitled,  (The  Disappointment,  or  the  Force  of  Credul- 
ity) was  originally  wroJ;e  for  my  own,  and  the  amusement  of  a  few  particular  friends, 
who  (unknown  to  me)  were  pleased  to  signify  their  approbation  of  it,  in  such  a  man- 
ner, that  it  soon  engrossed  the  chief  part  of  the  conversation  of  all  ranks  of  people; 
who  expressed  their  desire  to  hear  it,  and  have  it  published.  Under  these  circum- 
stances, I  was  greatly  at  a  loss  how  to  proceed,  I  did  not  choose  (as  I  saw  no  merit  in 
it)  to  expose  it  to  the  criticisms  of  criticks,  to  put  it  in  the  power  of  gentlemen  skill'd 
in  scholastick  knowledge,  to  ridicule  my  ignorance,  or  condescend  to  the  intreaties 
of  those,  who  I  thought  had  no  more  sense  than  myself,  and  who  might  (perhaps) 
have  made  it  better  than  it  really  is.  Conscious  therefore  of  my  own  inability,  I 
determined  to  excuse  myself  to  all;  and  in  this  determination  I  persisted  for  some 
time,  but  at  last,  for  my  own  safety,  was  obliged  to  capitulate  and  surrender  on  the 
following  stipulations;  First,  the  infrequency  of  dramatic  compositions  in  America: 
Secondly,  the  torrent  of  solicitations  from  all  quarters:  Thirdly,  the  necessity  of  con- 
tributing to  the  entertainment  of  the  city:  Fourthly  and  lastly,  to  put  a  stop  (if 


OPERA   LIBRETTOS  387 

The  disappointment — Continued. 

possible)  to  the  foolish  and  pernicious  practice  of  searching  after  supposed  hidden 
treasure.  These  terms,  hard  as  they  are,  I  have  with  reluctance  been  forced  to  sub- 
mit to,  I  am  therefore  obliged  in  vindication  of  my  conduct,  to  assure  the  public 
that  the  story  is  founded  on  matter  of  fact,  transacted  near  this  city,  not  long  since, 
and  recent  in  memory  of  thousands;  for  the  truth  of  which  assertion  I  appeal  to 
numbers  of  my  fellow  citizens." 

This  first  American  ballad  opera  (with  18  airs  indicated  by  title.     "Air  IV.  Yankee 
Doodle")  was  to  have  been  first  performed  by  the  American  Company  at  Philadel- 
phia on  April  20,  1767,  but  it  was  withdrawn,  "personal  reflections"  rendering  it 
unfit  for  the  stage."     "The  disappointment"  is  sometimes  attributed  to  Thomas 
Forrest  or  to  John  Leacock,  but  the  evidence  is  not  sound  (Sonneck). 

ML  50.6.D52 

—  The  disappointment ;  or,  The  force  of  creduUty.  A  new  comic- 
opera,  in  three  acts.  By  Andrew  Barton,  esq.  Second  edition, 
revised  and  corrected  with  large  additions  by  the  author  .  .  . 

Philadelphia,  Francis  Shallus,  1796.     iv,  [6]-94  p.,  1  I.     18^"^- 
The  piece  now  has  20  songs,  none  of  which  with  indication  of  the  air.     The  preface 
is  the  same,  but  prologue  and  epilogue  are  different.     Not  performed.     ML  50.6. D54 

La  discesa  d'Ercole  all'  inferno  o  sia  Alceste  ed  Admeto,  ballet. 
See  Antonelli's  Catone  in  Utica. 

La  discesa  d'Ercole  all'  inferno,  ballet.  See  Cherubini's  Hgenia  in 
Aulide. 

La  discordia  fortunata.     Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  di  S.  Samuele  nel  camovale  dell' anno  1775. 
Venezia,  Antonio  Cfraziosi,  1775.     71  p.     17*^^. 

Three  acts.  Cast,  scenario,  and  name  of  Paisiello  as  the  composer.  The  author 
not  mentioned,  and  imknown  to  Schatz.  Schatz  7607 

—  L'avaro  deluso.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Piccolo  Theatro  di  S.  A.  S.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1776.     151  p.     15^"". 

Three  acts.  Is  "La  discordia  fortunata,"  with  alterations,  for  instance  I,  3, 
"*'0h!  Oh!"  and  I,  5  "Se  state  alia  sua  cura"  having  been  dropped.  German  title 
page,  "Der  verspottete  geitzige,"  and  text  face  the  Italien.  Paisiello  is  mentioned 
as  the  composer. 

First  performed  November  20,  1776,  as  indicated.  Schatz  7608 

—  L'avaro  deluso.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Theatro  in  Parte  Piccola  della  regia  cittk  di  Praga,  nella  casa  del 
Signor  conte  di  Thun. 

[Praga],  n.  publ.,  nelV  autunno  dell'  anno  1784-     14'^  V-     16'^^- 
Three  acts.    Paisiello  is  mentioned  as  the  composer.    German  title  page  "Der 
betrogene  geizhalz,"  and  text  face  Italian. 

First  performed  as  indicated.  Schatz  7609 

—  Der  betrogene  geizige;  oder:  Wer  das  glueck  hat,  fuehrt  die 
braut  heim!  Eine  nach  dem  itaUenischen  freibearbeitetete  komische 
oper  in  drei  aufzuegen  von  C.  A.  Vulpius.  Die  musik  ist  von 
Paisiello. 

Leipzig,  Johann  Samuel  Heinsius,  1794-     15*^^. 

First  performed  at  Weimar,  Herzogl.  Theater,  April  26,  1786.  Schatz  7610 

The  discokvery  of  America.     A.  T.  of  Columbus. 


388  LIBRARY   OF   CONGRESS 

II  disertor  francese:    Dramma  ffiocoso  per  musica  da  rappresen- 

tarsi  nel  Reggie  Teatro  di  S.  Carlo,  della  Principessa  la  primavera 

deir  anno  1796. 
Lisbona,  Simone  Taddeo  Ferreira,  1796.     157  p.     14Y^- 
Two  acts.    The  author  not  mentioned,  and  unknown  to  Schatz.     Cast,  scenario, 

and  name  of  Giuseppe  G-azzaniga  as  the  composer.     Portuguese  text  faces  Italian. 

With  the  opera  was  performed  "II  disprezzo  vendicato  dal  disprezzo.     Ballo  di        j- 

caratere  russo  d'invonzione  edirezione  del  Sig.  Pietro  Angiolini."    The  composer  of         * 

the  music  is  not  mentioned . 

First  performed  at  Bologna,  Teatro  Lagnoni,  fall  of  1789.  Schatz  3681  I 

Second  copy.    ML  48.C6II 

II  disertore.     A.  T.  of  the  ballet  Alessio  ed  Eloisa. 

II  disertore.     Drama  serio  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  il  camovale  dell   anno  1785. 
Venezia,  Modesto  Fenzo,  1784.    front,  79  p.     18^'^. 

Three  acts.  Cast,  scenario,  name  of  composer,  Francesco  Bianchi,  and  that  of  the 
librettist,  Bartolomeo  Behincasa,  who  (p.  3-11)  addresses  an  interesting  esthetic 
preface,  "Agli  amatori  del  melodrama  italiano,"  in  which  he  explains  at  length  his 
reasons  for  attempting  "un  nuovo  genere  di  dramma" — indeed,  a  kind  of  reform  of 
libretto  writing.  One  of  his  reasons  is  that  Metaetasio  and  his  predecessors  "non 
hanno  mai  scritto,  che  drammi  eroicamente  erotici,"  and  that  "avendo  egli  quel 
sommo  uomo  esaurito  il  suo  genere  "  he  had  become  somewhat  tedious  to  the  Italian 
nation.  Benincasa  pleads  for  "un  dramma  in  musica,  che  sia  tra  la  grand'  opera 
eroica  e  la  comica  operetta."  He  finally  remarks  that  the  present  opera  was  sketched, 
put  in  verses,  composed,  and  staged  in  35  days. 

On  p.  [37]-44,  ai^ument,  cast,  scenario,  and  detailed  description  of  the  five-act 
"I  baccanali,  ballo  tragico  pantomimo  d'Innocenzio  Gambuzzi."  Neither  of  this  nor 
the  second  ballet,  "Le  vendemmie  fiamminghe"  is  the  composer  mentioned. 

First  performed,  as  indicated,  December  26,  1784.  Schatz  978 

II  disertore ;  a  new  comic  opera ;  as  acted  at  the  King's  Theatre  in 
the  Hay-  Market.  Written  by  Mr.  Badini.  The  music  entirely  new, 
by  Signor  Guglielmi. 

London,  T.  Baldwin,  1770.    viii,  [2],  95  p.     17^"^. 

Three  acts.  Author's  dedication,  dated  May  10,  1770,  cast,  and  author's  preface, 
in  which  he  says: 

"...  I  shall  be  blamed  in  having  written  it  [the  dramal  rather  for  singers  than  for 
actors  .  .  .  This  piece  was  written  merely  to  replace  another,  the  representation  of 
which  had  been  forbidden.  The  spectacle  exhibited  at  present  by  France  in  the 
island  of  Corsica,  appearing  to  me  well  calculated  for  the  stage,  I  wrote  an  opera 
intitled — I  Franceei  in  Corsica — the  business  and  the  characters  of  which  were  a 
striking  portraiture  of  the  odd  manners  of  our  age.  Political  cautions  however 
quashed  my  design,  and  I  was  then  obliged  to  take  "The  Deserter"  in  hand.  Though 
the  ground  of  this  drama  be  taken  from  the  French,  yet  a  comparison  of  the  two  pieces 
will  shew,  that  the  French  dramatist  only  furnished  me  with  the  block  for  making 
the  work  ...  In  writing  the  songs,  as  on  them  generally  depends  the  success  of  our 
operas,  I  have  carefully  endeavoured  to  suit  them  to  the  capital  object  of  vocal  music : 
which  is,  to  heighten  the  energy  of  sentiments  inspired  by  the  accents  of  tenderness, 
pity,  joy  and  love  in  general.  Every  accompaniment  deficient  in  this  view,  fails  of 
Its  proper  effect:  and  a  good  reason  of  so  few  operas  taking  is,  that  when  the  music 
has  no  affinity  with  the  words,  it  becomes  purely  a  futile  clutter  of  instruments;  an 
unmeaning  harmony,  which,  not  affecting  the  heart,  soon  tires  the  ear,  and  causes  the 
spectator  to  repeat  that  hon  mot  of  Fontenelle:  Sonate  que  me  veux-tu?" 

On  an  inserted  leaf  he  adds  that,  "rather  than  to  jar  with  any  body,  and  chiefly 
with  musicians,"  he  has  replaced  Lovatini's  "Se  quel  ciglio  ancor  ti  miro  "  (II,  6)  bv 
"Tergi'l  bel  ciglio,  o  cara.  English  translation,  with  caption  title,  "The  deserter,  ' 
faces  the  Italian  text.  Schatz  4242 


>• 


OPEEA   LIBRETTOS  389 

n  disertore — Continued. 

—  II  disertore.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 

Teatro  della  ma  dos  Condes  in  Lisbona  nell'  estate  dell'  anno  1772. 

[Lishona],  NeUa  stamperia  reals,  n.  d.     4  P-  ^v  ^^  P-     17'^^. 

Three  acts.  Cast,  scenario,  and  name  of  Pietro  Guglielmi  as  composer.  Badini'a 
text  is  considerably  altered.  For  instance,  the  aria  "Se  quel  ciglio  ancor  rimiro"  is 
now  at  the  end  of  II,  4,  instead  of  II,  6,  and  the  very  first  aria,  "Ogni  amante  che  si 
Bposa,"  has  been  replaced  by  "All'  amoroso  ardore."  With  the  opera  was  per- 
formed, composer  of  the  music  not  mentioned,  Vinceslao  de  Rossi's  "Diana  ed  Endi- 
mione,  picciolo  ballo."  Son atz  4243 

II  disertore,  ballet.     See  P.  Guglielmi's  L'impostore  punito. 

II  disertore.  Dramma  serio  per  musica  da  rappresentarsi  nel  Teatro 
da  S.  Agostino  il  camovale  dell'  anno  1799.  Dedicate  ai  cittadini 
liberi. 

Genova,  Stamperia  della  Liberia,  Anno  II.  della  Repubblica  Liguria. 
45  p.     ISY"^. 

Two  acts.  By  Bartolomeo  Benincaea,  who  is  not  mentioned.  Cast  and  name  of 
Angelo  Tarchi  as  the  composer. 

First  performed  at  London,  Haymarket,  spring  of  1789.  Schatz  10235 

II  disertore  francese,  baUet.  See  Anfossi's  Antigono. 

II  disertore  francese,  ballet.  See  Caruso's  II  cavalier  magnifico. 

II  disertore  francese,  ballet.  See  G.  Giordani's  Ariarate. 

II  disertore  francese,  ballet.  See  Jommelli's  Armida  abbandonata. 

La  diserzione  per  equivoco,  ballet.  See  Curcio's  La  conquista  di 
Granata. 

La  disfatta  de'  Mori.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  camovale  del  1791  alia  presenza  di  S.  S. 
R.M. 

Torino,  Onorato  Derossi,  n.  d.     viii,  54  p.     16'^^. 

Three  acts.  Cast,  argument,  scenario,  and  names  of  the  author,  Giandomenico 
Boggio,  and  of  the  composer,  Giuseppe  Gazzanig'a.  On  p.  49-53  a  description  of 
the  ballets  designed  by  Domenico  Ballon,  "L' Americana  in  Europa"  and  "Orfeo 
ed  Euridice."  According  to  a  footnote  Gluck's  music  was  used  for  this  ballet.  The 
necessary  alterations  and  the  additional  music  were  composed  by  Gaetano  Pugnani. 

Schatz  3662 

La  disfatta  di  Abdurahamel,  tiranno  di  Trabacca,  ballet.  See 
Andreozzi's  Argea. 

La  disfatta  di  Dario.     A.  T.  of  the  ballet  II  trionfo  di  Alessandro. 

La  disfatta  di  Dario.  Dramma  per  musica  da  'rappresentarsi  nel 
Teatro  della  cittk  d' Alessandria  in  occasione  deUa  solita  fiera  d'Ot- 
tobre  MDCCLXXIX  sotto  la  protezione  di  S.  R.  M. 

Alessandria,  Ignazio  Vimercati,  n.  d.     59,  xx  p.     18"^*. 

Three  acts.     Argument,  cast,  scenario,  and  notice: 

"II  presente  dramma  composto  molti  anni  sono  in  diversa  forma  dal  duca  Mor- 
belli  [S.  Angelo  Morbilli]  Napoletano,  e  ridotto  poi  ad  uso  teatrale  dall'  abate  Giu- 
seppe Caeali  Romano,  si  e  ora  variato,  anche  notabilmente,  ppr  adattarlo  al  maggior 
comodo  della  musica  e  alle  circostanze  di  questo  Teatro.  E  la  musica  di  nuova 
compoeizione  del  Sig.  maestro  Giuseppe  Ferrero." 


390  LIBRARY  OF   CONGRESS 

La  disfatta  di  Dario — Continued. 

On  p.  i-xvi,  "Proemio  per  il  primo  ballo,"  cast,  argument,  and  Felice  Ales- 
sandri's  name  as  composer  of  the  music  of  "  L'enlevement  des  Sabines.  Ballet 
heroique  du  sieur  Sebastien  Gallet,  execute  pour  la  premiere  fois  ..."  The  second 
ballet,  "II  feudatario  ingannato,"  by  Daniele  Curtz;  the  third,  "La  festa  Stras- 
bui^hese,"  by  Gallet.  The  composers  are  not  mentioned.  On  p.  xvii-xx,  a  list  oi 
the  box -holders.  Schatz  3081 

La  disfatta  di  Dario.     Dramma-per  musica  da  rappresentarsi  nel 
Teatro  Grande  alia  Scala  il  came  vale  dell'  anno  1789  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     56  p.     16''™. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz,  though  this  may  be 
called  a  barely  recognizable  version  of  Morbilli's  text  of  the  same  title.  Dedication, 
argument,  cast,  scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.  With 
the  opera  were  performed  the  ballets  "Le  nozze  de'  Sauniti"  and  "Donna,  e  I'uomo 
selvatico,"  by  Gaspero  Angiolini,  who  also  composed  the  music. 

First  performed  at  Milan,  as  indicated,  February  7,  1789.  Schatz  3836 

Second  copy.    ML  48. A5    v.8 

La  disfatta  di  Dario.     Dramma  per  musica  da  rappresentarsi  nel 
Regie  Teatro  di  Torino  nel  camovale  del  1774  .  .  . 
Torino,  Onorato  Derossi,  n.  d.     viii,  52  f.     W'^. 

Three  acts.  By  the  duca  Sant'  Angelo  Morbilli,  who  is  not  mentioned .  Argument, 
cast,  scenario,  and  name  of  Giovanni  Masi  as  the  composer  of  the  opera,  of  the  dance 
music,  Paolo  Ghebard.  Schatz  6062 

La  disfatta  di  Dario.  Dramma  per  musica  da  rappresentarsi  in 
Firenze  nel  Teatro  di  via  del  Cocomero  nelF  autunno  dell'  anno 
1776  .  .  . 

Firenze,  Anton-Giuseppe  Pagani,  1776.     50  p.     16Y™- 

Three  acts.  By  the  duca  Sant'  Angelo  Morbilli,  who  is  not  mentioned.  Argument, 
cast,  and  name  of  Paisiello  as  the  composer. 

First  performed  at  Rome,  Teatro  Argentina,  carnival,  1776.  Schatz  7664 

—  La  disfatta  di  Dario.     Dramma  per  musica  da  rappresentarsi 
nel  Teatro  da  S.  Agostino  il  camovale  dell'  anno  1782  .  .  . 
Genova,  Stamperia  Gesiniana,  n.  d.     62,  [1]  p.     ISY^- 
Three  acts.    The  author  is  not  mentioned.    Argument,  cast,  and  name  of  Paisiello 
as  the  composer.     On  p.  [55]-62,  cast  and  description  of  Domenico  Ricciardi's  "Orieo 
ballo  ...  in  cinque  atti,"  music  by  "maestro  Suster"  (Josef  Schuster,  1748-1812). 

Schatz  7664a 

La  disfatta  di  Dario.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1778. 

Veneda,  Modesto  Fenzo,  1778.     48  p.     16\<^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Tommaeo  Trajetta  as  composer, 
but  not  of  librettist,  duca  Sant'  Angelo  Morbilli.  Schatz  10409 

La  disfatta  di  Vario.     A.  T.  of  the  ballet  La  Tusneida. 

La  disgrazia  opportuna,  ballet.     See  Monza's  Cleopatra. 

II  disinganno.     See  La  veritk  raminga. 

La  disperata  speranza  rawivata  ne'  successi  di  Giacopo  Quinto  di 
Scozia  e  Maddalena  di  Francia.     See  Bazzani's  L'inganno  trionfato. 


OPERA   LIBRETTOS  391 

Li  disprezzatori  delle  donne,  osia  Le  vicende  amorose.  Dramma 
giocoso  per  musica,  da  rappresentarsi  nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1793.     137  p.     ISY"^- 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Giacomo  Tritto  is 
mentioned  as  the  composer.  German  title-page  "Die  veraechter  der  schoenen  oder 
Der  wechsel  in  der  liebe,"  and  text  face  Italian. 

First  performed,  as  indicated,  November  6,  1793;  at  Rome,  Teatro  Capranica,  April, 
1787,  as  "Le  vicende  amorose."  Schatz  10458 

—  Le  awenture  galanti.  Dramma  per  musica  da  rappresentarsi 
in  Geneva  nel  Teatro  da  S.  Agostino  la  prima  vera  del  1789  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     88  p.     14'^™-. 

Two  acts.  The  same  text  as  "Le  vicende  amorose."  Cast,  scenario,  and  name  of 
Giacomo  Tritto  as  the  composer. 

On  p.  81-88,  cast,  ar^ment,  and  description,  without  name  of  the  composer  of  the 
music  of  Urbano  Garzia's  "Emirena  e  Si»ismondo,  ballo  eroico  pantomime."  His 
other  ballet  was  called  "Gli  amanti  ridicoli  ossia  La  capricciosa  umiliata." 

Schatz  10482 

—  I  raggiri  d'amore.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Ces.  Reg.  Teatro  di  Trieste  nell'  estate  dell'  anno  1793. 

Trieste,  Stamperia  govemiale,  n.  d.     59  p.     18^^^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Impresario's  dedica- 
tion, dated  Trieste,  August  13,  1793,  cast,  scenario,  and  name  of  Giacomo  Tritta 
(Tritto)  as  composer. 

First  performed  at  Padova,  Teatro  Obizzi,  June,  1792,  with  the  above  title. 

Schatz  10480 

—  Le  vicende  amorose.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Regio  Teatro  di  S.  Carlo,  della  Principessa  il  carnevale 
deir  anno  1797. 

Lishona,  Simone  Taddeo  Ferreira,  n.  d.     Ill  p.     14^"™- 
One  act.     Cast  and  name  of  Giacomo  Tritto  as  the  composer.    Portuguese  text 
faces  Italian.  Schatz  10483 

II  disprezzo.     Azione  drammatica  giocosa  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno  1782. 
Venezia,  Modesto  Fenzo,  1782.     82  p.     16""^. 

One  act  only,  followed  by  second  act  of  Anfossi's  "Amanti  canuti,"  both  with 
cast,  scenario,  and  name  of  composer,  Pasquale  Anfossi,  but  not  of  librettist  of  "II 
disprezzo,"  who  is  unknown  to  Schatz.  On  p.  36  the  impresario  gives  his  reasons  for 
substituting  the  second  act  of  "  Gli  Amanti  canuti "  for  the  second  act  of "  1 1  disprezzo . ' ' 
Even  this  substitution  was  an  afterthought,  because  at  first  the  sketched  second  act 
was  to  be  dropped  for  the  first  act  of  Anfossi's  "La  forza  delle  donne.     Schatz  279 

II  disprezzo  vendicato  dal  disprezzo,  ballet.  See  Gazzaniga's 
II  disertor  francese. 

II  disprezzo  vinto  dal  disprezzo.     Commedia  per  musica  da  rap- 
presentarsi nel  Real  Teatro  del  Fondo  di  Separazione  per  second' 
opera  del  corrente  anno  1795  .  .  . 
Napoli,  n.  pull.  1795.    42  p.     15^"^. 

Two  acts.    Author  not  identified  by  Schatz.    Cast,  argument,  and  name  of  com- 

goeer,  Gaetano  Andreozzi.     Contains  also  the  plot  of  "II  difficile  per  inganno  facile, 
alio  favoloso  composto  e  diretto  dal  Sig.  Gio.  Battista  Giannini,"  p.  5-7. 
First  performed,  as  indicated  in  the  impresario's  dedication,  dated  August  2, 1795, 
a8  "eeconda  opera."  Schatz  207 


392  LIBRARY   OF   CONGRESS 

Le  dissensioni  d'amore  nel  campo,  ballet.  See  G.  M.  Rutini's 
Sicotencal. 

II  dissolute.     A.  T.  of  Righini's  II  convitato  di  pietra. 

II  dissoluto  punito  o  sia  II  D.  Giovanni.     Dramma  giocoso  in  due 
atti.     Da  rappresentarsi  nel  Teatro  di  Praga  Fanno  1787. 
Praga,  Schoenfeld,  n.  d.     85  p.     16^"^. 

Two  acte.     Da  Ponte  is  mentioned  as  the  author,  Wolfgango  Mozzart  (Mozart)  as 
the  composer. 

First  performed  at  Prague,  Altstaedtisches  Theater  des  grafen  F.  A.  von  Noetitz, 
October  29,  1787.  Schatz  6788 

—  Alien  und  gesaenge  aus  der  oper:  Don  Juan.  In  zwei  aufzuegen, 
aus  dem  italiaenischen.     Die  musik  ist  von  Mozart. 

FrankfuH,  n.  puhl,  1789.     SI  p.     15^"^. 

Two  acts.     German  version  by  Heinrich  Gottlieb  Schmieder. 
First  performed  at  Mayence,  Churfiirstl.  Nationaltheater,  May  23,  1789  (first  perf. 
in  German  of  Mozart's  opera).  Schatz  6789 

—  Don  Juan  oder  Die  redende  statue.  Ein  singspiel  in  vier  auf- 
zuegen nach  dem  italiaenischen  II  Don  Giovanni.  Die  musik  ist  von 
herrn  Wolfgang  Mozart,  kayserl.  koenigl.  kapellmeister. 

n.i.,179S.     SO  p.     15^"^. 

Lyrics  only.  Schatz  6859 

—  Gesaenge  zu  der  oper:  Don  Juan,  oder  Der  steineme  gast.  In 
zwey  aufzuegen,  nach  dem  italiaenischen.     Die  musik  ist  von  Mozart. 

n.  %.,  1795.     S9  p.     17^"^.  Schatz  6790 

La  distruzione  d'Aquileja  fatta  da  Attila  r^  degli  Unni,  ballet. 
Bee  Guglielmi's  Enea  e  Lavinia. 

La  distruzione  del  Peru.  A.  T.  of  G.  Giordani's  Pizzarro  nell' 
Indie. 

La  distruzione  di  Cartagine,  ballet.     B>ee  Andreozzi's  Amleto. 

I  divertimenti  dei  Calabresi,  ballet.     See  Gagni's  I  matti  gloriosi. 

II  divertimento  de'  Quaqueri  nella  China,  ballet.  See  Gagni's  I 
matti  gloriosi. 

II  divertimento  in  campagna.  L.  T.  of  Astaritta's  La  contessa 
Bimbinpoli. 

»/ La  divisione  del  mondo.  Drama  per  musica  nel  famoso  Teatro 
Vendramino  di  S.  Salvatore,  di  Giuho  Cesare  Corradi  Fanno 
MDCLXXV  .  .  . 

Yenetia,  Francesco  Nicolini,  1675.    front.,  72  p.     14""^. 

Three  acts.    Author's  dedication,  dated  Venice,   February  4,   1675,  argument, 
scenario,  and  notice  to  the  reader,  with  name  of  Giovanni  LiegTenzi  as  the  composer. 

Schatz  5534 

The  divorce.     A  musical  entertainment.     As  sung  at  Mary  bone- 
Gardens.     The  music  composed  by  Mr.  Hook. 
London,  J.  Whehle,  1771.     1  p.  I.,  18  p.     21^"^. 

Two  parts.     Cast.     By  Lady  Dorothea  Dubois,  who  is  not  mentioned. 
Not  to  be  confused,  as  does  Grove's  Diet.,  with  Jackman's  farce  of  1781. 

LONGE  184 


OPEKA    LIBEETTOS  393 

Le  docteur  Sangrado.     Opera-comique  en  un  acte  par  Mrs.  An- 
seaume  &  *     *     *     Represent  e  pour  la  premiere  fois  sur  le  Theatre 
de  la  Foire  S.  Germain,  le  13  fevrier  1758. 
Paris,  N.  B.  Duchesne,  1758.     64  p.     ^Oi«"». 

With  cast.  Durd  is  named  as  the  composer  of  the  "ariettes"  "Pour  gu^rir  toute 
maladie,"  "Au  fond  d'ma  poitreine,"  "Si  tant  de  mes  confreres;"  Jean  Louis  La 
Ruette  of  the  chorus  "Honneur,  au  docteur  Sangrado,"  the  trio  "Rentrez  chez 
nous."  On  p.  47-64,  "Airs,  du  Docteur  Sangrado."  No.  1,  "Avec  moi  viens, 
mignone;"  No.  2  (duet),  "Le  \'in  est  un  mortel  venin — On  ne  peut  trop  ch^rir;" 
No.  3,  "Fille  k  mon  Sge;"  No.  4,  "A  ma  soeur,  en  douceur"  ^this  with  basse-con- 
tinue);  No.  5,  "Oui  je  crois  cela;"  No.  6,  "Avec  eoin  j'ai  sgu.  Schatz  2859. 

Der  docktor,  eine  komische  oper  in  drey  aufzuegen,  nach  dem 
italiaenischen.  Die  musik  ist  von  Joseph  Chudy  ganz  neu  dazu 
verfertigt  worden.  Aufgefuehrt  in  dem  neuerbauten  Schauspiel- 
haiise  von  der  Schmalloggerischen  gesellschaft. 

Presshurg,  Johann  Michael  Landerer,  n.  d.     [4  p.  I.,  52  p.]     16^^^. 

Pagination  cut  off  by  binder.  Chudy's  dedication  and  cast.  Evidently  based  on 
Goldoni's  "II  signor  dottore." 

First  performed,  as  indicated,  in  1779.  Schatz  1872 

The  doctor  and  the  apothecary.  By  Dittersdorf,  with  additions 
by  Storace.     See  Der  apotheker  und  der  doctor. 

Doctor  und  apotheker.  O.  T.  of  Dittersdorf  s  Der  apotheker  und 
der  doktor. 

Os  dois  rapazes  Saboyanos.  Tr.  of  Dalayrac's  Les  deux  petits 
Savoyards. 

Doktor  Faust :  ein  komisches  duodrama,  von  Schink. 

18-43  p.  18'^^.  (Theater  journal  fuer  Deutschland,  Sechstes 
stueclc,  Gotha,  1778.) 

Excerpts  only  from  the  two  acts.  Schatz  11754 

Doktor  Faust.  Eine  original-oper  in  vier  aufzuegen  von  D. 
Schmieder.     In  musik  gesezt  von  Ignatz  Walter. 

Bremen,  Friedrich  Meiers  erhen,  n.  d.     38  p.     16^*^^. 

On  a  fly  leaf,  the  cast  in  ms.,  also  the  date  of  first  performance,  Bremen,  December 
28, 1797.  Schatz  10859 

La  dolce  vendetta,  baUet.    See  Anfossi's  Demofoonte. 

La  dolce  vendetta,  ballet.     See  Cherubini's  Quinto  Fabio. 

Dom  Joao,  ou  O  convidado  de  pedra.  Tr.  of  Gazzaniga's  II  Don 
Giovanni. 

^  Domitiano.     Drama  da  rappresentarsi  nel  famoso  Teatro  Grimano 
h,  S.  Gio.  Paolo  .  .  . 

Venezia,  Francesco  Nicolini,  1673.    front,  72  p.     IJ^Y'^- 
Three  acts.     Dedication  by  the  author,  Matteo  Noris,  dated  Venice,  December  27, 
1672,  "historia,"  and  scenario.    The  composer,  Giovanni  Antonio  Boretti,  is  not 
mentioned.  ML  48.M20 


394  LIBRARY   OF   CONGRESS 

Domitiano — Continued. 
v/ —  Domitiano.     Drama  da  rappresentarsi  nel  famoso  Teatro  Gri- 
mano  h  SS.  Gio.  Paolo  I'anno  MDCLXXIII.     Seconda  impressione  .  .  . 
Venetia,  Francesco  Nicolini,  1673.    front,  70  p.     13^"^. 
Three  acts.    Matteo  Noris' dedication,  dated  Venice,  December  27,  1672,  notice  to 
the  reader,  argument,  and  scenario.    Giovanni  Antonio  Boretti,  the  composer,  is 
not  mentioned.  Schatz  1218 

^  II  Domizio.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo.     L'anno  MDCXCVI.     Di  Giulio  Cesare  Corradi  .  .  . 
Venetia,  Nicolini,  1696.     70  p.     14'^'^. 

Three  acts.  Author's  dedication,  ailment,  scenario,  and  name  of  Marc'  Antonio 
Ziani  as  the  composer.  Schatz  11182 

Don  Anchise  Campanone.     A.  T.  of  Paisiello's  Gli  amanti  comici. 

D  Don  Calandrano.     L.  T.  of  Sacchini's  L'avaro  deluso. 

Don  Chisciotte,  ballet.     See  Zingarelli's  II  mercato  di  Monfregoso. 

Don  Chisciotte  aUe  nozze  di  Gamace.  Divertimento  teatrale. 
Da  rappresentarsi  ne'  Teatri  privilegiati  di  Vienna. 

Yienna,  Giovanni  Tomaso  di  Trattnern,  1770.     28  p.     W^'^. 

One  act.  Giovanni  [Antonio]  Gastone  Boccherini  is  mentioned  as  the  author, 
Antonio  SaJieri  as  the  composer.  Schatz  9286 

D.  Chisciotte  deUa  Mancia.  Commedia  per  musica  di  Giani- 
battista  Lorenzi,  P.  A.  Da  rappresentarsi  nel  Teatro  de'  Fiorentini 
nell'  esta  di  quest'  anno  1769. 

Napoli,  Stamperia  Avelliniana,  1769.     82  p.     15\'^''\ 

Three  acts.    Notice  to  the  reader,  cast,  and  name  of  Paisiello  as  the  composer. 

Schatz  7611 

—  Don  Qnischott  von  Mancia.  Ein  lustiges  singspiel  aufge- 
fuehret  auf  den  kaiserl.  koenigl.  schaubuelinen  in  Wien  im  janre 
1771. 

Wien,  V.  Ghelen,  n.  d.     74  p.     16^"^. 

Three  acts.  Paisiello  is  mentioned  as  the  composer  of  acts  I-II,  Florian  Gass- 
mazin  of  act  III  and  of  the  arias,  etc.,  "Spring  nur,  spring  du  Lumpenhund"  (I,  4), 
"Mein  bester  Sancio"  (I,  5),  "So  langdiejugend"  (II,  4),  "Sie  schlaeft  die  schoene" 
(II,  9),  "Ihr  herren,  ihr  verlangt"  (II,  10),  "Hoert,  wenn  ihr  wollt"  (II,  11). 

Schatz  7612 

Don  Chisciotte  in  corte  deUa  duchessa. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  171^,  t.  ix,  p.  [417]-538. 

Five  acts.  Ai^ument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  vol.  x,  date  and  place  of  first  ed. 
are  given  as  Vienna,  1719.  Fehr  does  not  know  why  Gozzi,  the  editor,  changed  the 
original  title  "Don  Chisciotte  in  Sierra  Morena."  ML  49.A2Z3 

—  Don  Chisciotte  in  corte  della  duchessa.  Pubblicato  per  la 
prima  volta  in  Vienna  1719. 

Apostolo  Zeno,  Poesie  drammaiiche,  Orleans,  1785-86,  t.  xi,  p.  101- 
222.     21*="^. 

Five  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 


OPERA   LIBRETTOS  395 

Don  Chisciotte  in  corte  della  duchessa.  Opera  serioridicola  per 
musica  da  rappresentarsi  nella  Cesarea  Corte  .  .  .  nel  came  vale  dell' 
anno  MDCCXXVII.  La  poesia  e  del  Si^.  abate  Giovan  Claudio 
Pasquini  ...     La  musica  ^  del  Sig.  Antonio  Caldara  .  .  . 

Vienna  d' Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.     4  V-  ^-i  ^^  V-     i'^*'^- 
Five  acts.     Argument  and  scenario.     Nicola  Matteis  is  mentioned  as  the  com- 
poser of  the  ballet  music. 

First  performed  at  Vienna,  as  indicated,  February  6,  1727.  Schatz  1502 

—  Don  Chisciotte  in  corte  della  duchessa.  Opera  serioridicola 
per  musica  del  Signore  abate  Gio.  Claudio  Pasquini. 

n.  i.,  n.  d.    front,  p.  [317]-4£L     IB""". 

Detached  copy.  Five  acts.  Argument  and  scenario,  but  without  name  of  the 
composer.  Pages  422-424  contain  "Argomento  della  farsa  intitolata  I'Epouse  sui- 
vante  o  sia  la  Sposa  cameriera  del  Signor  Chevrier  per  farsi  abraccio,"  Indice  and 
errata.  Schatz  1481 

Don  Chisciotte  in  Sierra  Morena.  Tragicommedia  per  musica, 
da  rappresentarsi  nella  Cesarea  Corte  .  .  .  nel  camevale  delF  anno 
MDCCXIX.     La  musica  e  del  Sig.  Francesco  Conti. 

Viernia  d^ Austria,  Gio.  Van  Ghelen,  n.  d.     8,  92  p. 

Five  acts.  By  Apostolo  Zeno  and  Pietro  Pariati  (not  mentioned).  O.  T  of  the 
above.     Scenario.     Niccola  Matteis  is  mentioned  as  the  composer  of  the  ballet  music. 

First  performed,  as  indicated,  February  11,  1719.  Schatz  2194 

—  Don  Quixotte  in  dem  Mohrengebuei^e,  auf  dem  beruehmten 
Hamburgischen  Schau-Platze  in  einer  opera  vorgestellet. 

Hamburg,  Caspar  Jakhel,  1722.      Unpaged.     ISY"^- 
Five  acts.     Translated  by  Johann  Samuel  Miiller  (not  mentioned).     Caat,  scenario, 
and  "  Vorbericht,"  in  which  appears  this  characteristic  information: 

"Die  historie  vom  Don  Quixott  ist  der  welt  so  bekannt,  daes  es  sehr  ueberflueesig 
seyn  wuerde,  etwas  da  von  zu  beruehren.  Wer  aber  ein  meister-stueck  von  possir- 
licher  und  doch  dabey  in  ihrer  art  haupt-schoener  music  zu  hoeren  verlanget,  der 
mag  die  von  dem  hochberuehmten  kaiserl.  vice-capellmeister  Conti  auf  gegen- 
waertige  opera  verfertigte  composition  nur  gewisslich  dafuer  halten.  Er  hat  darin 
po  kuenstlich  zu  echerzen  und  so  scherzhaft  zu  kuensteln  gewust,  dass  sich  auch  ein 
kenner  bloss  bey  dem  anblick  gewisser  saetze  des  lachens  kaum  enthalten  und  doch 
dabey  nicht  umhin  kann,  die  grosse  geschicklichkeit  des  verfassers  an  ende  ganz 
emsthaft  zu  bewundem.  Von  den  arien  werden  einige  italianisch  andere  aber 
teutsch  gesungen,  damit  ein  jeder  etwas  nach  seinem  sinne  finde;  doch  etehet  bey 
dem  italiaenischen  auch  das  teutsche  und  bei  dem  teutschen  das  italiaenische  in 
einerley  reim-gebaende  um  beydes  gebrauchen  zu  konnen.  Der  Recitativ  hingegen 
ist  ganz  teutsch  gelassen  so  wie  man  ihn  samt  dem  iibrigen  von  Braunschweig  bekom- 
men  hat:  ausgenommen,  dass  der  Cardenio,  als  dessen  partie  allhier  ein  Italiaener 
[Signore  Valentini]  macht,  in  der  vorstellung,  alles  italiaenisch  recitiren  wird,  ob  es 
gleich  im  buche  teutsch  stehet."  Schatz  2195 

•^  II  Don  Chissiot  della  Mancia.     Dramma  per  musica  da  rappre- 
sentarsi nel  Teatro  di  Canal  Regio.     L'anno  MDCLXXX  .  .  . 
Venetia,  Francesco  Nicolini,  1680.     56  p.     13^"^. 

Three  acts.  Publisher's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
which  reads: 

"Perche  giomalmente  ti  vengono  a  presentate  opere  mascherate,  e  perche  s'awi- 
cLna  anco  il  tempo  delle  maschere  mascherato  col  nome  di  Chissiot  t'apreeento  anch'io 
questo  drama,  cne  di  Chissiot  non  contiene  altro  che  la  pretesa  bravura,  ricevilo  per 
opera,  per  comedia,  per  quello  che  ti  piace  ch'io  in  ogni  forma  m'aqueto  alle  tue 
eodisfationi,  sappi  che  ^  stato  composto  nel  ristretto  termine  di  soli  giomi  quattro." 

By  Marco  Moroeini,  music  by  Carlo  Sajon,  neither  of  whom  is  mentioned. 

Schatz  9264 

Don  Colascione.     L.  T.  of  LatUla's  La  finta  cameriera. 


396  UBRABY   OF   CONGRESS 

D  D.  Gastone  overo  La  piil  costante  tra  le  maritate.     Opera  tragi- 

comica.     Di  Giactnto  Anorea  Cicognini  .  .  . 

Roma,  Giuseppe  Corvo  e  Bartolomeo  Lupardi,  1675.     136  p.     ISY^' 
Three  acts  and  prol(^ue.     Publisher's  dedication,  in  which  Lupardi  says  that  the 

general  applause  given  to  Cicognini's  dramas  induced  him  to  publish  anew  this  one. 

The  composer  unknown  to  Schatz.  ML  50.2.D59 

Don  Giovanni  o  sia  II  convitato  di  pietra. 

Composed  by  Giuseppe  Gazzaniga.  Forms  second  act  of  II  capriccio  dramma- 
tico,  Venezia  (1787).  Schatz  10580 

—  II  Don  Giovanni,  ossia  II  convitato  di  pietra.  Dramma  per 
musica  in  un  sol'  atto  da  rappresentarsi  nel  Teatro  della  rua  dos 
Condes  nel  camovale  dell'  anno  1792  .  .  . 

Lishonna,  Simone  Taddeo  Ferreira,  1792.     117  p.     7J<=™. 

Impresario's  dedication,  scenario,  and  name  of  Giuseppe  Gazzaniga  as  the  com- 
poser. Portuguese  title  page  "Dom  Joao,  ou  O  convidado  de  pedra  and  text  face 
the  Italien  by  Bertati,  wno  is  not  mentioned.  Schatz  3682 

II  Don  Giovanni.     A.  T.  of  Mozart's  II  dissoluto  punito. 

Don  Giovanni  Tenorio  ossia  II  convitato  di  pietra.  Melodramma 
per  musica  da  rappresentarsi  in  Bologna  nel  nooile  Teatro  Zagnoni  il 
came  vale  dell'  anno  1791. 

Bologna,  Sassi,  n.  d.     4^  p.     17^^. 

Imprimatur  dated  Feb.  8,  1790.  Cast  and  scenario.  Neither  the  author,  Giam- 
battista  Lorenzi,  nor  the  composer,  Vincenzo  Fabrizj,  is  mentioned.  Under  the 
title  "II  convitato  di  pietra,"  Fabrizi's  opera  was  performed,  1796,  at  Lisbon,  together 
with  Cimarosa's  "La  finta  amalata."     {See  this— .ML  48. C6  III.)         Schatz  2973 

Don  Juan.     Tr.  of  Mozart's  II  dissoluto  punito. 

Don  Juan  oder  Die  redende  statue.  Tr.  of  Mozart's  II  dissoluto 
punito. 

Don  Micco  e  Lesbina.     Intermede.     Par  les  Srs.  Dominique   & 
Romagnesi  .  .  .     Representee  k  la  suite  du  Joiieur,  le  17  aoM  1729. 
Les  parodies  du  Nouveau   Theatre  italien,   Nouv.  ed.,  Paris,  1738, 
t.  iv,  [203'\-220  p.     16^'='^. 

One  act.  The  airs  and  vaudeville  used  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs "  (see  Le  Joueur).  This  is  a  parody  of  the  intermezzo  of  the  same  title 
which  had  been  imported  from  Italy  via  Brussels  (1728).  ML  48. P3 

Don  Mirtillo  contrastato.     Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  nobilissimo  Teatro  della  nobil  Donna  Tron  Veronese 
m  San  Cassiano  I'autunno  dell'  anno  1791  .  .  . 
Venezia,  Modesto  Fenzo,  1791.     56  p.     17 Y"^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Impresario's  dedica- 
tion, cast,  scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.  ("La  musica  6 
tutta  nuova.")  With  the  opera  was  performed  Antonio  Terrades's  ballet,  "L'ospedale 
de'  pazzi."    The  composer  of  the  music  is  not  mentioned.  Schatz  3837 

Don  Paduano.  Mmenzeone  pe'  museca  de  nota'  Pietro  Trinchera. 
Da  rappresentarese  a  lo  Tiatro  de  la  Pace  nchesta  nvenxata  prence- 
peata  a  lo  1745  .  .  . 

Napoli,  Dommineco  Ascione,  17^5.     2  p.  I.,  52  p.     15''^. 

Three  acts.     Dedication,  cast,  and  name  of  Nicola  Logroscino  as  composer. 

Schatz  5672 


OPERA   LIBRETTOS  397 

D.  Pedro,  infante  di  Portogallo,  ballet.  See  Sacchini's  Lucio 
Vero. 

Don  Pietro,  re  di  Castiglia,  ballet.     See  Anfossi's  Zemira. 

D.  Procopio  in  corte  del  Pretejanni.  Commedia  per  musica  da 
rappresentarsi  nel  Teatro  Niiovo  sopra  Toledo  per  second'  opera  di 
quest'  anixo  1782. 

Na'poli,  n.  puhl,  1782.     66  p.     IdY"^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Argument,  cast, 
and  name  of  Giacomo  Tritto  as  the  composer.  Schatz  10468 

Don  Quichote  chez  la  duchesse,  ballet  comique  en  trois  actes; 
represent  e  pour  la  premiere  fois  par  FAcademie  rovale  de  musique, 
le  12  fevrier  1743.     Nouvelle  Edition. 

Paris,  N.B.  Duchesne,  1760.  47,  [1]  p.  19'='^.  (Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  vi,) 

Prose  and  ariettes,  composed  by  Boismortier  (not  mentioned)  and  printed  in  the 
text.  ML  49.A2FI 

Don  Quischott  von  Mancia.  Tr.  of  Paisiello's  D.  Chisciotte  della 
Mancia,  with  third  act,  etc  by  Gassmann. 

Don  Quixote.  An  entertainment  for  music,  simg  at  Marybone- 
Gardens.     The  music  composed  by  Dr.  Arnold. 

London,  C.  D.  Piguenit,  1774.     ^  P-  ^',  ^^  P-     IS'^'". 

Two  parts.  Prefatory  note,  in  which  the  author  "is  well  aware  of  the  dangerous 
ground  on  which  he  stands"  with  his  attempt  at  bringing  Don  Quixote  and  Sancho 
before  the  public,  and  particularly  at  Marybone  Gardens.  Attributed  to  D.  J. 
Piguenit  by  Biog.  Dram,  but  with  Covent  Garden  as  place  of  performance.  "This 
was  acted  only  one  night  for  the  benefit  of  Mr.  Reinhold."  Longe  291 

Don  Quixote  in  England.     A  comedy.     As  it  is  acted  at  the  New 
Theatre  in  the  Hay-Market.     By  Henry  Fielding,  Esq.  .  .  . 
London,  J.  WaUs,  1754  \!].     8  p.  I,  64  p.     W"^. 

Three  acts,  with  introduction.  Cast,  table  of  the  15  songs,  the  airs  of  which  (ballad 
airs)  are  printed  in  the  text,  and  mostly  with  their  titles,  author's  dedication,  and 
preface,  in  which  Fielding  says  that 

"this  comedy  was  begun  at  Leyden  in  the  year  1728,  and  after  it  had  been  sketched 
out  into  a  few  loose  scenes,  was  thrown  by,  and  for  a  long  while  no  more  thought  of. 
It  was  originally  writ  for  my  private  amusement  .  .  .  Mr.  Booth  and  Mr.  Cibber  .  .  . 
upon  seeing  the  aforesaid  sketch,  both  dissuaded  me  from  suffering  it  to  be  represented 
on  the  stage;  and  accordingly  it  was  remanded  back  to  my  shelf,  where,  probably,  it 
would  have  perished  in  oblivion,  had  not  the  solicitations  of  the  distrest  actors  in 
Drury-Lane  prevail'd  on  me  to  re\'i8e  it,  at  the  same  time  that  it  came  into  my  head  to 
add  those  scenes  concerning  our  elections.  Being  thus  altered,  it  was  often  rehearsed 
on  that  theatre,  and  a  particular  day  appointed  for  its  action;  but  the  Giant  Cajanus, 
of  a  race  who  were  always  enemies  to  our  poor  Don,  deferred  his  appearance  so  long, 
that  the  interv^ention  of  the  actor's  benefits  would  have  put  it  off  till  the  next  season, 
had  1  not  brought  it  on  where  now  it  appears  ..." 

The  date  on  title-page  is  1754,  not  1734,  yet  the  cast  is  exactly  the  same  as  that  given 
by  Genest  under  Haymarket,  1734,  "about  April."  Longe  53 

Don  Quixote.  For  Purcell's  opera,  see  The  comical  history  of  Don 
Quixote. 

Don  Quixotte.     Operetta  in  drey  akten. 

n.  i.,  n.  d.  [101]-156  p.  Q'ScTiaitspiele  von  J.  von  Soden,"  Berlin, 
1788,  V.  1,  no.  2.)     16^^. 

Detached  copy.  Presumably  not  performed.  The  composer,  Ignaz  von  Becke, 
is  not  mentioned.  Schatz  678 


y 


398  LIBRARY   OF   CONGRESS 

Don  Quixotte  der  zweite.     Ein  komisches  siugspiel  aiis  dem  ita- 
lienischen,  in  zwev  aufzAiegen.     Die  musik  ist  vom  nerm  von  Ditters- 
dorf. 
Oels,  Samuel  Gottlieb  Lvdivig,  n.  d.     80  p.     W'^. 

By  the  composer. 

First  performed  at  Oele,  Hoftheater,  February  4,  1795.  Schatz  2589 

Don  Quixotte  in  dem  Mohrengebuerge.  Tr.  of  Conti's  Don 
Chisciotte  in  Sierra  Morena. 

Don  Salterio  Civetta.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno  1776. 
Venezia,  Gio.  Battista  Casali,  1776.     62  p.     17''"'. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Michele  Mortellari  as  the  composer.  Schatz  6690 

Don  Sancho :  or,  The  students  whim. 
5  p.  I,  20  p.     19^"^. 

Title  page  wanting  of  this  farce,  printed  1739.  Two  acta  with  epilogue,  prologue, 
and  a  masque,  "Minerv.^'s  triumph."  Clarence  lists  this  as  a  "ballad  opera,  "though 
no  airs  are  indicated  in  the  text  to  which  the  12  eongs  of  the  piece  were  to  be  sung. 
Still,  the  second  player's  words  in  the  prologue,  "meer  ballad  farce,"  may  mean  that 
the  piece  was  intended  as  such.  The  dedication  is  signed  by  Elizabeth  B(,'yd  aa 
author,  as  also  a  prefatory  note  in  which  she  says  that  Mr.  Chetwood,  the  prompter 
of  Drury-Lane,  secured  a  hearing  for  "Don  Sancho"  in  the  Green-room,  that  the 
piece  was  "acknowledged  worthy  of  the  town's  applause,"  but  that  the  lateness  of 
the  season,  etc.,  prevented  a  performance."  Longe  59 

Don  Saverio.     A  musical  drama.     As  it  is  perform'd  at  the  Theater- 
Royal  in  Drury-Lane.     The  musick  by  Mr.  Arne. 
London,  J.  Watts,  1750.     2  p.  l,  16  p.     21^"". 

Two  acts.     Cast,  argument,  and  footnote: 

"The  intention  of  this  piece  is  to  display  different  kinds  of  expression  in  music; 
florid  epithets  or  forc'd  conceits  are  avoided,  and  the  songs  and  recitative  are  en- 
deavour'd  to  be  written  (as  near  as  possible)  in  such  a  dialect  as  the  character  con- 
cem'd  would  naturally  make  use  of  on  such  an  occasion,  it  being  a  standing  rule  in 
musical  productions,  that,  where  the  meaning  of  the  poet  is  in  the  least  intricate, 
the  song  is  unattended  to,  and  the  music  lost.' 

Text  presumably  by  the  composer. 

First  performed  1749,  as  indicated.  Longe  241 

Don  Saverio.  Comedia  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Moise  I'autunno  dell'  anno  1744. 

Venezia.  Valva^sense,  1744-     4^  V-     15Y^. 

Three  acts.  By  Antonio  Palomba,  with  argument,  cast,  and  name  of  composer, 
Giuseppe  d'Avossa  ("d'Anossa"),  but  not  of  librettist.  Original  title  of  Palomba's 
text  was  "La  Violante."  Schatz  513 

Don  Sylvio  von  Rosalva  oder  Der  sieg  der  natur  ueber  die  schwaer- 
merey. 

n.  i.,  n.  d.     164  V-     ^^^"*- 

Five  acts.  Neither  the  author,  Samuel  Gottlieb  Biirde,  nor  the  composer,  Phajity, 
ifl  mentioned. 

First  performed  at  Schleswig,  Herzogl.  Hoftheater,  March  7,  1796.     Schatz  8004 

Don  Sylvio  von  Kosalva  oder  Der  sieg  der  natur  ueber  die  schwaer- 
merey.     Eine  komische  oper  in  fuenf  aufzuegen  von  S.  G.  Buerde. 
Koenigsberg,  Friedrich  Nicolovius,  1795.     164  p.     17'^'"'. 

Five  acts.     The  composer,  F.  Sigismund  Sander,  is  not  mentioned. 

First  performed  at  Oels,  Hoftheater,  June  17,  1797.  Schatz  9371 


OPERA    LIBRETTOS  399 

Don  Tabarrano. 

n.i.,n.d.     \22  p.]     ll^"^- 

Probably  belongs  to  the  text  of  some  opera.  The  two  intermezzi,  text  by  Andrea 
Belmuro,  music  by  Johann  Adolph  Ha«se,  were  first  performed  at  Dresden,  Hof- 
theater,  July  26,  1737,  as  intermezzi  to  Haese's  "Atalante." 

First  performed  as  "La  Contadina"  in  the  fall  of  1728  at  Naples,  Teatro  di  San 
Bartolomeo,  as  intermezzi  to  the  opera  "Clitarco."  Schatz  4529 

—  Don  Tabarrano,  intermezzi.  Da  rappresentarsi  nel  nuovo  Real 
Teatro  Privilegiato  in  Dresda.     L'anno  MDCCXLVII. 

n.  %.,  n.  d.     (double)  2^  p.     lo'^'^-. 

Two  parts.  Cast.  Neither  Belmuro,  the  author,  nor  Hasse,  the  composer,  is 
mentioned.  German  text  and  title  page,  "Don  Tabarrano,"  face  Italian.  The  text 
is  not  quite  the  same  as  in  Schatz  4529.  For  instance,  in  the  first  intermezzo  the 
aria  "Coll^  sul  praticello"  has  been  added,  and  in  the  second  the  aria  "Se  non  credi 
alle  parole"  replaces  "Strappami  il  core,  o  barbaro,"  and  the  final  duet  is  "O  che 
gioja,  o  che  contento"  instead  of  "Pace  si,  si,  dolce  mia  %'ita." 

First  performed,  as  indicated,  February  13,  1747.  Schatz  4530 

—  II  Tabarano.  Intermezzo  in  musica  da  rappresentarsi  sopra  il 
Nuovo  Teatro  delF  opera  pantomima  del  NicoUni  in  Bronseviga. — 
Der  Tabaran  .  .  . 

Braunsweig,  Keitel,  n.  d.      Unpaged.     18'^^. 

Two  parts.  German  text  faces  Italian.  Neither  Belmuro  nor  Hasse  is  men- 
tioned. The  text  follows  Schatz  4529  fairly  closely  except  toward  the  end,  and  the 
final  duet  now  begins  "Deh  ti  plachi"  ! 

First  performed,  as  indicated,  1749.  Schatz  4531 

D.  Taddeo  in  Barcellona.  Commedia  di  un  atto  per  musica  di 
Giambattista  Lorenzi  P.  A.  da  rappresentarsi  nel  Teatro  Nuovo  sopra 
Toledo  nella  prima  vera  del  corrente  anno  1774. 

Napoli,  n.  puhl.,  1774.     ^S  p.     l^'"". 

Notice  to  the  reader,  cast,  and  name  of  Antonio  Pio  as  the  composer. 

Schatz  8185 

II  D.  Tifone.  Farsetta  per  musica  a  tre'  voci  del  Signor  abate  F.  P. 
P.  A.  Da  rappresentarsi  nel  Teatro  alia  Pallacorda  di  Firenze  nel 
carnevale  dell   anno  1752  ... 

Roma,  Ottavio  Puccinelli,  1751.     24  p.     7-5 J'^™. 

Two  parts.  Impresario's  dedication,  cast  and  name  of  Giacinto  Quagliattini  as 
composer.  F.  P.  does  not  seem  to  apply  to  any  of  the  Arcadian  names  listed  by 
Wotquenne.     Not  recorded  by  Schatz  or  Allacci.  ML  50.2.D595Q2 

II  Don  Trastullo.  L.  T.  of  Jommelli's  La  cantata  e  disfida  di 
D.  Trastullo. 

La  donna  amante  di  tutti,  e  fedele  a  nessuno.     Commedia  per 
musica  di  Giuseppe  Palomba  da  rappresentarsi  nel  Real  Teatro  del 
Fondo  di  Separazione  per  terza  opera  di  quest'  anno  1783. 
Napoli,  n.  publ.,  1783.     60  p.     15^"^- 

Three  acts.     Argument,  cast,  and  name  of  Pietro  Guglielmi  as  the  composer. 

Schatz  4288 

La  donna  ancora  e  fedele.  Dramma  per  musica,  rappresentato  in 
Roma  nel  MDCLXXVI  .  .  . 

Roma,  il  success,  del  Mascardi,  1676.     72  p.     13'^^. 

Prologue  and  three  acts.  By  Domenico  Filippo  Contini,  who  is  not  mentioned.  In 
his  dedication  the  publisher,  Francesco  Leone,  speaks  of  this  drama  as  "  rapresentato 
in  Roma  il  presente  anno,"  and  mentions  Bernardo  Pasquini  as  the  composer. 

ML  50.2.D6P2 


400  LIBRARY   OF   CONGRESS 

La  donna  astuta.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  Giustiiuani  in  San  Mois^  il  camovale  dell' 
anno  1793. 

Venezia,  Modesto  Fenzo,  1793.     46  p.     17 Y"^. 

Twoacts.  The  author  is  not  mentioned,  and  is  unknown  to  Schatz.  Cast,  scenario, 
and  name  of  Giuseppe  Gazzaniga  as  the  composer,  except  for  a  few  designated  sub- 
stitute arias.  Schatz  3691 

La  donna  bizaira.     L.  T.  of  Bemardini's  La  donna  di  spirito. 

La  donna  bizzarra  ossia  L'amore  politico,  ballet.  See  Winter's 
Catone  in  Utica. 

La  donna  di  genio  volubile.     Dramma  giocoso  per  musica  di 
Giovanni    Bertati  ...  da    rappresentarsi    nel    nobilissimo    Teatro 
Giustiniani  in  San  MoisS  I'autunno  dell'  anno  1796. 
Venezia,  Modesto  Fenzo,  1796.     64  p.     18'^'". 

Two  acts.  Cast,  scenario,  and  name  of  Marco  Portugal  as  the  composer.  On 
p.  31-38,  argument  and  description  of  Carlo  Taelioni's  four-act  "La  sposa  rapita,  ballo 
tragicomico."  His  second  ballet  was  called  La  scuola  olandese  oseia  L'amante  in 
statua."    The  composers  of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  October  5,  1796  (Carvalhaes).  Schatz  8404 

—  La  donna  di  genio  volubile.  Dramma  giocoso  per  musica  in 
due  atti  da  rappresentarsi  nel  Teatro  Elettorale  di  Sassonia. 

Dresda,  n.  puhl,  1798.     Ill  p.     15'="'. 

Two  acts.  Cast  (in  pencil)  and  name  of  Marcos  Portugal  as  the  composer.  Ger- 
man title-page  "Die  wankelmuethige,"  and  text  face  Italian. 

First  performed,  as  indicated,  December  8,  1798.  Schatz  8405 

—  La  donna  di  genio  volubile :  dramma  giocoso  per  musica  di 
Giovanni  Bertati  ...  da  rappresentarsi  nel  Regio  Teatro  di  S.  Carlo 
della  Principessa  in  benefizio  di  Domenico  Caporalini.  Ai  23  di 
gennaio  dell  anno  1799. 

Lishona,  Simone  Taddeo  Ferreira,  1798.     163  p.     15^"". 

Two  acts.  Prefatory  note,  scenario,  and  name  of  Marco  Portogallo  as  composer. 
Portuguese  translation  faces  Italian.  On  p.  [127J-163,  Italian  text,  with  Portuguese 
translation,  argument,  cast  of  the  pasticcio  ("La  musica  di  diversi  auttori  i  piii  cele- 
bri"):  "L'esilio  d' Apollo.  Cantata  per  musica  a  quatri  voci  di  Giuseppe  Cara- 
vita  .  .  ."  [as  in  title  of  the  opera].  ML  48. C6  iv 

La  donna  di  govemo.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v.  44 j 
[63]- 1  £2  p.     18'='^. 

According  to  Schatz,  first  performed  at  Prague,  Theater  in  der  Kotzen,  with  music 
by  Domenico  Fischietti.  PQ 

La  donna  di  governo.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo  da  rappresentarsi  nel  Teatro  Giustiniani  di  San  Mois^.  Nel 
presente  autuno  1764. 

Venezia,  Modesto  Fenzo,  1764.     70  p.     14^"^- 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Baldassare  Galuppi  as 
composer.  Schatz  3451 


OPERA   LIBRETTOS  401 

La  donna  di  spirito.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  alia  Scala  Fautunno  dell'  anno  1791  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     4  V-  ^-y  ^^  V-     16^^. 

Two  acts.  Impresario's  dedication,  dated  Milan,  September  20,  1791,  cast,  scena- 
nOj  and  name  of  Marcello  di  Capua  (Bernardini)  as  composer.  The  libretto  was 
written  by  the  composer  (Schatz),  and  it  was  based  on  Goldoni's  comedy,  "La  vedova 
scaltra."  The  first  ballet,  performed  in  1791,  together  with  the  opera,  was  called  "Lo 
spazzacamino  principe,"  and  was  by  Antonio  Muzzarelli,  the  composer  of  the  music 
not  being  mentioned. 

First  performed  at  Rome,  Teatro  Valle,  in  the  spring  of  1787.  Schatz  842 

—  Le  quattro  nazioni.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  in  Firenze  nel  Regio  Teatro  di  via  Santa  Maria  nell'  estate  dell' 
anno  MDCCXCIII  .  .  . 

Firenze,  Stamp.  ATbizziniana,  1793.     60  p.     16^"^. 

Two  acts.  Cast,  name  of  Marcello  di  Capua  (Bemardini)  as  composer  and  note 
that  the  text  has  "per  suo  originale"  Goldoni's  "La  vedova  scaltra.  Schatz  lists 
"Le  quattro  nazioni "  as  a  later  version  of  "  La  donna  bizarra  "  {see  below)  but,  though 
a  few  lines  are  the  same  in  both,  they  are  really  two  entirely  different  librettos.  Not 
even  the  number  of  scenes  is  the  same  and  the  characters  are  named  differently. 
For  instance,  whereas  "Armellina,  locandiera"  and  "Monsieur  Tremo'"  appear  m 
both,  "  Donna  Aurora,  donna  di  spirito  "  does  not  appear  at  all  in  "La  donna  bizarra," 
where  "D.  Elvira,  donna  epiritosa  e  bizarra"  is  a  combination  of  both  "Donna 
Aurora"  and  "Donna  Elvira,  eorella  di  Donna  Aurora"  of  the  other  libretto.  As  a 
matter  of  comparison,  the  text  and  the  characters  of  "Le  quattro  nazioni"  are  iden- 
tical with  those  of  "La  donna  di  spirito,"  the  four  nations  being  represented  in  both 
by  "Don  Mauro,  Spagnuolo,"  "Monsieur  Tremo',  Francese,"  "Baron  Zuffre',  Te- 
desco,"  "M.  Birif,  Olandese,"  and  "Don  Rug^iero,  cavaliere  italiano."  Conse- 
quently, "Le  quattro  nazioni"  is  simply  a  later  title  of  "La  donna  di  spirito,"  and 
tne  text  of  both,  to  repeat  it,  has  very  little  in  common  with  that  of  "La  donna 
bizarra,"  though  possibly  the  same  music  was  used  as  for  "La  donna  di  spirito." 
Much  more  related  is  the  text  of:  Schatz  833 

* 

—  Li  cinque  pretendenti.  Dramm'a  giocoso  per  musica  da  rap- 
presentarsi  nel  Ces.  Reg.  Teatro  di  Trieste  il  camovale  dell'  anno  1794 

Trieste,  Stamperia  govemiale,  n.  d.     58  p.     W^"^. 

Two  acts.  Cast  and  name  of  Marcello  di  Capua  (Bemardini)  as  composer.  The 
characters  in  this  libretto  are  the  same  as  of  "La  donna  di  spirito."  The  first  act  has 
seventeen  scenes,  and  of  these  fourteen  appear  in  the  first  act  of  "La  donna  di  spi- 
rito." The  alterations  in  the  second  act  are  more  pronounced  and  only  a  few  scenes 
have  been  retained,  yet  unmistakably  "La  donna  di  spirito"  is  the  original. 

Schatz  849 

—  La  donna  bizarra.  Commedia  per  musica  da  rappresentarsi  nel 
Real  Teatro  del  Fondo  di  Separazione  nel  camevale  di  questo  cor- 
rente  anno  1791. 

Napoli,  Vincenzo  Flauto,  n.  d.     J^5  p.     IdY"^. 

Two  acts.  Cast  and  name  of  Marcello  di  Capua  (Marcello  Bemardini)  as  com- 
poser. Schatz  considers  this  a  later  version  of  La  donna  di  spirito,"  but  see  above 
thenoteunder"Le  quattro  nazioni."  Onp.  5-9  argument,  cast,  and  detailed  descrip- 
tion of  "II  trionfo  de'  Spagnoli,  o  sia  La  disfatta  de'  Marrocchini.  Ballo  composto  e 
diretto  dal  Sig.  Gio.  Battista  Giannini."  Pietro  Dutilieu  is  mentioned  as  the  com- 
poser of  the  music.  Schatz  832 

La  donna  di  spirito,  ballet.     See  Tritto's  L'Arminio. 
72251°— VOL  1—14 26 


402  OBBABY  OF   CONGRESS 

La  donna  di  tutti  i  caratteri.  Commedia  per  musica  di  Antonio 
Palomba  Napolitano  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell' 
invemo  di  quest'  anno  1763. 

Napoli,  Vincenzio  Mazzola-Vocola,  176S.    64  p-     15'^'^. 

Pages  39-62  miseing. 

Three  acts.    Cast  and  name  of  Pietro  G-ugliehni  as  the  composer. 

First  performed  at  the  same  theatre,  fall  of  1762.  Schatz  4289 

La  donna  difllcile,  ballet.     See  Rust's  L'idolo  ciuese. 

La  donna  dottoressa.     Intermezzo. 
Cremona,  Ferrari,  1754.     24  p.     18^'^. 

Three  parts,  with  name  of  the  composer,  Pietro  Chiariid.  The  author  is  unknown 
to  Schatz.  Schatz  1855 

La  donna  Girandola.  Farsa  giocosa  in  due  atti  per  musica  dell' 
ab.  Pietro  Chiari  Bresciano  ...  da  rappresentarsi  nel  Teatro  Gri- 
mani  di  S.  Samuele  nel  carnovale  dell'  anno  1763. 

Venezia,  Modesto  Fenzo,  1763.     34  p.     IS^'"^. 

Two  acts.    Cast  and  name  of  Salvatore  Perillo  as  the  composer.       Schatz  7924 

La  donna  giudice,  e  parte.     Intermezzo  a  due  voci  da  rappresen- 
tarsi nel  Teatro  di  S.  Angelo  I'autunno  dell'  anno  1746. 
Venezia,  Modesto  Fenzo,  1746.     16  p.     14^"^. 

Two  parts.  Cast  and  name  of  Giovanni  Cingoni  as  composer.  Author  unknown 
to  Schatz.  Schatz  2009 

La  donna  giudice  e  parte,  intermezzo.  See  Galuppi's  Scipione 
nelle  Spagne. 

La  donna  innamorata.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  ...  da  rappresentarsi  nel  nobilissimo  Teatro  Giustiniani  in 
San  Moise  il  carnovale  dell'  anno  1796. 

Venezia,  Modesto  Fenzo,  1796.     66  p.     17 h<^. 

Two  acts.     Cast,  scenario,  and  name  of  Giuseppe  Nicolini  as  the  composer. 
First  performed,  as  indicated,  January  28,  1796.  Schatz  7142 

La  donna  instabile.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustimani  in  S.  Moisd  il  carno- 
vale dell  anno  1776. 

Venezia,  Gio.  Battista  Casali,  n.  d.     62  p.     16^'^. 

Three  acts.  Cast,  scenario,  and  nameof  the  composer,  Giovanni  Battista  Borghi. 
Pages  3-4,  presumably  containing  the  argument,  are  wanting.  Pages  61-62  contain 
an  additional  scene  for  act  II,  which  begins  (Signer  Valerio),  "Ma  signore,  vi  prego." 
Pages  31-32  contain  the  argument  of  "II  naufragio  felice,  ballo  eroico  pantomimo," 
by  Giov.  Battista  Marten.  The  title  of  the  second  ballet,  by  Francesco  Raeetti, 
was  "  L'incostanza  del  militare  in  amore."  The  composers  of  the  music  are  not 
mentioned. 

First  performed  in  January,  1776.  Schatz  1229 

Letra  de  la  tonadilla  a  siete,  intitulada:  Dona  Maria  la  tarbernera. 
Barcelona,  Pablo  Campins,  n.  d.     16  p.     16'^™'. 
Imprimatur  at  end  dated :  Barcelona,  July  23,  1774. 
Not  recorded  by  Schatz.  ML  50.2. D607 

Donna  Marzia.     O.  T.  of  Barlocci's  libretto  Madama  Ciana. 


OPERA   LIBRETTOS  403 

La  donna  militaire.     A.  T.  of  the  ballet  II  seguito  tra  rarmi. 

La  donna  ne  sa  piu  del  diavolo  owero  II  matrimonio  non  e  per  i 
vecchi.     Dramma  giocoso  per  miisica  in  un  solo  atto  da  rappresen- 
tarsi  nel  Regio  Teatro  di  S.  Carlo  della  Principessa  Testate  dell'  anno 
1797. 
Lishona,  Simone  Taddeo  Ferreira,  1797.     95  p.     14-''^. 

Cast  and  name  of  Giovanni  Battista  Longarini  ae  composer.  The  text  appears  to 
be  an  altered  version  of  Gaetano  Sertor's  "II  divorzio  eepra  matrimonio  ossia  La  donna 
che  non  parla."     Portuguese  translation  faces  Italian.  Schatz  5683 

La  donna  nobile.     Intermezzi  in  musica  da  rappresentarsi  11  car- 
no  vale  del  1730.  nel  Teatro  Tron  a  S.  Cassano. 
Venezia.  Carlo  Buonarrigo,  1730.     21  p.     15'^^. 

At  end,  one  p.  advertising  matter,  by  the  publisher. 

Three  parts.  The  author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name 
of  Giuseppe  Maria  Orlandini  as  the  composer. 

First  performed  under  the  title  of  "Melinda  e  Tiburzio"  at  Venice,  Teatro  di  San 
Angelo,  carnival,  1721.  Schatz  7340 

La  donna  sempre  al  suo  peggior  s'appiglia.  Conunedia  per 
musica  di  Giuseppe  Palomba  da  rappresentarsi  nel  Teatro  Nuovo 
per  terz'  opera  in  quest'  anno  1785. 

Napoli,  n.  puhl,  1785.     60  p.     W"^. 

Thre6  acts.    Cast  and  name  of  the  composer,  Cizaarosa.  Schatz  1981 

La  donna  sensibile  o  sia  Gli  amanti  riuniti.  Commedia  per 
musica  di  Domenico  Piccinni  da  rappresentarsi  nel  Teatro  del  Real 
Fondo  di  Separazione  per  second'  opera  del  corrente  anno  1798. 

Napoli,  n.  publ,  1798.     52  p.     W"^. 

Two  acts.    Argument,  cast,  and  name  of  Giacomo  Tritto  as  the  composer. 

Schatz  10469  ^ 

La  donna  vana.  Commedia  da  rappresentarsi  in  musica  nel  Teatro 
de'  Fiorentini  nell'  inverno  dell'  anno  1764  .  .  . 

Napoli,  Vincenzo  Mazzola-Vocola,  1764.     72  p.     14Y^. 

Three  acts.  By  Antonio  Palomba,  who  is  not  mentioned.  Impresario's  dedica- 
tion, dated  November,  1764,  cast,  and  name  of  Niccol5  Piccinni  as  the  composer. 

Schatz  8123 

Le  donne  Ateniesi  e  i  lore  compagni,  ballet.  See  Pasque's 
Arianna  e  Teseo. 

IjC  donne  bisbetiche  o  sia  L'antiquario  fanatico.  L.  T.  of  Ber- 
nardini's  La  finta  Galatea  o  sia  L'antiquario  fanatico. 

Le  donne  cambiate.  Dramma  giocoso  per  musica  in  due  atti  da 
rappresentarsi  nel  Teatro  Elettorale  di  Sassonia. 

Bresda,  n.  publ.,  1799.     115  p.     ISY"^- 

Two  acts.  By  Giuseppe  Foppa,  who  is  not  mentioned.  German  title-pa^e,  "Die 
verwandelten  weiber,"  and  text  face  Italian.  Marcos  Portugal  is  mentioned  as 
the  composer. 

First  performed,  as  indicated,  October  2,  1799;  at  Venice,  San  Moisfe,  October  22, 
1797  (Carvalhaes).  Schatz  8406 

I^  donne  che  comandono.  A.  T.  of  Goldoni's  text  II  mondo  al 
rovescio. 


404  LIBRARY   OF   CONGRESS 

Le  donne  che  comandono.  A.  T.  of  Galuppi's  II  mondo  alia 
ro  versa. 

Le  donne  dispettose.  Coininedia  per  musica  di  notar'  Antonio 
Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  autunno  di 
quest'  anno  1754. 

Napoli,  Ricciardi,  1754.     96  p.     15'='^. 

Three  acts.    Cast  and  name  of  Niccol6  Piccinni  as  the  composer.      Schatz  8124 

Le  donne  dispettose.     Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  prim' 
opera  in  questo  eorrente  anno  1793  .  .  . 
Napoli,  n.  publ,  1793.     43,  [1]  p.     15'^. 

Two  acts.  Dedication,  cast,  and  name  of  Gabriele  Prota  as  the  composer.  On 
the  imnumb.  p.,  the  substitute  aria  "Arma  di  gloria  il  core "  (II,  4).       Schatz  8473 

Le  donne  invidiose  ossia  L'onestk  trionfante,  ballet.  See  Bianchi's 
La  sposa  in  equivoco. 

Le  donne  letterate.     Commedia  per  musica  di  Gio.  Gastone  Boc- 
cherini  ...  da  rappresentarsi  ne'  Teatri  privilegiati  di  Vienna. 
[Vienna],  Ghelen,  1770.      Unpaged.     W"^. 

Three  acts.     Scenario  and  name  of  Antonio  Salieri  as  the  composer. 

First  performed  at  Vienna,  Burgtheater,  January,  1770.  Schatz  9335 

Le  donne  rivali.  Intermezzo  in  musica  a  cinque  voci  da  rappresen- 
tarsi nel  Teatro  Valle  dell'  illmi  Signori  Capranica.  Nel  carnevale 
deir  anno  1780  ..  . 

Roma,  Agostino  PalomUni,  1780.     48  p.     16'='^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Cizoarosa  as  composer.  ML  50.2.D616C3 

—  Le  donne  rivali.  Intermezzo  in  musica  da  rappresentarsi  nel  nobil 
Teatro  Tron  di  San  Cassiano  nell'  autunno  dell'  anno  MDCCLXXX. 

Venezia,  Pietro  Sola,  n.  d.     54  p-     17'^^. 

Two  acts.  Cast,  scenario,  and  name  of  the  composer,  Cimarosa.  The  author  is 
unknown  to  Schatz.  With  the  intermezzo  were  performed  the  ballets,  "II  consiglio 
di  Giove  "  and  "II  sargente  burlato."     The  composer  of  the  music  is  not  mentioned. 

Schatz  2004 

Le  donne  sempre  donne.  Dramma  giocoso  per  musica  del  Signer 
abate  Pietro  Chiari  da  rappresentarsi  nel  Teatro  Giustiniani  di  S. 
Moise  I'autunno  dell'  anno  1767. 

Venezia,  Modesto  Fenzo,  1767.     82  p.     16'^. 

Three  acts.    Cast,  scenario,  and  name  of  Andrea  liuchesi  as  the  composer. 

Schatz  5741 

Le  donne  vendicate. 

[53]-102  p.  16\'^^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  i,  Torino,  1757.) 

Three  acts.  ML  49.A2G6 

—  Le  donne  vendicate.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  43, 
[341}-393  p.     18'^. 

First  performed  with  Cocchi's  music,  as  in  next  entry.  PQ 


OPERA.   LIBRETTOS  405 

Le  donne  vendicate.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo,  Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  Tron  di  S. 
Oassiano.     II  came  vale  dell'  anno  1751. 

Venezia,  Modesto  Fenzo,  1751.     58  p.     ISY"^- 

Three  acts.  By  Goldoni.  Cast.  The  composer,  Gioacchino  Cocchi,  is  not  men- 
tioned. ScHATz  2043 

Le  donne  vendicate.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  prim'  opera  nel 
corrente  anno  1796. 

Napoli,  n.  puhl,  1796.     43  p.     15'='^. 

Two  acts.  Cast.  Gaetano  Monti  is  mentioned  as  the  composer  except  for  the 
arias  marked  with  an  asterisk.     It  is  not  said  by  whom  these  were  composed. 

First  performed  at  Naples,  Teatro  Nuovo  sopra  Toledo,  October  17,  1781. 

SCHATZ  6601 

Le  donne  vendicate.  Intermezzi  per  musica  a  quattro  voci  da 
rappresentarsi  nel  Teatro  alia  Valle  nel  came  vale  delr  anno   1763  .  . 

Rorrm,  S.  Michele  a  Ripa,  1763.     36  p.     W"^. 

Three  acts.  The  author,  Goldoni,  is  not  mentioned.  Dedication  by  the  impre; 
eario,  Angolfino  Palombini,  cast,  and  name  of  Niccol6  Piccinni  as  "maestro  di 
capella."  Schatz  8090 

—  Le  donne  vendicate.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Grimani  di  S.  Samuele  il  camovale  deU'  anno  1764. 

Venezia,  Modesto  Fenzo,  1764-     4^  P-     15Y™'- 

Three  arts.  Cast,  scenario,  and  name  of  Niccolo  Picciimi  as  the  composer.  The 
text  is  somewhat  different  from  the  Rome,  1763,  edition.  For  instance,  act  I,  scenes 
4  and  5,  "T'h6  pur  trovato  alfine"  and  "Non  mi  conosce!  A  me  corpo  di  Bacco," 
have  been  added.  Schatz  8091 

Das  donnerwetter.     A.  T.  of  Winter's  Der  bettelstudent. 

Die  doppelte  verwandlung,  eine  freye  nachahmung  von  der  bekann- 
ten  und  beliebten  komischen  oper:  Lie  diable  a  quatre;  Aufgefuehret 
auf  der  kaiserl.  koenigl.  privil.  deutschen  Schaubuehne. 

Wien,  im  Krausischen  Bucliladen,  1767.     80  p.     16'^^. 

Three  acts.  On  p.  2  the  note:  "Die  worte  der  arien  sind  nach  den  melodeyen 
lauter  lustiger,  und  meistens  bekannter  liedchen  und  taenze  verfasset." 

Unlike  m  French  librettos,  the  tunes  are  not  indicated.  Author  unknown  to 
Schatz.  Schatz  11450 

II  doppio  equivoco.  Dramma  giocoso  per  musica  da  rappresentarsi 
in  Parma  nel  R.  D.  Teatro  di  cort^  il  camevale  dell'  anno  MDCXIXCIV 

Parma,  Stamperia  Carmignani,  n.  d.     viii,  60  p.     18*^^. 

Two  acts.  Scenario,  name  of  Gaspare  Rugali  as  the  composer  and  impresario's 
dedication  which  begins: 

"II  dramma  .  .  .  non  vanta  altro  merito  che  quello  della  novit^.  II  compositore 
della  musica  si  espone  al  giudizio  del  pubblico  con  questa  prima  sua  produzione." 

The  author  is  unknown  to  Schatz.  With  the  opera  was  performed  Giovanni  Mon- 
ticini's  ballet  (composer  of  the  music  not  mentioned)  "II  trionfp  di  Gustavo  re  di 
Svezia."  Schatz  9128 

La  Doralba.  Dramma  civile  del  Signor  dottore  Bernardino  Mosche- 
ni.  Da  recitarsi  in  musica  nel  Teatro  di  Pescia  da  gl'Accademici 
Cheti  .  .  . 

Lucca,  li  Marescandoli,  1683.     4  P-  ^-  {incl.  jront.),  76  p.     W^"'. 

Three  acts.  Scenario  and  dedication  ("la  prima  volta  in  publico  sul  nostro  tea- 
tro").    Apparently  not  recorded  by  Nerici.     Composer  unknown  to  Wotquenne. 

ML  50.2.D618 


406  LIBRARY  OF   CONGRESS 

Dorcis  e  Cleobisa,  ballet.     See  G.  Giordani's  Caio  Ostilio. 

Das  dorf  im  gebuerge.  Ein  schauspiel  mit  gesang  in  zwey  akten 
von  August  von  Kotzebue.  Zum  erstenmale  aufgefuehrt  auf  dem 
k.  k.  National-Theater,  am  jahresfest  der  braven  Wiener-P>evvvilligen, 
den  17.  april  1798.  Die  musik  ist  vom  hrn.  kapellmeister  Weigl  dem 
aeltem. 

Wien,  Carl  Schaumhurg  und  compagnie,  n.  d.     2  p.  I.,  84  p-     W^'^"^ 
Cast  and  dedicatory  poem  to  Maria  Theresa.  Schatz  10932 

Der  dorfbader.     Von  H.  B. 

Muenchen,  Johann  Nepomuck  Fritz,  1783.     56  p.     W^. 

Last  p.  incorrectly  numbered  24.  Bv  Heinrich  Braun.  Composer  unknown  to 
Schatz.  "  Schatz  11605 

Der  dorfbalbier.     Eine  komische  oper  in  zwey  aufzuegen. 
Leipzig,  in  der  Dyckischen  huchhandlung ,  1772.     88  p.     15'^"^. 

Note  on  p.  [4]:  "Das  stueck  ist  eine  nachahmung  des  Blaise  le  savetier  von  Mr. 
Sedaine"  and  prefatory  note  on  p.  [2]  by  the  author,  Christian  Felix  Weisse,  who  is 
not  mentioned : 

"Diese  kleine  komische  oper  war  eine  von  den  ersten  versuchen  des  verfassers  in 
dieser  gattung.  Ein  beduerfniss  auf  dem  Kochischen  Theater  an  etwas  neuem,  zu 
einer  zeit,  wo  man  dergleichen  zu  haben  wuenschte,  hat  sie  erst  vor  kurzem  dem 
staube  entrissen,  worinnen  sie  seit  vielen  jahren  gelegen  und  immerdar  haette  liegen 
soUen.  Herr  [Johann  Adam]  Hiller,  dieser  vortremiche  tonkuenstler,  beschenkte 
die  kleinen  lieder,  so  wie  die  uebrigen  komischen  opem,  mit  einer  artigen  musik, 
die  ebenfalls  im  drucke  erscheinen  wird.  Der  verfasser  sieht  nach  diesen  umstaen- 
den  vorher,  dass  sie  mit  den  vorhergehenden  stuecken  dieses  zweyten  bandes  ein 
gleiches  schicksal  haben  wuerde:  man  wuerde  bald  auf  anderen  theatem  zu  der 
musik  text  machen,  den  er  noch  weniger,  als  den  gegenwaertigen,  auf  seine  rech- 
nung  moechte  geschrieben  haben  ..." 

First  performed  at  Leipzig,  Theater  am  Rannstaedter  Thore,  1771.     Schatz  4719 

—  Der  dorfbalbier.     Eine  komische  oper  in  zwey  aufzuegen. 

C.  F.  Weisse,  Komische  opem,  CarlsrvTie,  1778,  t.  ii.  [195]-252. 
18^"^. 

On  p.  [196],  the  note:  "Das  stueck  ist  eine  nachahmung  des  Blaise  le  savetier  von 
M.  Setmine."     The  composer,  Johann  Adam  Hiller,  is  not  mentioned. 

ML  49.A2W2 

Gesaenge  aus  der  oper  Der  dorfbarbier,  in  zwey  aufzuegen.  Die 
musik  ist  von  SchenK. 

Hamburg,  Peter  Christian  Heinrich  Babe,  1799.     23  p.     15'^'^. 

By  Joseph  and  Paul  Weidmann,  who  are  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gaensemarkt,  January  4,  1799;    at 
Vienna,  Burgtheater,  October  30,  1796.  SchAtz  9592 

Arien  und  gesaenge  aus  dem  komischen  singspiele  in  drei  aufzuegen: 
Die  dorfdeputirten.     Musik  von  Schuhbauer. 

Berlin,  n.  publ,  1796.     38  p.     16'='". 

By  Gottlob  Ephraim  Heermann,  who  is  not  mentioned.     Cast. 
First  performed  at  Berlin,   Nationaltheater,   September  23,   1796;    at  Munich, 
Churfuerstl.  Schaubuhne  bei  St.  Salvator,  May  8,  1783.  Schatz  9710 

Die  dorfdeputierten,  eine  komische  oper  in  drey  aufzuegen.     Die 
musik  dazu  ist  neu  von  hrn.  Teuber  [Teyber]  verfertiget. 
n.  i.,  1792.     p.  [2251-312,  xii.  bd.     16^^. 

Apparently  detached  from  a  collection  containing  works  of  the  author,  Gottlob 
Ephraim  Heermann.  ' 

First  performed  at  Vienna,  Kamtnerthor  Theater.  January  8, 1785.     Schatz  10295 


OPERA  LIBRETTOS  407 

Die  dorfdeputirten,  eine  komische  oper  in  drey  aufzuegen,  aus  dem 
italiaenischen  nach.  dem  lustspiele  des  hr.  Goldoui  il  Feudatorio,  der 
Lehnserbe.  von  H. 

Weimar,  Carl  Ludolf  Hoffmann,  1773.     180  p.     W"^. 

By  Gottlob  Ephraim  Heermann.  Composed  by  Ernst  Wilhelm  Wolf,  who  is  not 
mentioned. 

First  performed  at  Weimar,  Schlosstheater  in  der  Wilhelmsburg,  July  21,  1772;  at 
Berlin,  Theater  in  der  Behrenstr.,  Juni  15,  1772.  Schatz  11077 

—  Arien  und  gesaenge  aus  den  Dorfdeputirten,  einer  komischen 
oper  in  drey  aufzuegen,  aus  dem  italiaenischen  nach  dem  lustspiele 
des  hm.  Goldoni  il  Feudatorio,  der  Lehnserbe.  von  H. 

Riga,  Gottlob  Christian  Froelich,  n.  d.     19  p.     16^"™. 

By  Gottlob  Ephraim  Heermann.  The  composer,  Ernst  Wilhelm  Wolf,  is  not 
mentioned.  Schatz  11077a 

Die  dorflfeyer.     Ein  sehauspiel  mit  gesang  in  einem  akte.     Zum  pro- 
log auf  das  hoechste  geburtsfest  unsers  gnaedigsten  landesvaters. 
Von    der    Secondaischen   Schauspieler   gesellschaft    aufgefuehrt    in 
Leipzig,  den  22,  imd  23.  december,  1790. 
n.  i.,  n.  d.     1^.2  p.*    W"^. 

Neither  the  author,  Heinrich  Bliimner,  is  mentioned,  nor  the  composer  (unknown 
to  Schatz).  Schatz  11451 

Die  dorfgala.  Ein  lustspiel  in  drey  aufzuegen  mit  arien  und 
gesaengen.  Fuer  das  Hoftheater  zu  Weimar.  Die  musik  ist  von 
nerm  Schweitzer. 

Gotlia,  Carl  Wilhelm  Ettinger,  177 J^.     136  p.     15^"". 

Dedicatory  poem  signed  by  the  author,  Friedrich  Wilhelm  Gotter. 

First  performed  at  Weimar,  Kleines  Schlosstheater,  June  30, 1772.     Schatz  9770 

—  Arien  und  gesaenge  aus  der  komischen  oper:  Die  dorfgalla.  In 
zwey  aufzuegen.     Von  Gotter  und  Schweizer. 

Hamburg,  J.  M.  Michaelsen,  1778.     16  p.     18*^. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  January  21, 1779. 

Schatz  9771 

Die  dorfhaendel,  oder  Bund  ueber  eck.  Ein  komisches  original- 
singspiel  in  zwey  aufzuegen.  In  musik  gesetzt  von  herrn  Ruprecht, 
mitgued  des  K.  K.  Nat.  Hof-Theaters.  Aufgefuehrt  im  K.  K.  Hof- 
theater naechst  dem  Kaemtnerthor. 

Wien,  beym  logenmeister,  1785.     55  p.     17^^. 

Author  not  mentioned,  and  unknown  to  Schatz. 

First  performed,  as  indicated,  November  15,  1785.  Schatz  9163 

Der  dorfjahrmarkt.     See  G.  Benda's  Der  jahrmarkt. 

Die  dorfschule.     Von  H.  B. 

n.  i.,  1783.     56  p.     WY"^- 

By  Heinrich  Braun.     Composer  not  recorded  by  Schatz.  Schatz  11606 

La  Dori.  Drama  per  musica  da  rappresentarsi  nel  Teatro  novissimo 
di  S.  Salvatore  .  .  . 

Venetia,  Si  vende  in  Frezzaria  e  Spadaria,  1663.     5  p.  I.,  72  p.    14"^. 

Three  acts  and  prologue.  Dedication  signed  A.  B.  and  dated  Venice,  January  1, 
1663,  argument,  scenario.  Neither  the  author,  Apollonio  Apolloni,  is  mentioned,  nor 
the  composer,  Mi.rc'  Antonio  Cesti. 


408  UBBAKY  OF   CONGBESS 

La  Dori — Continued. 

The  date  of  first  performance  is  generally  given  as  indicated  by  this  edition  of  the 
libretto,  but  Schatz  dates  it  Florence,  Teatro  aei  Sorgenti,  carnival,  1661,  with  the  title, 
"La  Dori  owero  La  schiava  fedele."  Schatz  1778 

—  La  Dori.  Drama  per  musica  da  rappresentarsi  nel  Teatro  novis- 
simo  di  S.  Salvatore  .  .  . 

Venetia,  Francesco  Nicolini,  1666.     6  p.  h,  72  p.     13'^'^. 

Prologue  and  three  acts.  Dedication  signed  F.  N.  and  dated  Venice,  January  1, 
1663,  ailment,  scenario.  The  composer,  Marc'  Antonio  Cesti,  and  the  author, 
Apollonio  Apolloni,  are  not  mentioned  Schatz  11683 

—  La  Dori  overo  Lo  schiavo  reggio.  Drama  per  musica  da  rappre- 
sentarsi nel  nobilissimo  Teatro  Grimano  di  SS.  Gio.  e  Paolo  1  anno 
1667  •.  .  . 

Venetia,  Francesco  Nicolini  <&  Steffano  Curti,  1667.     7  p.  I.  {incl. 


cm 


front),  64  p.     ISi 

Three  acts,  with  prologue,  publisher's  dedication,  dated  January  16,  1667,  argu- 
ment, scenario,  and  preface,  with  Cesti's  name  as  composerj  and  this  remark: 

"Si  §  incontrato  molte  difficoltk,  cosi  nel  ritrovare  I'originale  della  musica,  come 
neir  agguistarlo,  &  nel  trasportare  le  parti  ...  si  sono  aggionte  alcune  ariette  per 
ma^iormente  adomare  il  drama." 

The  modifications  were  very  slirfit;  for  instance,  in  Act  I  the  third  scene,  "Astro 
d'Amore  gradito,  "  with  the  aria  "E  gran  felicity  goder,"  was  dropped  and  the  second 
scene,  "  Viverb,  viver6.  Ma  s'il  Fato,"  added.  In  Act  II  the  ana  in  scene  9,  "Chi 
non  prova  d'Amor  ignudo,"  was  added,  but  the  scene  14,  "Ahi  qual  fiero  timore," 
dropped.  In  the  third  act,  scene  12^  "De  I'insigne  reali, "  was  dropped;  also  the 
final  quartet,  "Amori  volate,"  for  which  was  substituted  "Pur  cangia  i  suoi  rigori." 

Schatz  1785 

—  La  Dori.  Drama  per  musica  ristampato,  e  rappresentato  .  .  . 
agli  augusti  sponsali  della  Reale  Altezza  ai  Mariana  Christina,  delfina 
di  Francia,  nata  principessa  elettorale  di  Baviera.  Alia  med.™^  R.  A. 
consecrato  con  Faggiunta  di  nuovo  prologo  posto  in  musica  dal  S.  D. 
Giuseppe  Antonio  Bemabei  .  . 

Monaco,  Giovanni  Jeclino,  1680.     7  p.  I.,  IO4  p.     15'^'^. 

Three  acts.  Ailment.  The  dedication  is  signed  by  Ventura  Terzago,  who  wrote 
the  poetry  of  the  new  prologue  and  probably  was  also  responsible  for  considerable 
modifications  of  the  original  libretto.  For  instance,  it  may  be  noted  for  purposes  of 
identification  that  in  the  second  act  the  fourteenth  scene,  "Ahi  qual  fiero  timore," 
and  the  third  scene,  "O  destino,  destino,"  have  been  dropped;  that  the  scene  "Sotto 
vario  altro  pianetta"  has  been  added,  and  the  second  scene,  "Erasto,  Erasto,"  con- 
siderably enlarged  beyond  the  original  seventeen  lines. 

First  performed,  as  indicated,  at  Munich,  Churfiirstl.  Hoftheater,  in  March,  1680. 

Schatz  1779 

—  II  regio  schiavo,  o  sia  La  Dori:  Drama  per  musica  da  recitarsi 
da  diversi  cavalieri  nel  Teatro  di  castello:  one  serve  per  introdut- 
tione  ad  un'  essercitio  d'arme  rappresentato  da  otto  altri  cavalieri. 

Mantova,  gli  Osanna,  1672.     91  p.     W"^. 

Three  acts.  Argument.  Neither  Apolloni  nor  Cesti  mentioned.  On  p.  87-91 
introductory  remarks  and  text  of  march ese  Annibale  Lanzoni's  "  Introduttione  al 
ballo  di  otto  guerrieri.    Bellona  in  macchina."  ML  50.2.D62C3 

La  Doriclea.     Dranmia  musicale  di  Giovanni  Faustini. 
Venetia,  Francesco  Miloco,  1645.     89,  [5]  p.     IS^"^. 

Three  acts,  with  prologue,  author's  dedication,  and  argument.  Pietro  Francesco 
Cavalli,  the  composer,  is  not  mentioned.  The  five  additional  pages  contain  what 
appears  from  this  notice  to  the  reader: 


OPERA  LIBRETTOS  409 

La  Doriclea — Continued. 

"Queeta  scena  [Sfortunata  quella  hora]  cantata  dopo  la  terza  dell'  atto  primo  di 
queeta  favola,  &  le  due  eeguenti,  ["Povere  innamorate,"  after  Act  XI,  ec.  6,  and  "Cit- 
tadina  de'  monti,"  after  Act  III,  ec.  4]  poete  in  quella  del  Titone,  Bono  Btate  composte 
per  dilettare  gl'uditori,  &  per  aggradire  k  rappreeentanti." 

First  performed  at  Venice,  Teatro  di  S.  Caseiano,  carnival,  1645.       Schatz  1737 

Doriclea  ripudiata  da  Creso.  Drama  per  musica  di  G.  B.  C.  Da 
rappresentarsi  nel  Teatro  Giustiniano  di  S.  Mose  il  camovale  dell* 
anno  1729  .  .  . 

Venezia,  Alvise  Valvasense,  1729.     2  p.  I.,  4^  p.     l^Y™'. 

Three  acts.  By  Giovanni  Battista  Corte,  who  dates  hie  dedication  of  "un  mio 
drama,  primo  parto  della  mia  deboliesima  penna,  "  Venice,  December  29,  1728.  Ai^u- 
ment,  notice  to  the  reader,  scenario,  and  cast.  The  name  of  the  composer,  Giovanni 
Porta,  is  not  mentioned.  Schatz  8378 

Dorilla  e  Nesso.     Intermezzi  by  N.  A.  Porpora.     See  his  Eumene, 

Schatz  8366 

Dorilla  in  Tempe.     Melodramma  eroico  pastorale  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  nell'  autunno  1726  .  .  . 
Venezia,  Marino  Rossetti,  1726.     48  p.     15^"^. 

Three  acts.  Dedication  by  the  author,  Antonio  Maria  Luchini,  dated  Venice, 
November  9,  1726,  notice  to  tne  reader,  cast,  scenario,  and  name  of  Antonio  Vivaldi 
as  composer.  Schatz  10765 

Dorina  e  Grullo,  intermezzi.     See  Caldara's  L'Anagilda. 

Dorina  e  ruomo  selvatico,  ballet.  See  G.  Giordani's  La  disfatta 
di  Dario, 

La  Dorinda.     Favola  pastorale  .  . 

Roma,  Antonio  de'  Rossi,  1723.     47  p.     UY"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication,  eigned 
by  the  composer.  Carlo  Francesco  Gasparini,  and  notice  to  the  reader.  Possibly 
tiie  text  is  the  same  aa  that  "by  many  attributed  to  Benedetto  Marcello  "  (Allacci). 

Schatz  3592 

Dorinda.     Pastorale  da  rappresentarsi  per  musica  nel  Teatro  Gri- 
mani  di  S.  Samuel.     Nella  fiera  dell'  Ascensione  I'anno  1729  .  .  . 
Venezia,  Carlo  Buonarrigo,  n.  d.     24  p.     15'^"'. 

Three  acts.  Domenico  Lalli  says  in  his  dedication  "da  ignoto  autore  comjx)6ta, 
ed  accomodata  per  il  presente  divertimento."  If  the  text  had  been  by  Benedetto 
Marcello  or  by  Benedetto  Paequaligo,  as  some  authorities  contend,  Lalli  surely  would 
have  known  the  author.  Argiunent,  cast,  and  names  of  Giovanni  Battista  Pescetti 
and  Bayassare  Galuppi  as  composers.  Schatz  7967 

Doris,  ein  musikalisches  schaeferspiel,  welches  auf  dem  neuen 
Koeniglichen  Theater,  im  Zwinger,  in  Dresden  aufgefuehret  worden. 
Im  jahr  1747. 

n.  i.,  n.  d.    59  p.     ISY"^. 

Two  acts.  Cast  and  name  of  Johann  Georg  Schiirer  as  the  composer.  Author  not 
mentioned  and  unknown  to  Schatz. 

First  performed,  as  indicated,  February  13,  1747.  Schatz  9731 


410  LIBRARY  OF  CONGRESS 

La  Dorisbe  pvero  L'amor  volubile  e  tiranno,  drama  per  musica  di 
Gio.  Domenico  Pioli  da  recitarsi  nella  Sala  de'  Sig.  Capranica  nel  car- 
nevale  dell'  aimo  1711  .  .  . 

Roma,  Rocco  Bemabo,  1711.    front.,  81  p.     14"'^. 

Three  acts.  Dedication,  argument,  cast.  The  composer,  Alessandro  Scarlatti, 
is  not  mentioned. 

Dent  does  not  mention  the  opera  under  this  title,  only  under  the  alternative  title, 
which  would. seem  to  have  been,  according  to  Dent,  the  original  title.  If  he  men- 
tions (p.  117)  a  libretto  with  date  1707,  this  is  probably  an  error  for  1709,  when  the 
opera  was  first  performed,  in  May,  at  the  Teatro  di  S.  Bartolomeo,  Schatz  giving  the 
exact  date  of  May  25.  Schatz  9531 

Dorothee,  pantomime  k  spectacle;  prec6d6e  des  Preux  chevaliers, 
prologue-pantomime.  Par  M.  Audinot.  Representee,  pour  la  pre- 
miere fois,  sur  le  Theatre  de  TAmbigu-comique,  k  la  Foire  Saint- 
Germain,  en  I'annee  1782. 

Paris,  Cailleau,  1782.     16  p.     18^*^. 

The  prologue  is  in  one  act,  ' '  Dorothee  "  in  three.  Synopsis  of  the  plot.  The  com- 
poser of  the  music  is  not  mentioned.    The  approbation  is  dated  January  26,  1782. 

Probably  not  identical  with  the  "  Dorothee,"  music  by  Jean  Baptiste  de  Roche- 
fort,  mentioned  by  F^is.  ML  48.B2 

Dorval  e  Virginia,  dramma  per  prosa,  e  musica  da  rappresentarsi 
nel  Reggio  Teatro  di  S.  Carlo,  della  Principessa  per  celebrare  il 
felicissimo  giomo  natalizio  di  Sua  Altezza  Reale  il  serenissimo  Signore 
D.  Giovanni  principe  del  Brasile  .  .  .  li  13  di  maggio,  1795. 
Lishona,  Simone  Taddeo  Ferreira,  1795.  151  p.  l^Y^- 
Four  acts.  By  Giuseppe  Foppa,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  Pietro  [Carlo]  Guglielmi  as  tne  composer.  Portuguese  text  faces  Italian.  With 
the  opera  was  performed  (composer  of  the  music  not  mentioned)  Pietro  Angiolini's 
"ballo  di  carattere  poUacco,  Zeboechi  ed  Esing,  ossia  II  vero  amico."     Schatz  4344 

Dorval  e  Virginia.  Dramma  prosa,  e  musica  di  Giuseppe  Foppa 
da  rappresentarsi  nel  nobilissimo  Teatro  Venier  in  San  Benedetto  il 
carnovale  dell'  anno  1793. 

Venezia,  Modesto  Fenzo,  1792.     72  p.     17^'"". 

Three  acts.  Prefatory  note,  cast,  scenario,  and  name  of  Angelo  Tarchi  as  the  com- 
poser. On  p.  63-72,  argument,  cast,  description,  and  name  of  Vittorio  Trento  as  com- 
poser ("La  musica  e  tutta  nuova")  of  Giuseppe  Traffieri's  "Bianca  de'  Rossi,  ballo 
tiagico  pantomime."    His  second  ballet  was  called  "Le  nemiche  degli  nomini." 

Schatz  10219 

La  dot,  com6die  en  trois  actes  et  en  prose,  m616e  d'ariettes;  repre- 
sentee, pour  la  premiere  fois,  par  les  Com6diens  italiens  ordinaires  du 
roi,  devant  Leurs  Majestes,  k  Fontaine bleau,  le  8  novembre  1785;  & 
h  Paris  le  lundi  21  du  meme  mois. 

Paris,  Branet,  1784.     62,  [1]  p.     19^^"^. 

Cast,    Neither  author  nor  composer  mentioned.  ML  50.2.D63D2 

—  La  dot,  comedie   en  trois  actes  et  en  prose,  m^l6e  d'ariettes, 

[)aroles  deM.  Desfontaines,  musique  de  M.  d'Alairac, representee  .   .  . 
same  dates  as  in  1784  ed.]     Edition  conforme  a  la  partition  grav^e. 
Paris,  Brunei,  1786.     64  p.     22'='". 
Cast.    Text  practically  the  same  as  in  the  1784  ed.  ML  50.2.D63D22 


OPEKA    LIBRETTOS  411 

La  dot  de  Suzette,  comedie  en  un  acte  et  en  prose,  m^lee  de 
musique;  representee  pour  la  premiere  fois  sur  le  Theatre  de  TOpera- 
comique-national,  rue  Favart,  le  19  fructidor,  an  6  de  la  Republique. 
Par  le  C^"  Dejaure,  musique  du  C^.°  Boieldieu. 
Paris,  Vente,  an  VI.  [1797-98]     31  p.     21'''^. 

Cast. 

First  performed,  as  indicated,  Sept.  5, 1798.  ML  50.2.D64B6 

The  double  disappointment;  a  farce.  As  it  is  acted  at  the 
Theatre  Royal  in  Covent-Grarden.     By  the  late  Moses  Mendez,  esq. 

LoTidon,  F.  Noble  [etc.]  1760.     40  p.     19^"". 

One  act.  The  songs,  partly  to  be  sung  to  indicated  popular  airs,  are  eo  few  that  the 
piece  can  hardly  be  considered  an  operatic  entertainment. 

First  performed  at  Covent  Garden,  1747  (Biog.  Dram.),  but  not  performed  there 
until  March  22, 1759,  says  Genest,  who  dates  first  performance,  Drurv  Lane,  March  18, 
1746.  '     ML  50.5.D79 

Second  copy.    Longe  17 

The  double  disguise,  a  comic  opera  in  two  acts:  As  performed  at 
the  Theatre-Royal  in  Drurv-Lane.  The  songs  set  to  music  by  Mr. 
Hook. 

London,  J.  Bell,  1784.     28  p.  {incl.  port.)     21  <='''. 

The  port,  is  that  of  Miss  Phillips  in  the  character  of  Emily, 

Cast.     Probably  by  Mrs.  James  [Harriet  Homcastle]  Hook. 

First  performed  March  8,  1784,  as  indicated.  Longe  95 

The  double  elopement.     A.  T.  of  Linley's  The  duenna. 

La  double  epreuve,  ou  CoUnette  a  la  cour,  comedie  lyrique  en  trois 
actes,  representee  pour  la  premiere  fois  par  TAcad^mie  royale  de 
musique,  le  mardi  V  Janvier  1782.  Les  paroles  de  M  *  *  *.  La 
musique  de  M.  Gretry. 

Paris,  P.  de  Lormel,  1784.     62  p.     19'='^. 

Cast.  By  Jean  Baptiste  Lourdet  de  Santerre,  who  based  the  text  on  Favart's 
"  Ninette  k  la  cour."     In  the  avertissement  he  says: 

"  II  a  cm  trouver  tout  ce  qu'il  desiroit  dans  le  sujet  tr^s  connu  de  Ninette  k  la  cour; 
&  peu  jalouxde  la  gloire  de  I'inventian,  il  ne  s'est  fait  aucun  scrupule  de  s'en  emparer: 
les  theatres  Strangers,  comme  les  th^^tres  anciens,  sont  un  fonds  commun  oil  il  est 

{)ermi8  k  tout  le  mondede  pinser.  Et  pourquoi  plusieura  poetesn'auroient-ils  pas  la 
ibert^  de  faire  d'un  opera  bouffon  italien  ce  qu  on  fait  des  tragedies  de  Sophocle  & 
d'Euripide?" 

On  p.  39-^0,  the  air  of  "On  trouve  un  objet  charmant"  (II,  11),  and  on  p.  60-61, 
"L'amiti6  vive  &  pure  "  (III,  10).  Schatz  4147 

La  doublefete.     A.  T.  of  Martini's  L'amoureux  de  quinze  ans. 

The  double  funeral.     A.  T.  of  Arnold's  The  dead  aUve. 

La  double  metamorphose.     A.  T.  of  Le  diable  k  quatre. 

Dove  entro  cervo,  esce  donna,  o  sia  II  curioso  accidente  della 
caccia,  ballet.     See  Rust's  La  caccia  d'Enrico  IV. 

The  downfall  of  bribery :  or,  The  honest  men  of  Taunton.  A  new 
ballad-opera  of  three  acts.  As  it  was  lately  perform 'd  by  a  com- 
pany of  players  at  a  certain  noted  inn  at  Taunton  in  Somersetshire. 


412  LIBRARY  OF   CONGRESS 

The  downfall  of  bribery — Continued. 

By  Mark  Freeman,  of  the  said  town,  freeholder  and  grocer.  ...     To 
which  is  added,  A  new  ballad  by  way  of  epilogue.     Spoken  by  the 
person  who  acted  in  the  character  of  Freeman. 
London,  Sam.  Pike,  n.  d.     3  p.  I.,  36  p.     W"^. 

Three  acts.  Table  of  the  16  airs,  the  titles  of  which  are  indicated  in  the  text. 
This  quotation  of  a  quotation  from  the  Crafttfman,  No.  385,  Nov.  24,  1733,  on  the 
title  page  gives  a  clue  to  the  origin  of  the  piece: 

"A  few  persons  at  Taunton,  who  had  it  in  their  power  to  turn  the  election  of  a 
mayor,  lately  refused  a  sum  of  two  thousand  poimds  for  their  votes  upon  that  occa- 
sion." LONGE  168 

The  dragon  of  Wantley.  A  burlesque  opera.  The  musick  by  Mr. 
John  Frederick  Lampe,  and  performed  at  the  Theatre-Royal  in 
Covent-Garden.  Moderniz'd  from  tbe  old  ballad  after  the  Italian 
manner,  by  Sig.  Carini  [pseud.]  The  12th  ed.,  with  additions.  To 
which  is  prefix  d,  the  original  ballad  (cum  notis  variorum)  by  way  of 
argument,  &c.  &c.  &c,  .  .  . 
London,  J.  STiucklurgh,  1738.     32  p.     19^"^. 

Title  vignette. 

Three  acts.  By  Henry  Carey.  Cast.  The  text  is  preceded  on  p.  13  by  "Puff" 
signed  "P.  Anderson.  Westminster,  Jan.  1,  1738";  p.  7-13,  "An  excellent  ballad"; 
p.  6,  "A  critical  remark  on  the  old  ballad,  call'd  The  Dragon  of  Wantley  .  .  .";  and 
p.  [iii]-v,  Carey's  dedication  of  date  Pall-mall,  Jan.  3,  1738,  to  the  composer,  in 
which  he  says: 

"Many  joyous  hours  have  we  shared  during  its  composition,  chopping  and  chang- 
ing, looping,  eking  out,  and  coining  of  words,  syllables,  and  jingle,  to  display  in 
English  the  beauty  of  nonsense,  so  prevailing  in  the  Italian  operas.  .  .  .  Lowness 
(figuratively  speaking)  is  the  sublimity  of  burlesque:  if  so,  this  opera  is,  consequently, 
the  tip-top  sublime  of  its  kind.  Your  musick,  on  the  other  hand,  is  as  grand  and 
pompous  as  possible,  by  which  means  the  contrast  is  the  stronger,  and  has  succeeded 
accordingly. 

After  complimentary  remarks  about  the  performers,  Carey  says: 

"in  a  more  singular  sense  we  stand  indebted  to  Mr.  Rich,  who  received  our  poor 
disconsolate  Dragon  with  pleasure,  after  it  had  lain  several  years  dormant  in  the 
repository,  and  under  the  inspection,  of  the  most  wise,  most  learned,  and  judicious, 
'Squire  Whct-d'ye-caU-h.im,  Master  of  Drury-Lane  play-house." 

First  performed  at  London,  Covent  Garden,  October  26,  1737.       ML  50.2.D67L2 

—  The  dragon  of  Wantley,  a  burlesque  opera.  Set  to  musick  by 
Mr.  John  Frederick  Lampe. 

[89]-114  p.     22''™'.     {Henry  Carey,  Dramatick  works,  London,  1743.) 
Three  acts.    Argument.  ML  49.A2C2 

—  The  dragon  of  Wantley,  a  burlesque  opera.  Set  to  musick  by 
Mr.  John  Frederick  Lampe. 

London,  T.  Lowndes,  T.  Cation,  W.  NicoU,  and  S.  Bladon,  1770. 
front,  36  p.     17'^'^. 

Three  acts.     Same  dedication.  ML  50.2.D67L3 

—  The  dragon  of  Wantley.  A  burlesque  opera.  As  perform'd  at 
the  theatres  with  universal  applause.  Set  to  musick  by  Mr.  John 
Frederick  Lampe.  To  which  is  added  the  old  ballad,  from  whence 
this  opera  was  taken. 

London,  Printed  for  tke  proprietors,  n.  d.     2Jf.  p.     16^"^. 

Three  acts.  Lonob  69 

The  dragoness.     L.  T.  of  Lampe's  Margery. 


OPEKA   LIBRETTOS  413 

Drei  heirathen  an  einem  tage.     A.  T.  of  Miihle's  Die  singschule. 

Arien  und  ^esaenge  aus  der  komischen  oper:  Die  drei  pucklichen. 
In  zwey  aufzuegen. 

Hamburg,  J.  M.  Michaelsen,  1780.     16  p.     18'^. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  Juni  7,  1779,  previously  at 
Liibeck,  December  11,  1772. 

Schatz  attributes  this  to  Paisiello,  as  a  German  version  of  his  "I  tre  gobbi"  (Gol- 
doni).  However,  he  lists  no  such  opera  in  his  "  Chronologisches  Verzeichnis"  of 
Paisiello's  works.  Possibly  it  is  a  German  version  of  Paisiello's  "La  somiglianza  dei 
nomi,"  first  performed  at  Naples,  Teatro  Nuovo  sopra  Toledo,  spring,  1771. 

Schatz  7663 

Die  drei  sultaninnen.     A.  T.  of  Siissmayer's  Soliman  der  Zweite. 

Die  drey  liebhaber.     Tr.  of  Gmarosa's  I  tre  amanti. 

Die  drey  paechter.     See  Dezede's  Les  trois  fermiers. 

Die  drey  ringe,  oder  Kaspar  der  miindkoch.  Eine  komische  oper 
in  drey  aufzuegen.  Von  Emanuel  Schikaneder.  Die  musik  dazu  ist 
von  herm  Schak,  deutscher  saenger. 

n.  i.,  1796.     23  p.     15Y''' 

First  performed  at  Regensburg,  Thum  u.  Taxische  Schaubiihne  im  Ball-Hause, 
March  25,  1788.  Schatz  9568 

Die  drey  wuensche.     A.  T.  of  Der  kluge  mann. 

Die  drey  wiinsche.     A.  T.  of  Georg  Benda's  Der  holzhauer. 

Die  drey  wuensche.     A.  T.  of  Philidor's  Der  holzhauer. 

Le  droit  du  seigneur,  comedie  en  trois  actes,  en  prose,  m^l6e 
d'ariettes;  par  M.  Desfontaines :  representee  devant  Leurs  Majestes 
a  Fontainebleau,  le  17  octobre  1783,  et  a  Paris,  par  le  [!]  Comediens 
itahens  ordinaires  du  Roi,  le  29  decembre  de  la  mdme  annee. 

Amsterdam.  Cesar  Noel  Guerin,  1784.    4^  p.     IS*^^. 

Schatz  6036 

—  Gesaenge  aus  dem  singspiele :  Das  hermrecht,  in  drey  aufzuegen 
nach  dem  franzoesischen,  von  D'Arien.  In  musick  gesetzt  von 
Martini. 

Hamburg,  J.  M.  Michaelsen,  1789.     38  p.     15"^. 

By  Bemhard  Christian  d 'Arien. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  March  13,  1789. 

Schatz  6037 

—  Das  recht  des  lehnsherrn.  Ein  singspiel  in  3  aufzuegen,  nach 
dem  franzoesischen,  frey  bearbeitet  zu  einer  musik  von  Martini. 

Oels,  Ludwig,  n.  d.    84  p.     16^"^. 

Translator  not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Oels,  Hoftheater,  February  13,  1796.  Schatz  6038 

Le  drole  de  corps.     A.  T.  of  Le  mauvais  plaisant. 


414  LIBRARY   OF   CONGRESS 

Airs,  duets,  chorusses,  etc.,  in  the  new  masque  called  The  Druids. 
As  performed  at  the  Theatre  Royal,  Covent-Garden.     The  words 
chiefly  taken  from  Ben  Johnson;  tne  music  composed  by  Mr.  Fisher. 
The  second  edition. 
London,  T.  Evans,  1775.     19,  [1]  p.     19'^^. 

Cast.  Text  bv  Woodward  (Clarence:  "The  Stage").  The  first  ed.  was  published 
1774.    Composed  by  John  Abraham  Fisher.    Not  recorded  by  Genest. 

ML  52.2.D72 

Drusilla,  vedova  ingegnosa  e  D  Strabone,  dottore  in  medicina. 
O.  T.  of  Mariani's  text  La  vedova  ingegnosa. 

II  duca  d'Atene,  a  flew  comic  opera,  as  performed  at  the  King's 
Theatre  in  the  Hay  Market.  Written  by  C.  F.  Badini.  The  music 
entirely  new  by  Signor  Bertoni. 

London,  E.  Cox,  1780:     1  p.  l,  97  p.     19^'^'^. 

Prefatory  note  and  cast.    English  translation  faces  Italian  text.        ML  48.M2K 

Li  due  amanti  in  inganno.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Teatro  Tron  di  San  Cassiano  nel  camovale  dell'  anno 
1775. 

Venezia,  Gio.  Battista  Casali,  1775.     70  p.     17 Y"^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario,  and 
names  of  Giacomo  Rust  as  the  composer  of  acts  I  and  III,  of  Matteo  Hauzzini  as 
composer  of  act  II.  Schatz  9181 

Li  due  amanti  rivali.     L.  T.  of  Caruso's  La  virtuosa  alia  moda. 

Li  due  avari,  ballet.     See  Anfossi's  Gengis-Kan. 

I  due  avari,  ballet.     See  ZingarelU's  Ifigenia  in  Aulide. 

I  due  baroni.     L.  T.  of  Cimarosa's  I  due  baroni  di  Rocca  Azura. 

I  due  baroni  di  Rocca  Azzurra.     Farsetta  da  rappresentarsi  nel 
Teatro  della  Vittoria  di  Montalboddo  I'autunno  dell'  anno  1787. 
Sinigaglia,  Domenico  Lazzarini,  1787.     4^  p.     WY™'- 
Two  acts.    By  Giuseppe  Palomba,  who  is  not  mentioned.    Cast  and  name  of 
Cimarosa  as  composer. 
First  performed  at  Eome,  Teatro  Valle,  February,  1783.  ML  50.2.D75C3 

—  Li  due  baroni  di  Rocca  Azurra.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Real  Teatro  di  Salvaterra  nel  camovale  dell'  anno 
1791. 

[Lishoa],  Stamperia  reale,  n.  d.     77  p.     16\''^. 

Two  acts.  By  Giuseppe  Palomba  (not  mentioned).  Scenario,  cast  and  name  of 
the  composer,  Cimarosa.  Schatz  1918 

—  I  due  baroni  di  Rocca  Azura.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl.,  1790.     Ill  p.     15'"^. 

Two  acts.  With  name  of  the  composer,  Cimarosa.  German  title,  "Die  beyden 
barons  von  Rocca  Azura"  and  text  face  Italian. 

First  performed  at  Dresden  as  indicated  in  1790.  Schatz  1919 


OPERA    LIBRETTOS  415 

I  due  baroni  di  Rocca  Azzurra — Continued. 

—  I  due  baroni.  Commedia  per  musica  di  Giuseppe  Palomba  da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  second' 
opera  del  corrente  anno  1793. 

Na'poli,  n.  publ,  1793.     1^8  p.     IB^"^. 

Two  acts.  Cast,  name  of  Cimarosa  as  composer,  and  author's  pref.,  in  which  he 
says: 

"Eccoti  ridotti  in  commedia  gl'intermezzi  de  Due  Baroni  da  me  composti,  son  gia 
piu  anni  per  il  Teatro  di  Roma.  Mi  h  convenuto  adornarla  di  alcune  nuove  scene  per 
adattare  al  buffo  napoletano  il  carattere  del  Baroncino;  come  ancora  mi  h  stato  neces- 
sario  di  variare  alcune  arie  per  comodo  dei  present!  attori  .  .  .  senza  partirmi  dall  .  .  . 
Cimarosa  ..."  Schatz  1978 

I  due  cacciatori  e  la  venditrice  di  latte,  ballet.  See  Isola's  La 
conquista  del  vello  d'oro. 

Li  due  castellani  burlati.     L.  T.  of  Fabrizi's  I  castellani  burlati. 

I  due  Cesari.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramino  di  S.  Salvatore.  L'anno  MDCLXXXIII.  Di  Giulio  Cesare 
Corradi  ... 

Venetia,  Francesco  Nicolini,  1683.     72  p.     IJ^Y^' 

Three  acts.  Corradi's  dedication,  argument,  scenario,  cast,  and  name  of  Giovanni 
Legrenzi  as  the  composer.  Schatz  5543 

Le  due  contesse.  Intermezzi  per  musica  a  cinque  voci  da  rappre- 
sentarsi nel  Teatro  Valle  nel  came  vale  dell'  anno  1776  .  .  .  [wood- 
cut] 

Rorna,  Ottavio  PucdneUi,  1776.     62  p.     75^^™. 

Two  parts.  By  Giuseppe  PetroselHni,  who  is  not  mentioned.  Publisher's  dedi- 
catory poem,  cast  and  name  of  Giuseppe  Paisiello  as  composer.      ML  50.2.D76P2 

—  Le  due  contesse,  intermezzo  per  musica  a  cinque  voci  da  rappresen- 
tarsi nel  Real  Teatro  di  Colomo  I'autunno  dell'  anno  MDCCLXXVII. 

Parma,  Stamperia  reale,  n.  d.     67  p.     20^^- 

Two  parts.  By  Giuseppe  Petrosellini,  who  is  not  mentioned.  Cast  and  name  of 
Paisiello  as  the  composer.  Schatz  7613 

—  Le  due  contesse.  Azzione  comica  per  musica  da  rappresentarsi 
nel  Piccolo  Teatro  di  S.  A.  S.  E.  di  Sassonia. 

Dresda,  n.  publ,  1781.     147  p.     15^"^. 

Two  acts.  Without  name  of  Petrosellini,  but  with  name  of  Paisiello.  German 
title  page,  "Die  zwey  comtessinnen,"  and  text  face  Italian. 

First  performed  1781,  as  indicated.  Schatz  7614 

I  due  dittatori. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744}  i-  **>  87-182  p. 
19 


cm 


Three  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo  "  at  the  end  of  t.  x,  date  and  place  of  first  eo.  are  given  as  Vienna,  1726.  (First 
performed  November  4,  mufic  by  Caldara.)  ML  49-A2Z3 

—  I  due  dittatori.     Pubblicati  per  la  prima  volta  in  Vienna  1726. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1786-86,  t.  vi,  p.  311- 
398.     21^"^. 

Five  acts  and  licenza.    Argument.    No  composer  is  mentioned.    ML49.A2Z4 


416  UBRARY  OF   CONGRESS 

Le  due  Ante  gemelle.     L.  T.  of  Piccinni's  Le  finte  gemelle. 

Li  due  fratelli  ridicoli.     A.  T.  of  Alessandri's  La  finta  baronessa. 

Le  due  gemelle.  L.  T.  of  P.  Guglielmi's  L'inganno  amoroso,  and 
A.  T.  of  his  L'equivoco  amoroso,  another  L.  T.  of  the  same  opera. 

I  due  gemelli.     A.  T.  of  the  ballet  Mysis  ed  Eufrasia. 

Li  due  gemelli  e  La  scuffiara.  Drammi  giocosi  per  musica  ciascun 
di  un  atto  di  Giambattista  Lorenzi  P.  A.  da  rappresentarli  [!]  nel 
Nuovo  Teatro  de'  Fiorentini  nel  camevale  del  corrente  anno  1784. 

Napoli,  n.  publ,  1784.     78  p.     15'='^. 

Cast,  name  of  Giacomo  Tritto  as  the  composer,  and  notice  to  the  public: 

"La  prima  di  queste  due  farse  fe  I'istessa,  che  nel  camevale  dell  anno  scorso  fu 
rappresentata  in  questo  medesimo  teatro.  II  carattere  di  Ortensio,  che  allora  si 
sosteneva  da  un  tenore,  adesso  viene  disimpegnato  dalla  Sig.  Caterina  Fiorentini, 
avendo  impreso  a  far  tal  parte  per  esservi  navuta  dalla  sua  infermit^,  per  la  quale 
con  reciproco  consenso  si  euo  che  dell'  impresario  fu  scritturata  altra  cantante  col 
carattere  di  seconda  Buffa.  Allora  quando  fu  data  la  parte  di  Ortensio  alia  prefata 
Sig.  Caterina  Fiorentini,  era  di  gi^  scritta  si  la  poesia,  che  la  musica  della  seconda 
farsa  denominata  La  Scuffiara,  per  la  quale  a  sua  istanza  si  h  aggiunto  un  personaggio 
di  piu  col  nome  di  Giulietta,  e  I'aria,  che  canta  ["Fin  a  tan  to  che  userete  1  non  edel 
maestro  Tritto  per  essere  il  medesimo  assente.  Si  h  ben'  anche  aggiunto  il  carattere 
di  Cecchino  per  concatenare  meglio  le  idee,  e  la  sua  aria  ["Parce  per  carit£l"]  e  del 
maestro  [Gaetano]  Monti,  come  anche  quella  di  Pippa,  ["Or  che  ballar  degg'io"]. 

On  p.  [431-78  "La  scuffiara.  "  Schatz  10456 

I  due  gobbi.  A.  T.  and  L.  T.  of  Portugal's  Le  confusion!  della 
somiglianza. 

Li  due  gobbi  rivali.  Farsetta  per  musica  a  tre  voci  che  serve  per 
intermezzo  nel  Teatro  della  Pallacorda  di  Firenze  in  Roma,  nel  car- 
nevale  delF  anno  1752  .  .  . 

Eoma,  Ottavio  Puccinelli,  1752.     24  p.     15^"^. 

Two  parts.  Author  not  mentioned  and  vmknown  to  me.  Dedication  by  the 
impresario  Alessandro  Abinante,  cast  and  name  of  "Engelberto  Rendeut  Liegere" 
(Engelbert  Bendeux)  as  composer.  ML  50.2.D77R2 

I  due  litigant!.     L.  T.  of  Sarti's  Fra  i  due  litiganti  il  terzo  gode. 

Le  due  orfane  e  i  due  tutori  innamorati.  Dramma  giocoso  per 
musica  da  rappresentarsi  in  Firenze  nel  R.  Teatro  de'  Risoluti  posto 
in  via  Santa  Maria  nella  estate  dell'  anno  1792  .  .  . 

Firenze,  Ant.  Gius.  Pagani  e  comp.,  1792.     63,  [1]  p.     16^"^. 

Two  acts.  The  author  is  not  mentioned  and  unknown  to  Schatz.  Cast  and  name 
of  the  composer:  "La  musica  tutta  nuova  del  Sig.  Giuseppe  Moneta  maestro  ono- 
rario,  e  compositore  della  R.  Corte  di  Toscana." 

First  performed  at  Rome,  Teatro  Valle,  fall  of  1790.  Schatz  6552 

Le  due  pastorelle  sm.arrite,  ballet.     See  Baini's  II  finto  Parigino. 

Le  due  rivali  in  amore.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  Moise  nell'  autufio  dell'  anno  1728. 

Venezia,  Carlo  Buonarigo,  n.  d.     4^  V-     14'^"^- 

Three  acts.  By  Aurelio  Aureli,  who  is  not  mentioned.  Ailment,  scenario,  cast, 
and  name  of  Tommaso  Albinoni  as  composer.  Schatz  108 

Le  due  rivali  o  sia  La  prova  del  vero  amore,  ballet.  See  Astaritta's 
Ipermestra. 


OPERA   LIBRETTOS  417 

I  due  sciocchi  delusi.     A.  T.  of  Portugal's  La  vedova  raggiratrice. 

t 

I  due  sindaci.     A.  T.  of  Rutini's  I  vendemmiatori. 

Li  due  sindaci  ossia  La  vendemmia,  ballet.  See  P.  Guglielmi's  Le 
due  gemelie.  . 

I  due  sordi.     L.  A.  T.  of  Paer's  II  matrimonio  improviso. 

Le  due  sorelle  incognite.     Dranima  giocoso  per  musica  da  rap- 

Siresentarsi  nel  nobile  Teatro  dell'  eccell.°»*  casa  Giustiuiani  in  S. 
loise  il  camevale  1783. 
Venezia,  n.  puhl.,  n.  d.     56  p.     17*^^. 

Two  acts.  Author  unknown  to  Schatz.  Cast,  name  of  the  composer,  Antonio 
Calegari,  and  scenario.  On  p.  5-6,  the  argument  of  "L'ircana  in  Julfa  ballo  panto- 
mime regolato  e  diretto  da  Gasparo  Ronzi  ..."  The  composer  of  the  music  is  not 
mentioned.  .  Schatz  1509 

Li  due  sposi  sfortunati,  ballet.    See  Prati's  Demofoonte. 

Le  due  sultane  rivali,  ballet.     See  Sarti's  La  giardiniera  brillahte. 

I  due  supposti  conti  ossia  Lo  sposo  senza  moglie.  Dramma 
giocoso  per  musica  da  rappresentarsi  nel  Teatro  Grande  alia  Scala 
Fautunno  dell'  anno  1784  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     16'^'". 

Two  acts.  By  Angelo  Anelli  (not  mentioned),  with  dedication,  scenario,  cast,  and 
name  of  the  composer,  Cixaarosa  ("La  musica  h  nuova").  With  the  opera  were  per- 
formed Filippo  Beretti's  ballets,  "I  comici  Italiani  alia  China"  and  "L'innocenza 
scoperta."    The  composer  of  the  ballet  music  is  not  mentioned. 

First  performed  at  Milan,  La  Scala,  October  10,  1784.  Schatz  1920 

—  I  due  supposti  conti  ossia  Lo  sposo  senza  moglie.  Dramma 
giocoso  per  musica  da  rappresentarsi  nel  Teatro  di  S.  A.  E.  di 
Sassonia. 

Dresda,  n.  puhl,  1787.     135  p.     15'"". 

Two  acts,  with  name  of  the  composer,  Cimaxosa.  German  t.-p.  "Die  vorge- 
blichen  graf en  oder  Der  braeutigam  ohne  braut, ' '  and  text  face  Italian .    Schatz  1921 

—  Lo  sposo  senza  moglie.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  nobilissimo  Teatro  Onigo  in  Treviso  la  fiera  dell'  anno 
1792  .  .  . 

Treviso,  Giulio  Trento,  1792.     36  p.     18<^^. 

Two  acts.  By  Angelo  Anelli  (not  mentioned).  Impresario's  dedication,  cast, 
scenario,  and  name  of  the  composer,  Cimarosa.  A  later  version  of  his  "I  due  sup- 
posti conti."  With  the  opera  were  performed  Giuseppe  Bartolomei's  ballets,  "II 
generoso  perdono"  and  "La  scuola  di  scultura."  Schatz  2006 

I  due  vedovi,  ballet.     See  Tarchi's  Alessandro  nell'  Indie. 

I  due  vedovi.  Commedia  per  musica  da  rappresentarsi  nel  Teatro 
Elettorale  di  Sassonia. 

Dresda,  n.  puU.,  1798.     159  p.     15"^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  German  title-page 
"Der  wittwer  und  die  wittwe,"  and  text  face  Italian.  Peter  von  Winter  is  mentioned 
as  the  composer. 

First  performed,  as  indicated,  January  13,  1798;  at  Vienna,  Burgtheater,  January 
12, 1796.  Schatz  11029 

72251°— VOL  1—14 27 


418  LIBRARY   OP  CONGRESS 

I  due  vergognesi  da  nozze,  ballet.    See  Galuppi's  L'Ipermestra. 
Le  duel  comique.     Tr.  of  Paisiello's  II  duello. 

II  duello.  Commedia  di  un  atto  per  musica  di  Giambatista  Lorenzi 
P.  A.  cJa  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nella  prima- 
vera  del  corrente  anno  1774. 

Napoli,  n.  publ,  1774.     '^2  p.     HY"^. 

Cast  and  name  of  Paisiello  as  the  composer.  Schatz  7676 

—  Le  duel  comique,  opera  bouffon,  en  deux  actes.  Imit6  de  I'lta- 
lien,  sur  la  musique  du  Signor  Paesiello,  par  M.  Moline.     Repr6sent6 

f)our  la  premiere  fois,  par  les  Com^diens  italiens,  ordinaires  du  roi, 
e  lundi  16  septembre,  1776. 
Paris,  la  veuve  Duchesne,  1776.    2  p.  l,  67  p.    W"^. 
Mereaux  is  not  mentioned.    (iSc«  next  entry.)  ML  50.2.D8P19 

—  Le  duel  comique,  opera  bouffon.  En  deux  actes,  et  en  prose; 
m^le  d'ariettes.  Represents  devant  Leurs  MajestSs,  k  Fontaine- 
bleau,  le  10  octobre  1777. 

[Paris],  P.  Robert  Christophe  Ballard,  1777.     2  p.  I.,  56  p.     20^""- 
Cast  and  note:   "Les  paroles  sont  de  M.  Moline.     La  musique duSieur  Paesiello, 
redig^e  &  augment^e  par  M.  [Jean  Nicolas  Le  Froid]  de  Mereaux." 

ML  50.2.D8P2 

II  duello  d'am.ore  e  di  vendetta.  O.  T.  of  Silvani's  text  Li  sdegni 
cangiati  in  amore. 

II  duello  d'amore  e  di  vendetta.     Drama  per  musica.     Da  reci- 
tarsi  nel  famoso  Teatro  Vendramino  di  S.  Salvatore.     L'anno  1700. 
Poesia  di  Francesco  Silvani  .  .  •     Ristampato  .  .  . 
Venezia,  Nicolini,  1700.     68  p.     14^"^- 
Three  acts.    Author's  dedication,  dated  Venice,  December  26,  1699,  argument, 
cast,  and  scenario.     The  composer.  Marc'  Antonio  Ziani,  is  not  mentioned. 

Schatz  11183 

II  duello  per  complimento.  A.  T.  and  L.  T.  of  Cimarosa's  I 
nemici  generosi. 

Songs,  duets,  trios,  &c.  in  The  duenna;  or,  The  double  elopement. 
As  performed  at  the  Theatre-Royal  in  Covent-Garden. 
London,  J.  Wilkie  [etc.]  1775.     2  p.  I.,  20  p.     19^"^. 

Three  acts.  By  Richard  Brinsley  Sheridan,  who  is  not  mentioned.  Cast.  The 
music  was  composed  and  compiled  by  Thomas  Linley  in  conjunction  with  his  son 
Thomas.    See  also  "The  governess." 

First  performed,  as  indicated,  October  21,  1775  (Schatz);  November  21,  1775 
(Genest).  ML  50.2.D85 

—  The  duenna;  or.  The  double  elopement.     A  comic  opera. 
[79\-115  p.     W"^.     (A  volume  of  plays,  Dublin,  1791.) 

Without  name  of  author  or  composer.  PR  ]269.v6 

—  The  duenna:  a  oomic  opera,  in  three  acts:  as  it  is  performed,  by 
His  Majesty's  servants  .  .  . 

London,  E.  Johnson,  1776.     1  p.l.,  ii,  43  p.     20^"^. 

Three-act  parody  by  Israel  Pottinger  (not  mentioned)  of  Sheridan's  "Duenna." 
The  ironical  dedication  to  David  Gamck  is  dated  June  18,  1776.  The  tunes  are  indi' 
cated  by  quoting  first  lines  from  the  original  piece.    The  Ldnleys  are  not  mentioned. 

LONGE  310 


OPEBA  LIBRETTOS  -  419 

The  duenna — Continued. 

—  The  duenna,  a  comic  opera,  in  three  acts:  as  it  is  performed  by 

His  Majesty's  servants  ...     A  new  edition,     [vignette] 

London,  E.  Johnson,  n.  d.     1  f.l.,  ii,  4^  p.     20Y^. 

Same  parody.  ML  50.2.D852 

Duglas  ed  Ernestina,  ballet.     See  Spontini's  Adelina  Senese. 

The  dumb  lady  cur'd.     A.  T.  of  The  mock  doctor. 

Der  dumme  gaertner.  L.  T.  of  Schack's  Anton  der  dumme  gaert- 
ner. 

^  I   duo   [!]   tiranni  al   soglio.     Drama   per  musica.     Nel  Teatro 
Vendramino  di  San  Salvatore.     L'anno  1679.     Di  Matteo  Noris  .  .  . 
Venetia,  Francesco  Nicolini,  1679.     80  p.     13^"". 
Three  acts.    Author's  dedication  dated  January  15,  1679,  argument,  scenario. 
The  composer,  Antonio  Sartorio,  is  not  mentioned.  Schatz  9481 

Die  durch  blut  und  mord  erlangete  liebe,  oder  Nero.  In  einem 
sing-spiel  auf  dem  Hamburgischen  Schau-Platz  vorgestellet  anno 
1705. 

n.  L,  n.  d.     Unpaged.     W'^^K 

Three  acts.  Neither  the  author,  Friedrich  Christian  Feustking,  nor  the  composer, 
Georg  Friedrich  Handel,  is  mentioned.     Argument  and  scenario. 

First  performed,  as  indicated,  Theater  beim  Gansemarkt,  February  25,  1705. 

Schatz  4475 

Der  durch  den  fall  des  grossen  Pompejus  erhoehete  Julius 
Caesar.  In  einem  sing-spiel  auf  dem  grossen  Hamburgischen  Schau- 
platz  aufgefuehret.     Im  jahr  1710  im  monaht  novembr. 

[Hamburg],  rait  Spieringischen  schrifften,  n.  d.      Unpaged.     19'^^. 

Five  acts.  "Historischer  vorbericht."  Neither  the  author,  /esp.  translator, 
Barthold  Feind,  nor  the  composer,  Reinhard  Keiser,  is  mentioned.  The  Italian 
text  is  added  to  some  of  the  arias.  Schatz  5086 

Der  durch  den  tod  Helenen  versoehnte  Achilles.  A.  T.  of 
Reiser's  Das  zerstoerte  Troja. 

Die  durch  die  tugend  gestuerzte  wueterey.  Tr.  T.  of  Draghi's 
La  tirannide  abbattuta  dalla  virtii. 

Die  durch  verstellung  und  grossmuth  uber  die  grausamkeit 
siegende  liebe  oder  Julia  [vignette],  wurde  in  einem  sing-spiel  auf 
dem  Hamburgischen  Schau-platz  vorgestellet  im  monath  rebruar. 
1717. 
Hamburg,  Friderich  Conrad  Grejlinger,  n.  d.     Unpaged.    48Y^- 

Five  acts.  Historical  "Vorbericht,"  scenario,  and  note  that  this  is  the  sixty- 
seventh  opera  by  Reinhard  Keiser.  The  author,  resp.  translator,  Johann  Joachim 
Hoe,  is  not  mentioned.  The  Italian  text  is  added  to  some  of  the  arias.  Based  on 
Giacomo  Franceeco  Bussani's  text,  "Antonio  e  Fompeiano."  Schatz  5087 


420  -  LIBRARY  OF  CONGRESS 

Der  durchlauchtige  secretarius,  oder  Almira,  Koenigin  in  Cas- 
tilien,  in  einem  sing-spiel  auf  dem  grossen  Hanibur^ischen  Schau- 
platz  auffgefuehret  una  in  die  music  gesetzt  durch  Reinhard  Keisem 
.  .  .  im  jalu-  1706. 

[Hamburg],  n.    publ.,  Gedruckt    in    ohgemeldten   jahr.     Unpaged. 

Three  acts.  Scenario  and  argument.  The  author,  reep.  translator.  Barthold 
Feind,  is  not  mentioned.  To  some  of  the  arias  the  Italian  text  has  been  added.  The 
text  is  a  revision  by  Feind  of  Friedrich  Christian  Feustking's  text,  which,  in  turn, 
was  taken  from  Giulio  Pancieri's  "L'Almira."  Schatz  5122 

The  Dutchman,   a  musical  entertainment,   as  performed   at  the 
Theatre-Royal  in  the  Hay-Market.     By  Thomas  Bridges,  Esq.  .  .  . 
London,  T.  Lowndes,  1775.     35  p.     20^"^. 

Two  acts.    Cast.    The  composer  not  recorded  by  Clarence  or  Schatz. 
First  performed,  September  8,  1775  (Genest),  August  21,  1775  (Schatz). 

LONOE  116 

Les  eaux  de  Merlin.     Piece  d'un  acte,  priced  6e  d'un  prologue. 

Par  M.  le  S    *     *     *.     Representee  k  la  Foire  de  Saint  Laurent  1715. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ii,  2  p.  I.,  {81\-131  p.     17'"^. 

By  Alain  Rene  Le  Sage.  En  vaudevilles,  selected  or  composed  and  arranged  by 
Jean  Claude  Gillier,  the  compositeur  of  the  theatre,  and  printed  at  the  end  of  the 
volume  in  the  "Table  des  airs." 

First  performed  July  25,  1715.  ML  48.L2  II 

GFeccessi  della  gelosia.  Drama  per  musica  di  Domenico  Lalli  da 
rappresentarsi  nel  Teatro  di  S.  Angiolo  nel  carnevale  dell'  anno 
1722  .  .  . 

Venezia,  Marino  Rossetti,  1722.     56  [1]  p.     15'^'^. 

Three  acts.  Author's  dedication,  argument,  cast,  scenario,  and  name  of  Tommaso 
Albinoni  as  composer.  The  supplementary  page  contains  the  aria, ' '  Chiama  I'amante 
fido,"  as  substitute  for  "II  mio  core  ingelosito"  (III,  13).  Schatz  116 

—  La  Mariane.  Dramma  per  musica  di  Domenico  Lalli  da  rappre- 
sentarsi nel  Teatro  di  S.  Angelo  I'autunno  dell' anno  MDCCXXIV  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.  59,  [1]  p.  i^i*^'"- 
Three  acts.  Ailment,  scenario,  cast,  and  Lalli's  dedication,  dated  November  15, 
1724.  The  supplementary  page  contains  the  arias  "Al  cader  di  ria  tempesta,"  as  sub- 
stitute for  "A  un  sleale  un  traditore"  (Act  II,  sc.  1),  and  "S'ha  piet^delle  miepene" 
for  "Un  certo  non  s6  che"  (Act  III,  sc.  3).  The  same  page  contains  this  note:  "La 
musica  delle  arie  b  del  Signor  Giovanni  Porta,  k  riserva  di  quelle  signate  con  stelletta, 
che  sono  del  prime  lor  compositore."  Accordingly,  only  four  arias  were  retained  from 
"Gl'eccessi  della  gelosia."  These  are:  "Quanto  e  grave  il  mio  dolore"  (1, 1),  "Lieto 
parte  amato  bene"  (I,  11),  "Escimi  tutto  in  lagrime"  (II,  12),  *'Basta  dir  che  la  mia 
pena"  (III,  9).    The  dialogue  is  largely  the  same  as  in  Albinoni's  opera. 

Schatz  117 

—  La  Mariane.  Drama  per  musica  da  rappresentarsi  in  Firenze 
nel  Teatro  di  via  del  Cocomero.  Nel  carnevale  dell'  anno 
MDCCXXVI  .  .  . 

Firenze,  Domenico  Ambrogio  Verdi,  n.  d.     60,  [1]  p.     IS*^^, 

The  additional  page  contains  the  substitute  aria  "Maggior  pena  di  tutte  le  pene," 

for  I,  12. 

Three  acts.    Antefatto,  cast,  scenario.     No  author  or  composer  is  mentioned,  but 

comparison  proved  most  of  the  dialogue  to  be  the  same  as  in  Domenico  Lalli's  libretto, 


OPERA   LIBRETTOS  421 

Gl'eccessi  della  gelosia — Continued. 

"Gl'eccessi  della  gelosia,"  Venice,  1722,  as  composed  by  Albinoni,  and  in  1724 
repeated  there  as  La  Mariane,"  with  a  few  arias  retained  &om  Albinoni's  opera,  but 
most  of  them  composed  by  Giov.  Porta.  As  to  the  arias  in  this  1726  ed.,  most  of 
them  are  not  contained  in  the  Venetian  librettos.  The  few  that  are,  either  belong  to 
those  expressly  in  the  1724  ed.,  stated  to  be  by  Albinoni,  as,  for  instance,  "Lieto 
parto  amato  bene,"  or  by  Porta,  as  "Faro  (voglio)  vendetta  si."    ML  48.A5    v.  18 

Echo  und  Narcissus  in  einem  singe-spiel  vorgestellet  im  jahr  1694. 
n.  i.,  n.  d.    [60]  p.     18'"'\ 

Three  acts.  By  Friedrich  Christian  Bressand.  Neither  he  is  mentioned,  nor  the 
composer,  Georg  Bronner. 

First  performed  at  Hamburg,  as  indicated;  at  Brunswick,  Hochfurstl.  grosses 
Theater,  in  1693.  Schatz  1334 

L'eclipse  totale,  comedie  en  un  acte  et  en  vers,  melee  d'ariettes; 
representee,  pour  la  premiere  fois,  par  les  Comediens  italiens  ordi- 
naires  du  Roi,  le  jeudi  7  mars  1782.  Les  paroles  sont  do  M.  de  la 
Chabeaussiere.     La  musique  de  M.  Dalayrac. 

Paris,  Brunei,  1782.     24  p.     lOY"". 

Cast.  Schatz  2342 

L'ecole  de  la  jeunesse,  ou  Le  Bamevelt  fran^ois;  comedie,  en  trois 
actes  et  en  v^ers;  meslee  d'ariettes:  par  M.  Anseaume.  La  musique 
est  de  M.  Duny.  Representee  pour  la  premiere  fois  par  les  Come- 
diens italiens  ordinaires  du  roi,  le  24  Janvier  1765, 

Paris,  Duchesne,  1765.     96  p.     19i<="'. 

Cast.    On  p.  93-96  the  same  music  as  below.  ML  50.2.E2D9 

—  L'ecole  de  la  jeunesse,  ou  Le  Bamevelt  fran^ois,  comedie  en 
trois  actes  et  en  vers,  meslee  d'ariettes,  par  M.  Anseaume.  La 
musique  est  de  M.  Duny.  Representee  pour  la  premiere  fois  par 
Les  Cfom^diens  italiens  ordinaires  du  Roi,  le  24  Janvier  1765. 

Paris,  la  veuve  Duchesne,  1770.     79  p.     IS*^"^. 

On  p.  74-75,  the  melody  of  the  Vaudeville.  "Le  grand  philosophe  Panglose," 
p.  77-79  of  the  "Ariette.    On  scait  bien  qu'il  faut  qu'un  marchand."      Schatz  2841 

—  Die  schule  der  jugend,  ein  sing-spiel  in  drey  aufzuegen  aus  dem 
franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  May n,  mit  Andredischen  scJiriften,  177 4.  112  p.,  10 
p.  (folded  music).     16"^'^. 

German  version  by  Johann  Heinrich  Faber .  Duni  is  not  mentioned .  The  musical 
supplement  contains:  "Wenn  des  wilden  krieges  plagen"  ["Quand  le  feu  de  la 
guerre"!  (p.  1-5),  "Stets  geliebt  und  verfolgt  [  Ador^,  poursuivi  des  belles"] 
(p.  5-10). 

First  performed  at  Frankfurt  a/M.,  Theater  im  Junghofe,  1774.  Schatz  2842 

L'ecole  des  amans.  Pi^ce  d'un  acte.  Par  Messieurs  le  S  *  *  * 
e  F    *     *     *.     Representee  a  la  Foire  de  Saint  Germain  1716. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ii,  pi  [317]-3ol  p.     17'"". 

By  Alain  Rene  Le  Sage  and  Fuzelier.  The  airs,  selected  or  composed  and  arranged 
by  Jean  Claude  Qillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

ML  48.L2  II 

L'ecole  des  amours  grivois.     O.  T.  of  Favart's  Les  amours  grivois. 


422  LIBRARY'   OF   COXGRESS 

L'ecole  des  tuteurs.  Opera-comique.  Par  M.  Rochoii  de  la  Va- 
lette.  Represent  6  le  4.  tevrier  1754  sur  le  Th6«ltre  de  TOpera- 
comique. 

Paris,  Duchesne,  1754.     U,  Ul  [3]  2>.     18^'^'". 

Ono  act.  Largely  En  vaudevilles.  Cast.  On  the  [3]  p.  the  airs  of  "Ah  lisons  de 
tant  d'allarmes,"  "Mais  ce  deguisement "  and  "Tut^ura  infiens^."  Composer,  resji. 
arranger,  of  the  music  unknown  to  me.  ML  50.2. E23 

Ecuba.  Dramma  per  musica  da  rappresen  ars  nel  Re^io  Teatro  di 
Torino  nel  carnovale  del  1769  alia  presenza  di  S.  S.  R.  M. 

Torino,  Stamperia  Mairesse,  a  spese  di  Onorato  Derossi,  n.  d.  viii, 
59,  [1]  p.     W"". 

Three  acts.  By  Jacopo  Durandi,  who  is  not  mentioned.  Cast,  argument,  scenario, 
and  names  of  Ignazio  Celoniat  as  composer  of  the  opera,  of  Giuseppe  Antonio  Le 
Messier  and  Paolo  Ghebart  of  the  ballet  music.  Schatz  1771 

Edalide  e  Cambise.  Dramma  per  musica  per  celebrare  il  felicis- 
simo  giomo  natalizio  di  Sua  Maesta  .  .  .  Donna  Maria  I  ...  li  17 
dec.  1780. 

[Lishoa],  Stamperia  Reale,  n.  d.     37  p.     16''^. 

One  act.  Argument,  cast,  and  names  of  Gaetano  Martinelli  as  author,  of  Jo5o 
Cordeiro  da  Silva  as  composer.  Schatz  9886 

Das  edelgestein.  Ceraunia  von  Ulissipone  jetzo  Lisbona.  Tr.  of 
La  gemma  Ceraunia  .  .  . 

Die  edelmuethige  Octavia.     A.  T.  of  Reiser's  Die  roemische  unruhe. 

Edgar  and  Emmeline.     In  two  acts.     By  Dr.  Hawkesworth. 

[97]-129  p.  W'^^.  {Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  iv,  Edinburgh,  1792.) 

Drury-Lane,  Edinburgh  (1790)  and  Glasgow  (1782)  casts.  Music  by  Michael  Arne 
(Squire). 

First  performed,  as  indicated,  January  31,  1761.  Schatz  11753 

Edipo,  ballet.     See  Zingarelli's  La  morte  di  Cesare. 

Gesaenge  zu  der  oper:  Die  edle  rache  in  zwei  aufzuegen  von  Franz 
Xaver  Huber.  Die  musik  liierzu  ist  von  herm  Franz  Xaver  Suess- 
mayer  .  .  . 

n.  i.,  n.  d.     48  p.     IG^^K 

First  performed  at  Vienna,  Karntnerthor  Theater,  August  27,  1795. 

Schatz  10177 

Der  edle  wettstreit.     Tr.  of  Paisiello's  Le  gare  generose. 

Egilina.  Dramma  per  musica  dti  rappresentarsi  nel  Teatro  alia 
Scala  il  came  vale  dell'  anno  1793  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     60  p.     W^. 

Three  acts.  Impresario's  dedication  dated  Milan,  January  26,  1793,  argument, 
cast,  scenario,  and  name  of  the  composer,  Giovanni  Battista  Borghl,  but  not  of 
Angelo  Anelli,  the  librettist.  Pages  49-60  contain  argument,  cast,  and  detailed  de- 
scription of  Filippo  Beretti's  "Andronico  e  Ramira,  ballo  eroico  pantomimo"  and 
of  his  ballet,  "II  giudice,  e  padre."    The  composers  of  the  music  are  not  mentoined. 

Schatz  1231 


OPERA   LIBRETTOS  423 

E^eiia.     Festa  teatrale,  scritta  .  .  .  dall'  autore  in  Vienna,  e  rap- 
presentata  la  prima  volta  con  musica  dell'  Hasse  nella  Cesarea  corte 
.  .  .  per  I'incoronazione  della  S.  R.  M.  di  Giuseppe  II  .  .  .  I'anno 
1764. 
323-344  P'    26'^^.     ( Metastasio,  Opere,  t.  viii,  Parigi,  vedova  Heris- 

sant,  1781.)  ML  49. A2M44 

Egeria.     Del  Sig.  ab.  Metastasio  P.  Ces. 

71.  i.,  n.  d.     Unpaged.     21'^'". 

On  p.  [7]:  "In  Vienna,  Nella  stamperia  diGhelen."    Vignettes  by  Anton  Tischler. 

One  act.     Cast  and  name  of  Johann  Adolph  Hasse  as  the  composer. 
First  performed  at  Vienna,  Burgtheater,  April  24, 1764.  Schatz  4537 

L'Egeste.     Melodrama  da  rappresentarsi  nel  Teatro  Giustiniano  di 
San  Moise  nel  fine  del  carnovale,  dell'  anno,  MDCCXXVII. 
Venezia,  Marin  Rossetti,  n.  d.     60  p.     15^^. 

Three  acts.  By  Carlo  Paganicesa.  Argument.  Neither  the  author  is  mentioned 
nor  the  composer,  Antonio  Cortona.     In  a  notice  "Fingesi"  it  is  said: 

"Le  convenienze  del  teatro,  e  del  tempo  anno  ricercata  alcuna  alterazione  del 
drama.  S'  e  studiato  d'  intrecciar  all'  eroico  dell'  azione  qualche  tratto  comico  per 
renderla  piii  vivace,  onde  possa  meglio  adattarsi  anche  agl*  occhi  de  spettatori." 

ScHAtz  2265 

L'Egisto.     Favola  dramatica  musicale  di  Giovanni  Faustini. 

Venetia,  Pietro  Miloco,  1643.     93,  [1]  p.     13^'"'. 

The  additional  p.  contains  list  of  errata.  Prologue  and  three  acts,  notice  to  the 
reader  without  name  of  the  composer,  Pietro  Francesco  Cavalli. 

First  performed  at  Venice,  Teatro  S.  Cassano,  fall  of  1643.  According  to  von 
Weilen  an  opera  "L'Egisto  re  di  Cipro,"  text  by  Faustini,  music  by  Cavalli,  was 
performed  at  Vienna,  "1642  oder  1643."  "  Schatz  1719 

—  L'Egisto.     Favola  dramatica  musicale  di  Giovanni  Faustini. 
Firenze,  Franceschini  e  Logi,  1646.     84  P-     13^™. 

Prologue  and  three  acts.  Dedication  by  Curtio  Mannari  dated  Florence,  May  27, 
1646,  brief  notice  to  the  reader.  Cavalli  is  not  mentioned.  The  text  seems  to  be 
the  same  as  in  the  Venice,  1643,  edition.  Schatz  1719a 

L'Egisto  re  di  Cipro.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  San  Casciano.     L'anno  1698.     Di  Giulio  Cesare  Corradi  .  .  . 
Venetia,  Nicolini,  1698.     68  p.     14"'\ 

Three  acts.  Author's  dedication,  argument,  scenario.  The  composer.  Marc' 
Antonio  Ziani,  is  not  mentioned.  Schatz  11184 

L'Egiziana.     Dramma  comico   per  musica   da  rappresentarsi   nel 
Teatro  Giustiniani  di  S.  Moise  il  presente  carnovale  MDCCLXIII. 
Venezia,  Francesco  Valvasense,  n.  d.     60  p.     15*^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Mattia  Vento  as  the  composer.  Schatz  10610 

—  L'Egiziana.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Regio  Ducal  Teatro  di  Milano  I'autunno  dell'  anno  1763  .  .  . 

Milano,  Giovanni  Montana,  n.  d.     60  p.     14\'^^' 

Three  acts.  Impresario's  dedication,  argument,  cast,  and  name  of  Mattia  Vento 
as  composer.    The  author  is  unknown  to  Schatz.  ML  48. A5    v.3 


424  LIBRARY   OF   CONGRESS 

L'Egiziana — Continued. 

—  La  Zingara.  Dramma  giocoso  per  musica  da  rappresentarsi  ne* 
Teatri  privilegiati  di  Vienna  Testate  dell'  anno  MDCCLXIX. 

Vienna,  Gio.  Tom.  de  Trattnem,  n.  d.     67  p.     15^"^. 

Three  acts.  Scenario  and  note:  "La  musica  fe  del  Signer  Mattia  Vento  ...  ma 
molta  parte  ancora  del  Sign  or  Floriano  Gassmaoxi  ..."  The  text  has  been  changed 
in  many  scenes.  For  instance,  11,8  has  now  the  aria ' '  Quando  il  cuor  non  si  contenta  " 
instead  of  "Di  galanti  cicisbei,"  and  act  III  begins  "Favorisca,  padrone,  e  poi  mi 
dica,"  instead.ot  "I  ladri  scellerati."  Schatz  10611 

0 

—  La  Zingara.  Dramma  giocoso  per  musica  da  rappresentarsi  in 
Firenze  nel  Teatro  di  via  del  Cocomero,  nella  primavera  dell'  anno 
1771  .  .  . 

[Firenze],  Ant.  Giuseppe  Pagani,  n.  d.    front.,  56  p.     16^'^'". 

The  portrait  is  that  of  "Pietro  Leopoldo  I.,  arciduca  d'Austria,  Gran  duca  di 
Toscana,"  under  whose  protection  the  opera  was  performed.  The  engraved  title  page 
haa  an  exquisite  design. 

Three  acts.  Cast,  scenario,  arguments  of  the  incidental  ballets,  and  same* note  of 
authorship  (Vento  and  Gassmann)  as  in  the  Vienna  (1769)  ed.  This  means,  of 
course,  that  the  Vienna  version  was  used;  but,  again,  differences  in  the  text  are 
noticeable.  For  instance,  II,  8  now  has  the  aria,  "Noi  sole  semplicette  "  instead  of,  as 
at  Vienna,  "Quando  il  cuor  non  si  contenta."  Schatz  10612 

Programme  du  ballet  d'figle,  com^die  en  vers,  de  M.  Vallier  .  .  . 
representee  devant  Leurs  Majestfo,  a  Fontainebleau,  le  29  October 
1765. 

[Paris],  Christophe  Ballard,  1765.  35  p.  20^"^.  {Journal  des 
spectacles,  t.  ii,  Paris,  1766.) 

Cast,  program,  text  of  the  few  incidental  eongs,  and  names  of  Antoine  d'Auvergne 
ae  composer  of  the  music,  of  Laval,  pere  et  fils,  as ' '  composers  "  of  the  ballets.  Accord- 
ing to  the  Journal  (t.  I,  p.  15),  this  ballet  preceded  the  comedy  as  a  prologue.  After 
the  comedy  came  another  one-act  ballet,  the  text  of  which,  with  a  prefatory  note  and 
names  of  the  same  authors,  is  printed  on  p.  [llJ-35  of  the  present  publication  as: 

ML  48. J7 

—  Le    triomphe    de    Flore,    ballet,    represents    devant    Leurs 
Majestes,  h  Fontainebleau,  le  29  octobre  1765. 
[Paris],  Christophe  Ballard,  1765. 

figle. 

One-act  ballet,  by  Laujon.  Music  by  Lagarde.  The  published  score  has  the 
title  as  "Aigl6." 

First  performed  at  Versailles,  January  13,  1748.  Revived  on  February  25,  1750, 
and  first  performed  at  the  Acad^mie  royale  de  musique  on  February  18,  1751. 

Not  in  L.  of  C. 

—  La  fortune  au  village,  parodie  de  Facte  d'figl6;  par  Madame 
Favart  &  M.  B.  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  8  octobre  1760  ...  I^a  musique  de  M. 
Gibert. 

Paris,  Duchesne,  1761.  56  p.  i5<="».  {Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  v.) 

One  act.  Without  vaudevilles.  Cast.  Paul  C^sar  Gilbert's  ariettes  printed  in 
the  text,  which  Font  attributes  to  Favart,  his  wife,  and  Bertrand.  The  parody  fol- 
lowed the  revival  of  "Egl^,"  on  June  24,  1760.  ML  49.A2F1 

I^le.     See  Traetta's  Le  feste  d'Imeneo. 


OPERA   LIBRETTOS  425 

Egle  e  Cloco,  o  siano  I  satiri  puniti,  ballet.  See  Tritto's  La  fedelta 
tra  le  selve. 

Egle  e  Dafni,  ballet.     See  Misliweczek's  II  trionfo  di  Clelia. 

L'eglogue  de  Versailles.     See  Lully's  L'idylle  sur  la  paix. 

Die  eheverbindung  in  der  xnaske.     Tr.  of  G.  M.  Kutini's  II  matri 
monio  in  maschera. 

Der  ehrliche  raeuber.  Ein  schauspiel  mit  gesang  in  2  aufzuegen 
von  C.  G.  Korb.  In  musik  gesetzt  von  dem  herzogl.  Meckl.  Strel. 
kapelldirektor  herrn  Zeller. 

Neubrandenhurg,  gedruckt  in  der  officin  des  verfassers,  1785.  84  p. 
IS""". 

Dedication  and  author's  "Vorbericht,"  dated  Neubrandenhurg,  June,  1785,  in 
which  he  eaye: 

"Eine  anekdote  aus  der  zeit  der  groeeen  theuerung  im  eaechsischen  Erzgebir^e,  im 
jahre  1772,  welche  in  den  oeffentlichen  zeitungen  damaliger  zeit  als  wahr  benchtet 
WTude,  hat  mir  den  etoff  zu  gegenwaertigem  etuecke  geliefert.  Sie  ist  meines  wissens 
noch  nicht  fuere  Theater  benutzt  worden  .  .  .  Mein  ereter  dramatischer  verauch, 
"Johanna  oder  Unschuld  und  liebe"  in  drey  aufzuegen,  den  ich  ohne  namen  und 
druckort  unter  der  jahrzahl  1781  herauegab,  ward  auf  hieeigem  herzoglichem  Hof- 
theater  dreymal  kurz  hintereinander  voi^estellt,  und  in  einigen  gelehrten  zeitungen 
sehr  guetig  beurtheilt  ..." 

The  rest  is  taken  up  with  his  defense  of  the  ' '  zu  hohe  Schwung  "  of  the  language  of 
his  miners,  but  "bey  operetten  aber,  glaubt'  ich,  wuerde  diese  freyheit  zu  entschul- 
digen  eeyn." 

First  performed  at  Neubrandenhurg,  Herzogl.  Schauspielhaue,  July  2,  1787. 

SCHATZ  11164 

Ehrlichkeit  und  liebe.  Ein  laendliches  schauspiel  mit  gesang. 
Von  herrn  Wagenseil.  Die  musik  dazu  ist  von  .  .  .  herrn  Wolf. 
Hierauf  f olgt :  Ertappt!  ertappt!  Ein  lustspiel  in  einem  aufzug 
von  herrn  Wezel. 

Kaufbeuren,  Neth,  1781.     Unpaged.     15^^"^. 

By  Christian  Jacob  Wagenseil.  Music  by  Ernst  Wilhelm  Wolf.  At  head  of  title: 
"Von  der  buergerlichen  Agenten  Gesellschaft  A.  C.  wird  den  16  april  und  ersten 
may  1781  auf  dem  gewoehnlichen  Theater  aufgefuehrt." 

Cast  and  "Poetische  vorerimerung  "  and  prose  prefatory  note. 

First  performed  at  Gotha,  Hoftheater,  July  21,  1779.  Schatz  11078 

Der  ehrsuechtige  Arsaces.     In  einer  opera  auf  dem  Hamburgischen 
Schau-platz  vorgestellet  im  jahr  MDCCXXII. 
n.  pi.,  n.  d.,  Gedruckt  hey  Caspar  Jakhel. 

Three  acts.  Based,  according  to  Schatz,  by  Johann  Mattheson  on  Antonio  Sahn'e 
"Amore  e  maest^."  The  Italian  text  of  the  arias  is  added  to  the  German.  The 
"Vorbericht"  states  that  by  Statira  is  meant  Queen  Elizabeth  of  England  and  by 
Arsaces  the  Count  of  Essex.    Cast,  scenario,  and  note: 

"Die  arien  hat  theile  Orlandizd  [Giuseppe  Maria],  theils  Amadei  [Filippo] 
gesetzet."  Schatz  7354 

Eifersucht  auf  dem  lande.     Tr.  of  Sarti's  Le  gelosie  vilane. 

Die  eifersucht  auf  der  probe.     Tr.  of  Anfossi's  II  geloso  in  cimento. 

Die  eifersuechtige  faunen,  ballet.  See  Piccinni's  Das  gute 
maegdchen. 


426  LIBRARY   OF   CONGRESS 

Der  eifersuechtige  liebhaber.  Tr.  of  Gretry's  Les  fausses  appa- 
rences. 

Der  eifersuechtige  mann.  Eine  haeusliche  scene,  als  zwischenspiel 
in  zwe}r  auftritten,  nach  einem  italiaenischen  text,  und  Piccini's 
komposition,  von  Bock. 

n.  i.,  n.  d.     p.  [78]-110.     W^. 

Detached  from  his  "Komische  opem  der  Italiener,"  Leipzig,  1782. 

Schatz  does  not  give  the  title  of  the  Italian  original,  perhaps  "Gelosia  per  gelosia." 

First  performed  at  Leipzig,  Koch'sches  Theater,  October  12,  1779.    Schatz  8119 

Der  eigensinn  der  liebe.     Tr.  of  Seyclelmann's  II  capriccio  corretto. 

Eigensinn  und  launen  der  liebe.  Ein  komisches  singspiel  in  drey 
aufzuegen.  Aus  dem  italienischen  frei  uebersetzt  von  G.  F.  W. 
Grossmann. 

Frankfurt  und  Leipzig,  Herrmannische  huchhandlung,  1783.     112  p. 

Florian  Deller,  the  composer,  is  not  mentioned. 

First  performed  at  Bonn,  (^hurf,  Koln.  Hoftheater,  April  28,  1782,  in  this  German 
version,  but  according  to  Schatz  first  performed  at  Ludwigsbui^  about  1770  as  "Le 
contese  per  amore."  Schatz  2495 

Die  eigensinnige.     Tr.  of  Piccinni's  La  capricciosa. 

Die  eigensinnige  ehefrau.  Tr.  of  Gazzaniga's  La  moglie  capricci- 
osa. 

Eine  ist  wie  die  andere.     Tr.  of  Mozart's  Cosi  fan  tutte. 

Eine  machts  wie  die  andere.     Tr.  of  Mozart's  Cosi  fan  tutte. 

Eine  wie  die  andere  oder  Die  schule  der  liebhaber.  Tr.  of  Mozart's 
Cosi  fan  tutte  o  sia  La  scuola  degli  amanti. 

Das  einfaeltige  maedgen.  A.  T.  of  von  Schacht's  Der  betrogene 
vormund. 

Der  eingebildete  Sokrates.     Tr.  of  Paisiello's  Socrate  immaginario. 

Die  eingebildeten  philosophen.  Tr.  of  Paisiello's  I  filosoj&  imma- 
ginari. 

Der  einsiedler.     Ein  schauspiel  mit  gesang  von  L. 

Leipzig,  Christian  Gottloh  IlilscJier,  1780.     48  p.     15"^. 

Neither  author  nor  composer  nor  performance  recorded  by  Schatz.  Not  found 
in  "Deuteches-Anonymen  Lexikon."  Schatz  11452 

Der  einspruch.     Eine  operette  in  einem  aufzuge  von  J.  B.  Michaelis. 
Leipzig,  DycMsche  huchhandlung,  1772.     1  p.  I.,  108  p.     16^'^. 

The  composer.  Christian  Gottlob  Neefe,  is  not  mentioned  in  the  author's  "Vor- 
rede,"  which  is  dated  Halberstadt,  May  10,  1772,  and  appears  to  be  intended  for  a 
collection  of  his  librettos.    The  Vorrede  reads  in  part: 

"Mich  dauchte  immer,  wenn  wir  nun  ja  operetten  haben  sollen  und  muessen;  so. 
waeren  solche  kleine  stuecke  von  einem  akte  noch  d^s  beste  mittel,  die  liebhaberey 
der  menge  mit  dem  geschmacke  des  emsten  kenners  zu  vereinigen  .  .  .    Amora 
Gukkasten  .. .  .  Ich  verfertigte  diese  operette  meisten  vor  laenger  als  jahr  und  tag 


OPERA  LIBRETTOS  427 

Der  einspruch-^— Continued. 

in  Osnabrueck,  waehrend  meines  aufenthalts  bey  dem  hannoeveriechen  theater. 
Wegen  meiner  Psyche  muss  ich  um  verzeihung  bitten.  Sie  iet  nicht  die  Psyche  der 
fabel;  sondem  ein  laendliches,  naives  din»  .  .  . 

" Den  Ehispruch  fieng  ich  bereits  1770  in  Leipzig  an:  als  ich  zum  Theater  kam, 
Buchte  ich  ihn  wieder  hervor;  und  hier  in  Halberetadt  legte  ich  die  letzte  hand 
daran  .  .  . 

"Einige  freunde  wuenschten  meinen  Herkules  auf  dem  Oeta  dieser  sammlung 
beygefuegt.  Er  ward  voriges  jahr  in  Hannover  fuer  den  geburtstag  des  koenigs  in 
England,  binnen  weniger  als  acht  tagen  verfertigt,  komponirfc  und  aufgefuehrt  .  .  . 
Er  steht  bereits,  durchgaengig  verbessert,  in  dem  diesjaerigen  Leipziger  Musen- 
almanach.  In  diesem  gegenwaertigen  Abdrucke  sind  noch  einige  kleine  veraen- 
derungen  dazu  gekommen." 

First  performed  at  Berlin,  Koch'sches  Theater  in  der  Behrenstrasse,  October  16, 
1773.  ScHATZ  7071 

Der  Eiserne  mann.     A.  T.  of  Dittersdorf  s  Gott  Mars. 

Elektra,  eine  musikalische  declamation.  Von.  hrn.  direktor  Canna- 
bich  in  musik  gesetzt. 

Mannheim,  C.  F.  Schwan,  1780.     I4  p.     19^"^. 

One  act.    By  Wolfgang  Heribert,  freiherr  von  Dalberg. 

First  performed  at  Mannheim,  Nationaltheater,  September  4, 1781.    Schatz  1574 

Les  elemens,  troisieme  ballet  danse  par  le  voy  dans  son  Palais  des 
Tuilleries,  I'an  1721.  Represente  par  I'Academie  royale  de  musique, 
Tan  1725.  Musique  de  Messieurs  Lalande  &  Destouches.  Paroles  de 
M.  Roy.     CIV.  opera. 

n.  i.,  n.  d.  pi.,  393-452  p.  H*^.  {Recueil  general  des  opera,  t.  xiii, 
Paris,  1734.) 

Detached  copy.  Four  entrees  and  prologue.  Dedicatory  poem  and  "avertisse- 
ment." 

The  four  entries  are  called  "L'air,"  "L'eau,"  "Le  feu,"  and  "La  terre." 

First  performed  at  the  Academic  royale  de  musique,  May  29,  1725,  and  at  court 
on  December  22,  1721.    Revised  1725,  1754,  etc.  Schatz  5379 

Second  copy.    ML  48. R4 

—  Les  elemens,  ballet,  par  Roy,  danse  par  Louis  XV,  dans  son 
palais  des  Tuileries,  Fan  1721;  et  represents  a  I'Academie  royale  de 
musique  en  1725. 

n.  i.,  n.  d.     [243]-285  p.     18^^. 

Detached  copy.    The  composers,  Lalande  and  Destouches,  are  not  mentioned. 

ML  52.2.E4 

—  Momus  exile.  Critique  du  Ballet  des  elemens.  Par  M.  Fusillier. 
Representee  pour  la  premiere  fois,  par  les  Comediens  italiens  ordi- 
naires  du  roi,  le  25  jum  1725. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  Hi,  [63]-98  p.     leY"". 

One  act.  By  Fuzelier.  Airs  and  vaudeville  printed  at  the  end  of  the  volume  in 
the  "Table  des  airs"  (84  p.).  ML  48.P3 

—  Le  cahos,  ambigu  comique.  Represents  pour  la  premiere  fois 
par  les  ComSdiens  italiens  ordinaires  du  roi,  le  27  juillet  1725. 

Les  parodies  du  Nouveau  thedtre  italien,  Nouv.  id.,  Paris,  1738,  t.  Hi, 
[99]-162  p.     16Y'^. 

Proline  and  four  acts,  representing  the  four  elements,  L'air,  L'eau,  etc.  Parody 
by  Le  Grand  {see  t.  I)  of  the  "Ballet  des  ^l^mens."  The  airs  and  vaudeville  used 
are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs"  (84  p.).        ML  48. P3 


428  LIBRARY   OF   CONGRESS 

Les  elemens — Continued. 

—  II  etoit  terns,  parodie  de  I'acte  d'lxion  dans  le  ballet  des  Elemens. 
Representee  pour  la  premiere  fois  sur  le  Theatre  de  la  Foire  St. 
Laurens,  le  28  juin  1754.     Par  Mr.  Vad6. 

La  Haye,  Pierre  Gosse,  1760.  30  p.  16"^.  (Vade,  Oeuvres,  tii, 
La  Haye,  1760.) 

One  act,  en  vaudevilles.  On  p.  25-30  the  airs. notes  "Maris  qui  croyez,"  "Au 
milieu  du  coure  trainant,"  "Eh  Madame  qu'attendez-vous,"  "Un  amant  doit-il  ee 
taire."     "  Ixion  "  is  the  same  as  the  entree  "  L'air."  ML  49.A2V2 

Elena.  Drama  per  musica  nel  Teatro  a  S.  Cassano,  per  I'anno 
1659  .  .  . 

Venetia,  Andrea  Giuliani,  1659.  9  p.  Z.  {incl.  front.),  63;  [1]  p 
13Y"*- 

Three  acts.  By  conte  Niccol6  Minato.  Prologue,  author's  dedication  dated 
Venice  December  26,  1659,  argument,  scenario,  and  notice  to  the  reader,  in  which 
Minato  informs  us  that  "il  soggetto  di  questo  drama  usci  dai  feliciesimo  ingegno  del 
gi^  Sign.  Giovanni  Faustini  di  famosa  memoria."  Schatz  1746 

Elena  e  Paride.     Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  via  della  Pergola  I'autunno  del  MDCCXCV  .  .  . 
Firenze,  Stamperia  Albizziniana,  1795.    31  p.     W^'^^K 

Three  acts.  Cast,  note  on  p.  3,  "Poesia  tutta  nuova  con  musica  di  varj  autori," 
and  on  p.  2  this  Avviso: 

"Per  render  meno  vistosa  la  seduzione  di  Elena,  ei  h  finto,  sull'  esempio  ancora  di 
altri  drammatici,  che  Elena  sia  promessa  sposa,  ma  non  gia  consorte,  di  Menelao. 

"La  ristrettezza  del  tempo,  e  la  necessity  di  adattare  le  arie  ed  i  pezzi  concertati 
alia  musica,  gia  fatta,  pu6  servire  di  qualche  scusa  ai  molti  difetti  del  dramma  e 
della  poesia." 

With  the  opera  were  performed  (composer  of  the  music  not  mentioned)  Giuseppe 
Trafieri's  ballet,  "La  vendetta  di  Nino. 

First  performed,  as  indicated,  October,  1795.  ML  48.A5    v. 14 

Elena  rapita  da  Paride.     See  also  Freschi's  Helena  rapita  da  Paride. 

L'Elenia.  Dramma  per  musica  da  recitarsi  nel  Teatro  di  S.  Angelo 
I'anno  1730  ..  . 

Venezia,  Valvasense,  1730.     J^7  p.     15""^. 

Three  acts.  By  Luisa  Bergalli,  who  is  not  mentioned.  Dedication,  argument, 
scenario,  cast  and  name  of  Tommaso  Albinoni  as  composer.  Schatz  105 

L'eleve  de  Tamour.     A.  T.  of  Dalayrac's  Sargmes. 

Elfrida,  a  dramatic  poem.     Written  on  the  model  of  the  ancient 
Greek  tragedy.     By  Mr.  Mason.     The  second  edition. 
London,  J.  and  P.  Knapton,  1752.     1  p.l.,  xix,  [1],  80  p.     W"". 

The  xix  p.  contain  five  "Letters  concerning  the  following  drama,  dated  'Pemb. 
Hall,  1751.'  Not  this  but  a  dramatized  version  by  Colman  was  used  with  Thomas 
Aug.  Ame's  music  at  Covent  Garden,  November  21,  1772.  Longe  44 

—  Elfrida,  a  dramatic  poem.  Written  on  the  model  of  the  ancient 
Greek  tragedy.  By  William  Mason  .  .  .  Adapted  for  theatrical 
representation,  as  performed  at  the  Theatre-Royal,  Covent-Garden, 
in  the  year  1773  .  .  . 

London,  George  Cawihorn,  1796.  front.,  1  p.  I.,  68  p.  15*^^.  (J. 
Bell,  British  Theatre,  London,  1791-1797,  v.  35.) 

The  front  represents  Mrs.  Hartley  as  Elfrida.  and  is  dated  November  12, 1796.  The 
p.  1,  is  an  added  engraved  title  page  of  same  date. 


OPERA   LIBRETTOS  429 

Elfrida — Continued. 

Five  acts.  Argument,  cast  and  prefatory'  note.  The  date  1773  in  the  title 
would  indicate  that  this  is  George  Colman's  dramatization  (first  performed  November 
21,  1772)  of  the  dramatic  poem  "Elfrida"  (1752)  and  not  William  Mason's  own,  per- 
formed February  22,  1779.  Thomas  Augustine  Ame,  the  composer  of  the  incidental 
music,  h  not  mentioned.  .  PR  1441. B4 

L'Elfrida.  Dramma  tragico  per  musica  da  rappresentarsi  in 
Firenze  nel  R.  Teatro  dei  Kisoluti  posto  in  via  S.  Maria  nell'  estate 
deir  anno  1795  .  .  . 

Firenze,  Anton  Giuseppe  Pagani  e  comp.,  1795.     Ifi  p.     16\^^. 

Three  acts.  Argument,  cast  and  name  of  Giovanni  Paisiello  as  composer.  The 
author,  Ranieri  de'  Calsabigi,  is  not  mentioned. 

First  performed  at  Naples,  Teatro  di  S.  Carlo,  Nov.  4,  1792.        ML  48.A5  v.  14 

—  Elfrida.  Tragedia  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  La  Fenice  per  la  fiera  dell'  Ascensione  delF  anno  1796. 

Venezia,  Stamperia  Valvasense,  n.  d.     51^.,  \1\  p.     18^'^. 

Two  acts.  By  Ranieri  de'  Calsabigi,  who  is  not  mentioned.  Argument,  cast, 
scenario  and  name  of  Paisiello  as  the  composer.  On  p.  [29]-37  cast  and  description 
of  Michiele  Fabiani's  "II  trionfo  di  Alessandro  ossia  La  prigionia  di  Dario,  ballo  eroico 
in  quattro  atti  .  .  .     La  musica  tutta  nuova  del  Sign.  Valentino  Bertoja." 

First  performed  at  Naples,  Teatro  di  S.  Carlo,  November  4,  1792.      Schatz  7615 

—  L'Elfrida.  Dramma  serio  per  musica  da  rappresentarsi  in  Parma 
nel  R.  D.  Teatro  di  Corte  I'autunno  dell'  anno  MDCCXCVIII  .  .  . 

Parma,  Stamperia  Carmignani,  n.  d.     Ifi  p.     IIY"^. 

Two  acts.  By  Ranieri  de'  Calsabigi  who  is  not  mentioned  and  whose  text  haa 
been  considerably  altered.  The  chief  alteration  consists  in  a  joyful  instead  of  a 
tragic  end  of  the  drama.  Schatz  says  that  Paisiello  set  the  text  totally  anew  which 
does  not  appear  quite  probable.  At  any  rate,  however,  he  is  mentioned  as  the  com- 
poser.   Argument,  cast  and  scenario.  Schatz  7703 

Elfrida,  baUet.     See  ZingareUi's  Artaserse. 

/Eliogabalo.  Drama  per  musica  nel  famoso  Teatro  Grimano  I'anno 
MDCLXVIII  di  Aurelio.  Aureli.  Opera  decimaquarta.  Seconds 
edittione  .  .  . 

Venetia,  Francesco  Nicolini,  1668.     76  p.     IJf.'^™^. 

Three  acts.  Author's  dedication,  dated  Venice,  January  10,  1667,  notice  to  the 
reader  mentioning  Giovanni  Antonio  Boretti  as  the  composer,  argument  and 
scenario.  Schatz  1219 

L'Elisa.  Commedia  per  musica  di  Antonio  Palomba  Napoletano  da 
rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  autunno  di  quest'  anno 
1744  .  .  . 

Napoli,   Domenico  Langiano  e  Domenico    Vivenzio,  n.  d.     80  p. 

Three  acta.  Impresario's  dedication,  cast  and  name  of  the  composer,  Gioacchino 
Cocchi.  Schatz  2038 

Elisa,  ou  Le  voyage  au  Mont-Bemard,  opera  en  deux  actes.  Paroles 
du  citoyen  R.  S.  C.     Musique  du  citoyen  Ch6rubini. 

Paris,  Huet,  n.  d.     44  V-     i^'^"^- 

By  baron,  J.  A.,  R^v^roni  Saint-Cyr. 

First  performed  at  the  Theatre  Feydeau,  December  13,  1794.  ML  50.2.E3C3 


430  LIBRARY  OF  CONGRESS 

Elisa.     Dramma  per  musica  da  rappresentarsi  nel  Piccolo  Teatro 
Elettorale.     Composto  da  Caterino  Mazzolk  ... 
Dresda,  Stamperia  elettorale,  1781.     133  p.     ISV"'. 

Two  acts.  Johann  Gottlieb  Naumann  is  mentioned  aa  the  composer.  German 
title-page  "Elise"  and  text  face  Italian. 

First  performed  as  indicated,  April  21,  1781.  Schatz  7047 

Elisa.  Comedia  da  rappresentarsi  per  musica  nel  Teatro  di  Sant' 
Angelo  I'aiitiino  dell'  anno  1711  .  .  . 

Venetia,  Marino  Rossetti,  1711.     58  p.     15^"^. 

Three  acts.  Dedication  by  Domenico  Lalli  as  the  author,  who  in  a  somewhat 
lengthy  notice  to  the  reader  comments  on  his  conception  of  a  musical  comedy,  argu- 
ment and  scenario.    The  composer,  Giovanni  Maria  Ruggeri,  is  not  mentioned. 

Schatz  9129 

Elisa.  Drama  pastorale  per  musica  da  recitarsi  nell'  antico  Teatro 
della  Pace  nel  carnevale  dell'  anno  1738  .  .  . 

Roma,  Giovanni  Zempel,  n.  d.     64  p.     16^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  me  (not  Palomba's  text). 
Dedication  by  the  impresario  Giuseppe  Polvini  Faliconti  ("Lo  scarso  tempo,  nel 
quale  6  stato  questo  drama  seel  to  a  'comici  adattato,  e  di  musica  rivestito  .  .  ."), 
argument,  cast,  scenario  and  name  of  "Gaspare  Spand,  maestro  di  capella  Napoli- 
tano"  as  composer.  On  p.  25-27,  44-46  the  text  of  two  intermezzi  with  characters 
Coxisca  e  Satiro  (not  recorded  by  Schatz  or  Allacci).  Music  composed  perhaps  by 
Spand.  ML  50.2.E3S7 

Elisa  regina  di  Tiro.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  nel  carnovale  dell'  anno  1736  ... 
Venezia,  Domenico  Talacco,  1736.     59  p.     IJ^Y'"^. 

Three  acts.  Altered  version  of  "L'Astarto"  by  Apostolo  Zeno  and  Pietro  Pariati 
who  are  not  mentioned.  Impresario's  dedication,  argument,  cast,  scenario  and 
name  of  Galuppi  as  composer. 

First  performed  as  indicated,  January  27,  1736  (Pavan).  Schatz  3485 

Elisabetta  e  Blech,  ballet.     See  Curzio's  Le  nozze  a  dispetto. 

Iilisca  ou  L'amour  maternel,  drame  lyrique  en  trois  actes  en  prose, 
m^l^  d'ariettes.  Paroles  d'Ed.  Favieres.  Musique  de  Gr^tri.  Rep- 
resente  pour  la  premiere  fois,  sur  le  The4tr6  de  TOpera-comique 
national  le  12,  nivose  de  I'an  7  de  la  Republique. 

Paris,  Au  bureau  general  du  mercure  de  France,  chez  Cailleau,  an 
VII.  [1798-99].     88  p.     21<^^. 

On  p.  [1],  Cailleau's  (signed)  warning  against  reprints  of  the  piece;   on  p.  [2],  a 


dedicatory  poem  by  Fa vi feres. 
First  perfo 


performed  January  1,  1799,  as  indicated.  ML  50.2.E33G7 

Elise.     Tr.  of  Naumann's  Elisa. 

Elisinde.    Eine   original-operette    in   drei    aufzuegen   von   C.    A. 
Vulpius. 

[1 77]-272  p.     15'^'^.     ( Vulpius,  Operetten,  Bd.  I,  Baireuih  &  Leipzig, 
1790.) 

Detached  copy.     Composed  by  Christian  Ludwig  Dieter,  who  is  not  mentioned. 
First  performed  at  Stuttgart,  Kleinee  Theater  a.  d.  Planie,  1794.       Schatz  2577 


OPERA    LIBRETTOS  431 

Eliza;  a  new  musical  entertainment;  as  performed  at  the  New 
Theatre  in  the  Hay-Market.  Written  by  Mr.  Rolt.  The  music 
composed  by  Mr.  Arne. 

[London],  To  he  Jiad  at  the  theatre,  1764.     2  p.  I,  35  p.     20'^'^. 

Three  acts.  Cast.  On  p.  35,  note  stating  that  "some  parts  "  of  the  piece  had  been 
altered  on  account  of  the  music. 

First  performed  at  Dublin,. Theatre  Royal,  1743  (Grove);  but,  according  to  Cum- 
mings,  Dublin,  November  29,  1756;  at  London,  Drury  Lane,  January  20,  1757 
(Genest).  Longe  116 

—  Eliza;  an  EngUsh  opera,  as  perform'd  at  the  Theatre  Royal  in 
Drury-Lane.     The  music  composed  by  Mr.  Arne. 

[London],  R.  Francklin,  1757.     2  p.  I,  28  p.     20'^. 

Three  acts.    Cast.  Longe  183 

Elmine,  ein  schauspiel  mit  gesang  in  drey  aufziigen  von  dem  frey- 
herrn  von  Drais  in  Carlsruh.     [vignette] 

Numberg,  George  Peter  Monath,  1781.     78  p.   (incl.  engr.  front.) 

15^"^. 

The  composer,  Johann  AndrS,  is  not  mentioned. 

First  periorme,d  at  Berlin,  Dobbelinssches  Theater,  February  14,  1782. 

SCHATZ  185 

L'Elmira  generosa.  Commeddea  pe  hiusica  de  nota'  Pietro  Trin- 
chera  da  rappresentarese  a  lo  Teatro  Nuovo  a  Mmonte  Cravario 
nchisto  came  vale  dell'  anno  1753. 

Napoli,  Stamperia  de'  Muzj,  1753.     75  p.     15'^^. 

Three  acts.    Cast  and  prefatory  note,  naming  as  composers  ' '  Don  Nicola  loscroscino 

Bjogroscino]  tutte  I'arie,  finale,  e  duetto  eegnate  co  lo  signo  §  e  lo  riesto  da  lo  Sio 
on  Manuele  Barbella  celebre  vertoluso  de  violino."  To  Logroscino's  music, 
therefore,  belonged,  for  instance,  "M'ha  sturbata  Ciommetella"  (I,  5),  " Frabuttiello 
fortantiello  "  (I,  7),  "Al  mon  do  qui  conto  "  (I,  9),  and  other  arias.  Schatz  5675 

N/Elmiro,  re  di  Corinto.     Melodrama  da  rappresentarsi  in  musica  nel 
.  .  .  Teatro  Grimani  di  S.  Gio.  Grisostomo  I'anno  MDCLXXXVII  .  .  . 
Venetia,  Antonio  Bosio,  1686.     60  p.     i^"™. 

Three  acts.  Publisher's  dedication,  dated  Venice,  December  26,  1686,  argument 
and  scenario.  Neither  Vincenzo  Grimani,  the  author,  nor  Carlo  PaUavicino,  the 
composer,  is  mentioned.  Schatz  7722 

Elpinice.     L.  T.  of  G.  Giordani's  L'Acomate. 

Elkemes  skole.     A.  T.  of  Mozart's  Veddemaalet. 

Elskoos  magt.     Tr.  of  Naumann's  Tutto  per  amore. 

[Elvira.     Dramma  per  musica  in  tre  atti.] 

68  p.     UY"^' 

Lacks  title  page  and  p.  7-18,  which  apparently  included  the  description  of  a  ballet. 

Three  acts.  By  Raniero  de*  Calsabigi,  who  is  not  mentioned.  Impresario's  dedi- 
cation, dated  Naples,  January  12.  1794,  argument,  cast,  and  name  of  Paisiello  as  the 
composer.  Schatz  7695 

Elysium,  ein  vorspiel  mit  arien,  an  dem  geburtsfeste  Ihro  Maiestat 
der  koniginn  aufgefiihrt  von  der  Gesellschaft  Koeniglicher  schau- 
spieler  zu  Hannover  den  18ten  Januar  1770. 

n.  i.,  n.  d.     44  p.     14^"". 

Neither  Johann  Georg  Jacoby,  the  author,  nor  Anton  Schweitzer,  the  composer, 
is  mentioned. 

First  performed  at  Hanover,  Schlosstheater,  January  18,  1770.  Schatz  9772 


432  LIBBABY  OF   OONGBESS 

L'embarras  des  richesses,  com6die-lyrique  en  trois  actes,  repre- 
sentee pour  la  premiere  fois,  par  rAcad6mie-royale  de  musique,  le 
mardi  26  novembre  1782. 
Paris,  P.  de  Lormel,  1782.     95  p.     23'='^. 

Cast.  Gr6try  is  mentioned  as  the  composer,  but  not  the  author,  Jean  Baptiste 
Lourdet  de  Santerre.  Schatz  4148 

L'Emilio.     See  Title  catalogue. 

Emira.  Opera  bemesca  da  rappresentarsi  nel  Teatro  di  S.  Mois^  il 
carnovale  dell'  aiuio  MDCCXL V. 

Venezia,  Domenico  Lovisa,  n.  d.     4^  p.     15'^^. 

Three  acts.  Notice  to  the  reader,  cast,  and  note:  "La  musica  h  d'autori  diversi." 
Author  not  mentioned,  and  unknown  to  Schatz.  Schatz  11322 

Emira.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramin  di  S.  Salvatore  nella  prossima  fiera  dell'  Ascensione  Tanno 
1756. 

Venezia,  Modesto  Fenzo,  1756.     86  p.     14"". 

Three  acts.  Dedication,  cast,  scenario,  and  name  of  the  composer  Gioacchino 
Cocchi.    The  author  is  unknown  to  Schatz . 

First  performed  at  Milan,  Regio  Ducal  Teatro,  January,  1756.  Schatz  2032 

Emira  e  Zopiro.     Dramma  tragico  per  musica  da  rappresentarsi  nel 
Kegio  Teatro  di  via  della  Pergola  I'autunno  del  MDCCXCV  .  .  . 
Firenze,  Stamperia  Albizziniana,  1795.     32,  [2]  p.     17^'^. 

The  [2]  p.  contain  "Variazioni  occorse  per  comodo  della  musica."  Three  acts. 
Argument,  cast,  and  name  of  Giuseppe  Maria  Curcio  as  composer  ("La  musica  ^ 
tutta  nuova").  The  author  is  unknown  to  Schatz.  With  the  opera  was  performed 
Giuseppe  Trafieri's  "La  vendetta  di  Nino  (argument  on  p.  4),  ballo  eroico  tragico 
pantomimo"  and  his  "L'avaro,  ballo  comico  pantomimo."  The  composers  of  the 
music  are  not  mentioned. 

First  performed,  as  indicated,  September  8,  1795.  Schatz  2308 

Second  copy.    ML  48. A5    v.  14 

Emirena  e  Sigismondo,  ballet.     See  Tritto's  Le  avventure  galanti. 

Emma  und  Edgar,  ein  duodrama.  Von  Ignaz  Reichert  .  .  .  Die 
musik  ist  von  herrn  Joseph  Lacher  ... 

Menmmingen  [!]  Andreas  Seyler,  1788.     15  p.     16^^. 

Schatz  records  no  performance.  Schatz  5362 

Emma  und  Eginhard.     A.  T.  of  Telemann's  Die  last-tragende  liebe. 

L'empire  de  ramour,  ballet  heroique,  repr6sent6  par  TAcad^mie 
royale  de  musique,  I'an  1733.  Paroles  de  M.  de  Montcrif.  Musique 
de  M.  Le  ch.  de  Br.     CXVIIL  opera. 

n.  i.,  n.  d.  front.,  p.  265-310.  14'^'^.  (JRecueil  general  des  opera, 
Paris,  1739,  t.  xv.) 

Detached  copy.     Prologue  and  three  entries  called  "Les  mortels,"  "Les  Dieux 
acteurs,"  "Les  genies  du  feu."    Music  by  the  Marquis  de  Brassac. 
First  performed  at  Paris,  Acad^mie  royale  de  musique,  April  14,  1733. 

Schatz  1308 
Second  copy.     ML  48. R4 

L'emulation  parmy  les  divinitez.  Tr.  of  Heinichen's  La  gara 
degli  dei. 


OPERA   LIBRETTOS  433 

The  enchanted  castle.     A.  T.  of  the  mock- tempest. 

The  enchanted  wood,  a  legendary  drama,  in  three  acts,  as  per- 
formed at  the  Theatre  itoval,  Hay-Market. 
London,  J.  Debrett,  1792.    2  p.  I,  56,  U]  y.     20^<^. 

The  [4]  p.  contain  last  page  of  the  text  and  publisher's  book  lists.  Cast  and  pre- 
fatory note  that  this  is  an  accommodation  to  the  prevailing  taste  by  the  introduction 
of  "the  lighter  parts  "  for  theatrical  representation  of  a  "legendary  poem  in  dialogue  " 
written  at  the  age  of  fifteen  by  the  author.  Neither  he,  Mr.  Frances,  nor  the  com- 
poser of  the  dozen  son^  is  mentioned. 

First  performed,  as  indicated,  July  25,  1792.  Lonoe  220 

The  enchanter;  or,  Love  and  magic.     A  musical  drama.     As  it  is 
performed  at  the  Theatre-Koyal  in  Drmy-Lane.     The  music  com- 
posed by  Mr.  Smith. 
London,  J.  and  R.  Tonsan,  1760.     18  f.     W"". 

Two  acts.    Cast  and  advertisement: 

"As  the  recitative  commonly  appears  the  most  tedious  part  of  a  musical  enter- 
tainment, the  writer  of  the  following  little  piece  has  avoided  it  as  much  as  possible; 
and  has  endeavour'd  to  carry  on  what  fable  there  is,  chiefly  by  the  songs." 

By  David  Garrick,  who  is  not  mentioned. 

First  performed  December  13, 1760.  Longe  306 

L'enchanteur  Mirliton.     Prologue  represents  a  la  Foire  de  S. 
Laurent  1725. 
Le  Theatre  de  la  foire,  Paris,  1728,  t.  vi,  pi,  18  p.     17""^. 

One  act.  The  plays  in  t.  vi.  were  written  by  Le  Sage,  Fuzelier,  and  d'Omeval, 
according  to  a  note  on  3d  p.  1.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  theatre,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs. 

First  performed  July  21,  1725,  followed  by  "Le  temple  du  M^moire"  and  "Lea- 
enragez.^'  ML  48.L2VI 

Das  ende  der  babylonischen  monarchie,  oder  Belsazer,  in  einem 
singe-spiele  auf  dem  Hambiu-gischen  Schau-platze  aufgefuehret  1723. 
Erster  theU. 

Hamburg,  Caspar  Jdkhel,  n.  d.     Unpaged.     17^^^. 

Three  acts.  Neither  the  author,  Joachim  Beckau,  nor  Georg  Philipp  Telezaann, 
the  composer,  is  mentioned.    The  reader  is  informed  in  a  prefatory  note: 

"Da  der  poetische  verfasser  der  opera,  Belsazer,  so  viel  materie  gefunden,  dieselbe 
weitlaeuf tiger  auszufuehren,  als  hat  man  fuer  gut  gehalten  eolche  in  zweyen  beson- 
deren  theilen  vorzustellen,  wo  von  gegenwaertiger  den  ersten  ausmachet  und  der 
zweyte  diesen  in  kurzem  begleitenwird.  Die  5te  scene  im  ersten  act  ist  aua  gewissen 
absichten  hinein  geruecket,  aber  auch  bezeichnet,  dasa  sie  nicht  haupteaechlich 
zum  wercke  gehoere  und  also  bey  fuerfallendem  umstande  weggelassen  werden 
koenne." 

This  scene  is  put  in  quotation  marks  and  to  the  German  text  of  the  aria  "  Ja,  meine 
Schoene  xmd  geuebte"  is  added  the  Italian  "Si  mia  bella,  si  mia  cara." 

ScHATZ  10258 

—  Das  ende  der  babylonischen  monarchie,  oder  Belsazer,  in 
einem  singe-vorspiele  auf  dem  Hamburgischen  Schau-platze  aufge- 
fuehret 1723.     Zweyter  theil. 

Hamburg,  Caspar  Jalchel,  n.  d.     Unpaged.     18*^^. 

Three  acts.  Schatz  10259 


722.51  °— VOL  1—14 28 


484  LIBBABY  OF  CONGRESS 

Endimion,    musicalische    pastoral:     welche    auf   dem  Theatro    zu 
Breslau  in  der  fassnacht  anno  1727  vorgestellet  .  .  . 
n.  i.,  n.  d.     Unpaged.     i7J<^"». 

"Endimione."  Three  acts.  Dedicatory  poem  by  Ludwig  Wiissin,  dated  Breelau, 
January  7, 1727,  and  name  of  composer,  Antonio  Bioni,  but  not  of  the  librettist,  Fran- 
ceeco  Mazzari.    German  text  faces  Italian.  Schatz  1043 

Endimion,  the  man  in  the  moon,  masque.  See  Imposture 
defeated. 

L'Endimione.     Serenata. 

[277-317]  p.  lO'^^K  (Pietro  Metastasio,  Opere  drammatiche,  Vener 
zm,  Giuseppe  BettineUi,  1733-37,  v.  3.) 

Two  parts.     No  composer  mentioned.  ML  49.A2M4 

—  L'Endimione. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  ix,  [49]-99  p. 

Two  parts.  ML  49.A2M42 

—  L'Endimione. 

pi.,  [111]-158  p.  26*^^.  {Metastasio,  Opere,  t.  x,  Parigi,  vedova 
Berissant,  1782.) 

Written  for  the  marriage  of  D.  Antonio  Pignatelli,  principe  di  Belmonte  and  D. 
Anna  Francesco  Pinelli  di  Sangro,  Naples,  1720.     Composer  not  known  to  Schatz. 

ML  49.A2M44 

Endimione.  Serenata  a  quattro  voci,  musica  del  Signor  Andrea 
Bernasconi,  dilettante.  Da  rappresentarsi  nel  famosissimo  Teatro 
Griniani  di  San  Gio.  Crisostomo  I'ultima  sera  di  camovale  dell'  anno 
MDCCXLII. 

Venezia,  n.  pubh,  n.  d.     30  p.     17 '^^. 

Two  parts.    By  Metastasio.    Cast. 

First  performed  at  Venice,  as  indicated,  February  6, 1742.  Schatz  869 

L'Endimione  tragicomedia  da  rappresentarsi  in  musica  nel  Teatro 
di  S.  Angelo  I'autunno  dell'  anno  1709  .  .  . 

Venetia,  Gio.  Battista  Zuccato,  1709.     57  p.     W"^. 

Three  acts.  Author's  dedication,  with  his  initials,  preface,  argument,  and  scenario. 
The  composer,  Giuseppe  Boniventi,  is  not  mentioned.  The  author  was  Francesco 
Mazzari.  Schatz  1190 

L'Endimione  ovvero  II  trionfo  d'amore.  Pastorale  per  musica 
omata  di  balli,  trasformationi,  e  machine:  da  rappresentarsi  .  .  . 
r.el  Ducal  Teatro  di  Stutgart  la  prima  vera  dell'  anno  1759.  Con  la 
musica  tutta  nuova,  espressamente  composta  dal  Signor  Nicold 
Jomnielli  .  .  . 

Stutgart,  Cristofero  Frederico  Cotta,  n.  d.     71  p.     18^'^. 

Two  acts.  By  Metastasio  (not  mentioned),  with  alterations.  German  title-page, 
"Endymion  oder  Der  triumph  des  Amors,"  and  text  face  Italian. 

First  performed  without  the  alternative  title  at  Genua,  Teatro  del  Falcone,  spring 
of  1756.  Schatz  4856 


OPEBA   LIBRETTOS  435 

L'  Endimione — Continu  ed. 

—  L'Endimione.  Serenata  per  musica  da  cantarsi  nella  Real  Villa 
di  Queluz  per  celebrare  1' august o  nome  di  Sua  Maesta  Fedelissima 
D.  Pietro  III.  .  .  .  li  29  giugno  1780. 

[Lishona],  Stamperia  Redle,  n.  d.    32  p.     l^-*^. 

Two  acte.  Cast  and  names  of  Metastaeio  ae  author,  of  Niccol6  Joirunelli  as  com- 
poser.    Text  eeems  to  be  practically  the  same  as  that  of  1759.  Schatz  4895 

Endlich  fand  er  sie.     A.  T.  of  Dieter's  Der  irrwisch. 

Endlich  fand  er  sie.     A.  T.  of  von  Kospoth's  Der  irrwisch. 

Epdlich  fand  er  sie.     A.  T.  of  Preu's  Der  irrwisch. 

Endlich  fand  er  sie.  A.  T.  of  Umlauf's  Das  irrlicht,  also  of  the 
L.  T.  of  this,  Der  irrwisch. 

L'Endriague,  opera-comique,  en  trois  actes.  M^16  de  danses,  de 
divertissemens,  &  de  grands  airs  de  musique  du  celebre  Rameau. 
Repr6sente  par  la  troupe  de  Dolet,  a  la  Foire  Saint-Germain,  en  1723. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  t  3,  [99]-148  p.   17 Y"^. 

Composer  not  mentioned  by  Parfaict,  who  dates  the  first  performance  February  3, 
1723.  PQ  2019.P6 

Endymion,  pastorale  heroique;  representee  par  I'Academie  royale 
de  musique,  Fan  1731.  Paroles  de  M.  de  Fontenelle.  Musique  de 
M.  Collin  de  Blamont.     CXIV.  opera. 

n.  %.,  n.  d.  front,  50  p.  14*^^.  {Recueil  general  des  opera,  Paris, 
1739,  t.  XV.) 

Detached  copy.  Five  acts.  The  "avertissement"  (p.  2)  informs  the  reader  that 
considerable  differences  were  necessitated  in  the  interest  of  the  music  between  the 
piece  as  here  printed  and  a©  it  appears  in  de  Fontenelle's  works. 

First  performed  at  Paris,  as  indicated  in  the  score,  on  June  15,  1731,  but  according 
to  Schatz,  May  17,  1731.  Schatz  1066 

Second  copy.    ML  48. R4 

Endymion  oder  Der  triumph  des  Amors.  Tr.  of  Jommelli's  L'En- 
dimione ovvero  II  trionfo  d'amore. 

Enea  e  Lavinia,  ballet.     See  Caruso's  L'Ar^aserse. 

Enea  e  Lavinia,  ballet.     See  P.  Guglielmi's  La  morte  di  Cleopatra, 

Enea  e  Lavinia.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  S.  Carlo  nel  di  4  novembre  1785  per  resteggiarsi  i  gloriosi 
nomi  .  .  .  di  Ferdinando  IV  .  .  . 

Napoli,  Vincenzo  Flauto,  1785.    58  p.     15^^"^ 

Three  acts.  By  Gaetano  Sertor  or  Vincenzo  de  Stefauo  (not  mentioned).  Dedi- 
cation, cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the  composer.  On  p.  9-22 
argument,  cast,  and  description  of  Domenico  Lef^vre's  "Alessandro  nell'  Indie, 
ballo  eroico  in  tre  atti,"  music  principally  by  Mathias  Stabingher.  On  p.  23  argu- 
ment of  Leffevre's  comic  ballet     Le  figlie  astute."  Schatz  4285 

—  Enea  e  Lavinia.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  da  S.  Agostino  il  carnovale  dell'  anno  1796  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     43  p.     14'^' 

Two  acts.  Argument,  cast,  scenario,  and  name  of  Pietro  GugUelmi  as  composer. 
The  author,  Gaetano  Sertor  (or  Vincenzo  de  Stefano)  is  not  mentioned.  Witn  the 
opera  were  performed,  music  by  Giovanni  Scannavino,  Luigi  Dupen's  ballets  "La 
distruzione  a'Aquileja,  fatta  da  Attila  re  degli  Unni "  and  "La  Nina  pazza  per  amorea.'* 

Schatz  11711 


436  LIBBARY   OF  CONGBESS 

Enea  e  Lavinia,  a  new  serious  opera;  as  performed  at  the  King's 
Tlieatre,  in  the  Hay-market.     The  music  entirely  new  by  Signer 
Antonio  Sacchini. 
London,  G.  Bigg,  1779.     1  p.  I,  57  p.     19<^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz  (G.  G.  Bottarelli?). 
Argument  and  cast.  English  translation  faces  the  Italian.  The  ballets  "Hippom- 
enes  and  Atalanta"  and  ''The  forge  of  Vulcan"  were  performed  with  the  opera. 

Schatz  9218 

Enea  e  Lavinia.     Dramma  per  musica  da  rappresentarsi  in  Firenze 
nel  Teatro  di  via  della  Pei^ola,  nel  camevale  dell'  anno  1768  .  .  . 
n.  i.,  n.  d.     Unpaged.    21'^'". 

Title  within  engraved  ornamental  border,  text  in  ornamental  borders,  and  vig- 
nettes at  the  head  of  each  of  the  three  acts.  Impresario's  dedication,  argument, 
cast,  scenario,  and  name  of  Tommaso  Traietta  as  the  composer.  The  dedication 
informs  the  reader  that  the  libretto  is  an  Italian  translation  by  conte  Jacopo  Antonio 
San-Vitale  of  Bernard  Le  Bouvier  de  Fontenelle's  drama.  The  impresario,  Giuseppe 
Compstoft,  haa  also  this  to  say: 

"Nuda  ella  viene,  e  priva  di  quegli  aiuti  teatrali,  che  alia  illuminata  mente  di 
V.  A.  R.  ed  agli  occhi  d  un  pubbhco  giustamente  critico  potrebbero  renderla  e  lumi- 
noaa,  e  bizzarra.  Un  solo  uomo  privato  giugner  non  pu5  a  quel  se^o,  a  cui  tender 
possono  le  mire  di  personaggi  illustri,  che  ei  fan  gloria  di  istradare  i  dipendenti  loro 
per  la  via  d'un  onesto  lusinghiero  piacere  alle  vere  massime  d'una  piix  soda,  e  per- 
letta  morale.  Ij'IJigenia  in  Tauride,  e  I'Olimpiade  sul  nostro  teatro  tra  innumcrabili 
evviva  poco.  fa  rappreeentate,  rendono  abbastanza  teatimonianza  del  vero.  Vide  il 
Fiorentmo  teatro  sotto  gli  augusti  auspici  felicissimi  della  R.  A.  V.  ci6,  che  a  lui 
sembrava  quasi  impossibile;  lo  \ide,  e  grandement^  lo  applaudi  ..." 

First  performed  at  Parma,  Teatro  Ducale,  April  1761.  Schatz  10399 

Enea  e  Turno,  ballet.     See  Bianchi's  Briseide. 

Enea  in  Cartagine,  dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  camovale  del  1770  alia  presenza  di  S.  S.  R.  M. 
Torino,  Onorato  Derossi,  n.  d.     xii,  56  p.'   16'^^. 

Three  acta.  By  Giuseppe  Maria  d'Orengo.  Argument,  cast,  scenario,  and  names 
of  the  composer,  Giuseppe  Colla,  and  of  the  author.  The  ballets  were  designed  by 
Augusto  Huss,  their  music  composed  by  Giuseppe  Antonio  Le  Messier. 

First  performed,  as  indicated,  December  26, 1769.  Schatz  2109 

Enea  in  Cartagine.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  della  Citta  d'Alessandria  m  occasione  della  solita  fiera  d'ot- 
tobre  1784  ..  . 

Alessandria,  Ignazio  Vimercati,  n.  d.     I{i ,  xvi  p.     16^^. 

Two  acts.  By  G.  M.  d'Orengo,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Carlo  Monea  (Monza)  as  the  composer.  With  the  opera  were  performed 
Paolino  Franchi's  ballets,  "II  finto  giardiniere"  and  "Padmani  e  Mirda,"  the  latter 
(in  5  acts)  described  with  amument,  cast,  and  scenario  on  the  xvi  p.  at  end  of  the 
libretto.    The  composers  of  the  music  are  not  mentioned.  Schatz  6618 

Enea  in  Italia.     Drama  per  musica  presentato  li  26.  luglio  1678  all' 
Altezza  Serenissima  Elettorale  di  Ferdinando  Maria,  duca  dell'  una, 
e  I'altra  Baviera  ...  da  Ventura  Terzago  .  .  .  posto  in  musica  da 
D.  Giuseppe  Antonio  Bernabei  .  .  .  recitato  a  Gennaro  1679. 
Monaco,  Giovanni  JecMino,  n.  d.     7  p.  I.,  118  p.     l^Y^^- 
Author's  dedication,  argument,  and  scenario.  Schatz  825 


OPEEA   LIBRETTOS  437 

Enea  in  Italia.  Drama  musicale  rappresentato  in  Pisa  nel  palazzo 
del  granduca  di  Toscana  per  festeggiare  il  giorno  natalizio  della  sere- 
nissima  granduchessa  Vittoria. 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Firenze,  Vincen- 
zio  Vangelisti,  1689,  p.  [595\-628.     24'^'^. 

Three  acts.    Argument  with  remarks: 

"Questo  piccolo  drama  fu  composto  dall'  autore  in  Pisa  nel  tempo,  che  vi  dimo- 
rava  la  corte  eereniesima;  ove  fu  ancora  rappresentato  coUa  piu  vaga  e  ricca  pompa 
,  .  .  Fu  I'intento  primiero  il  dare  con  questo  componimento  una  leggiadra,  e  non 
mendicata  Introduzione  a  sontuosissimi  balletti  tra  dame,  e  cavalieri  della  medesima 
corte.  La  pose  in  musica  il  famoso  Jacopo  Melajoi,  e  lo  cantarono  i  piix  celebri  pro- 
fessori  di  Toscana." 

First  performed  at  Pisa  as  indicated  in  1670.  ML  49.A2M7 

^Enea  in  Italia.     Drama  per  musica  nel  famoso  Teatro  Grimani. 
Del  Bussani  .  .  . 

Venetia,  Nicolini,  1675.     6  p.  I.  (incl.  front),  69  p.     14'=^. 

Three  acts.  Author's  dedication,  argument,  and  scenario.  The  composer,  Carlo 
Pallavicino,  is  not  mentioned.  Schatz  7723 

Second  copy  without  the  front,  and  list  of  characters.    ML  48.A5    v.lO 

Enea  ne  gli  Elisi.  Poemetto  drammatico  nel  felicissimo  giorno 
natalizio  della  Sac.  Ces.  Real  Maestk  di  Leopoldo  I.  augustissimo 
imperador  de'  Romani. 

Pietro  Antonio  Bemardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  66-78.     16^"^. 

Argument.  The  composer  is  not  mentioned.  Von  Weilen  lists  a  work  of  the 
same  title,  music  by  Badia  (overtiire  by  Fux)  under  July  26,  1702  (instead  of  Jime  9, 
the  correct  date  of  the  birthday  of  Joseph  I)  aa  from  Bemardoni's  Poemi  drammatici, 
vol.1.  ML49.A2B4 

L'Enea  negli  Elisi  owero  II  tempio  deU'  etemita. 

{393'\-427  p.  19'^'^.  {Pietro  Meta^tasio,  Opere  drammatiche,  Vene- 
zia,  Giuseppe  BettineUi,  1733-37,  v.  2.) 

One  act.    Argument.    No  composer  mentioned,  but  composed  by  Fux  and  first 

Bjrformed  under  this  title  at  Vienna,  August  28,  1731.     In  subsequent  editions  of 
etastasio'a  works  published  under  the  A.  T.,  which  see.  ML  49.A2M4 

Enea  nel  Laizio,  ballet.     See  Giordani's  Tito  Manlio. 

Enea  nel  Lazio.     Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  Salvaterra  nel  carnevale  dell'  anno  1767. 
Lishona,  Michele  Manescal  da  Costa,  n.  d.     57  p.     16'^"*. 

Three  acts.  Argument,  scenario,  cast,  and  name  of  Niccolo  Jommelli  as  the  com- 
poeer.     The  author,  Mattia  Verazi,  is  not  mentioned. 

First  performed  at  Stuttgart,  Schauplatz  im  Lusthause,  Aug.  30,  1755. 

ScHATz4893 

Enea  nel  Lazio. 

[S35]-362p.  17^^™.  (RoUi,  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  1744- 

Three  acts.    Aig:ument.    The  composer,  Nicol6  Porpora,  is  not  mentioned. 
First  performed  at  London,  Lincoln's  Inn  Fields,  June  1734.         ML  49.A2R7 


438  LIBRARY   OF   CONGRESS 

Enea  nel  Lazio.  Dramma  eroitragico  composto  con  cori,  e  balli 
analoghi  da  Antonio  de'  Filistri  .  .  .  Da  rappresentarsi  con  mnsica 
del  Signor  Vincenzo  Righini  .  .  .  nel  gran  Teatro  Reale  di  Berlino 
il  carnovale  dell'  anno  1793. 

Berlino,  Ilaude  <&  Spener,  n.  d.     127  p.     15^"". 

Three  acts.  Argument  and  cast.  German  title-page,  "Aeneas  in  Latium,"  and 
text  face  Italian. 

First  performed  at  Berlin,  Januarj-,  1793,  as  indicated.  Schatz  8782 

Enea  nel  Lazio,  ballet.     See  Sarti's  II  trionfo  della  pace. 

Enea  nel  Lazio.     Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnevale  del  1760  alia  presenza  di  S.  S.  R.  M. 
Torino,  Giacomo  Giuseppe  Avondo,  n.  d.     viii,  56  p.     W^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  composer,  Tommaso  Trajetta, 
and  librettist,  Vittorio  Amedeo  Cigna  [-Santi].  The  ballet-airs  were  composed  by 
Giuseppe  Antonio  Le  Messier.  Schatz  10391 


Enee  et  Lavinie,  tra^edie  en  musicjue,  representee  par  I'j 
rovalle  de  musique.     Suivant  la  copie  impnmee  h,  Paris. 


'Academic 
musique.     buivant  la  copie  imprimc*    ^  '^ 
[Amsterdam,  Antoine  Schelte],  1696.     57  p.  {incl.  front.)     IS^''^. 

Five  acts  and  prologue.  Neither  the  author,  De  Fontenelle,  is  mentioned,  nor  the 
composer,  Pascal  Colasse. 

First  performed,  as  indicated,  December  16,  1690.  ML  50.2.E4C6 

—  Enee  et  Lavinie,  tragedie  representee  par  I'Academie  royale  de 
musique  I'an  1691.  Les  paroles  de  M.  de  Fontenelle  &  la  musique  de 
M.  Collasse.     XXVI.     opera. 

n.  i.,  n.  d.  front.,  51-112  p.  14''^.  (Recueil  general  des  opera, 
Paris,  1703,  t.  4.) 

Detached  copy.    Five  acts,  with  prologue. 

First  performed,  as  indicated,  Dec.  16,  1690.  Schitz  2099 

Second  copy.    ML  48. R4 

Enee  et  Lavinie,  tragedie  representee  pour  la  premiere  fois  par 
I'Academie  royale  de  musique,  le  mardi  14  fevrier  1758. 

Paris,  Aux  depens  de  VAcademie,  chez  la  V..Delormel  <t  fils,  1758. 
48  p.     22^"^. 

Five  acts.  Cast.  De  Fontenelle  is  mentioned  as  the  author,  Dauvergne  as  the 
composer.  ML  50.2.E4D2 

L'enfance  de  Jean  Jacques  Rousseau,  comedie  en  un  acte,  m^lee 
de  musique,  representee,  pour  la  premiere  fois,  sur  le  Theatre  de 
I'Opera-comique  national,  le  4  prairial  I'an  second  de  la  Republique 
[May  23,  1794].  Les  paroles  sont  d'Andrieux,  la  musique  est  de 
D'Aiayrac. 
Paris,  Maradan,  Seconde  annee  de  la  Republique  [1793-94].     4'^  V- 

Cast.  Schatz  2343 

L'enfant  gate  ou  Folette  et  Roger-Bontems.  See  Le  camaval  et  la 
folie. 

L'enfant  trouve.     A.  T.  of  Monsigny's  Felix. 


OPERA   LIBRETTOS  439 

Engelberta. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744i  *•  ^'^j  P-  U91}- 
280.     19''"'. 

Five  acts.  Argument.  No  composer  is  mentioned.  In  the  "Catalogo"  at  end  of 
t.  X,  date  and  place  of  first  ed.  are  given  as:  "in  Miiano.  1708.  E  in  Ven.  1709. 
ma  tronco."  Fehr  says:  "  Benche  lavoro  scritto  in  comune,  questo  dramma  si  trova 
fra  quegli  scriti  dal  solo  Zeno  (Ediz.  Gozzi,  vol.  Iv)."  ML  49.A2Z3 

—  Engelberta.     Pubblicata  per  la  prima  volta  in  Miiano  1708. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  Hi,  p.  S49- 
435.     21'^'^. 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

Engelberta.     Drama  per  musica  da  ranpresentarsi  nel  Teatro  Tron 
di  San  Cassano  il  carnovale  dell'  anno  MDCCVIII  .  .  . 
Venezia,  Marino  Rossetti,  1708.     58  p.     15*^^. 

Five  acts.  By  Apostolo  Zeno  {see  above),  who  is  not  mentioned.  Dedication, 
argument,  cast,  and  scenario.  The  composer.  Carlo  Francesco  Gasparini,  is  not  men- 
tioned. 

ScHATz  3564 

Engelberta.     Dramma  per  musica  da  rappresentarsi  nel  famoso 
Teatro  Tron  a  S.  Cassiano  il  carnovale  dell'  anno  1742.    M.  V. 
Venezia,  Giovanni  MiUi,  17 J^.     48  p.     15'^'^. 

Three  acts.  Zeno  {see  above)  is  mentioned  as  the  author,  Giuseppe  Antonio  Pag- 
aneUi  as  the  composer.    Argument,  scenario,  and  cast.  Schatz  7354 

Engelberta  o  sia  La  forza  dell'  innocenza.  Drama  per  musica  da 
rappresentarsi  in  Bologna  nel  Teatro  Malvezzi  I'anno  MDCCIX  .  .  . 

Bologna,  Costantino  Pisarri,  n.  d.     lO'^^K 

Incomplete,  p.  79,  etc.,  missing.  Five  acts.  By  Apostolo  Zeno  {see  above),  who  ia 
not  mentioned .  Dedication ,  argument,  cast ,  scenario .  Composer  not  mentioned ,  and 
unknown  to  Schatz,  who  records  this  as  a  pasticcio. 

First  performed,  as  indicated,  June  8,  1709.  Schatz  11323 

L'Engelberta,  o  sia  La  forza  dell'  innocenza,  drama  per  musica  da 
rappresentarsi  nel  Regio  Palazzo,  in  occasione  di  festeggiare  il  glorioso 
nome  di  Carlo  III,  monarca  delle  Spagne,  etc  .  .  . 

Napoli,  Ant.  Parrino  e  Michele  Luigi  Muiio,  n.  d.     72  p.     16^™'. 

Three  acts.  By  Zeno  {see  above),  who  is  not  mentioned.  Publisher's  dedication 
dated  Naples,  October  30,  1709,  argument,  scenario,  cast,  and  note: 

"La  musica  h  del  Sig.  Antonio  Orefici  fino  al  segno  *.  II  rimanente  6  del  Signer 
Francesco  Mancini  vice-maestro  della  Real  Cappella." 

The  sign  appears  at  the  end  of  act  II,  scene  11.  Between  the  acts  and  after  the 
third  act  was  performed  "Melissa  schernita.  Intermezzo.  Prime  [ — Terzo].  It 
is  printed  on  p.  61-72,  but  it  is  not  said  by  whom  it  was  composed,  possibly  by  Orefici, 
since  at  the  end  of  the  first  act  the  reader  is  referred  to  the  intermezzo  as  printed  at 
the  end.    Schatz,  however,  attributes  all  three  to  Francesco  Mancini. 

First  performed,  as  indicated,  November  4,  1709.  Schatz  7294 

The  EngUshman  out  of  Paris.     A.  T.  of  The  reapers. 

L'enigma  del  fate,  sciolto  da  Qiove.  Scherzo  musicale,  nel  giomo 
del  gloriosissimo  nome  della  Sac.  Real  MaestJl  di  Giuseppe  I.  re  de' 
Romani. 

Pietro  Antonio  Bemardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  17-33.     16^'^. 

Argument.    The  composer  is  not  mentioned  by  von  Weilen. 

First  performed  at  Vienna,  March  19,  1707,  as  indicated.  ML  49.A2B4 


440  LIBRARY   OF   CONGRESS 

L'enigma  disciolto.     Favola  pastorale  in  musica  da  rappresentarsi 
nel  Teatro   dell'   illustrissima  Accademia  degli  Erranti  di  Brescia 
ranno  1708. 
Brescia,  Gio.  Maria  Rizzardi,  n.  d.     36  p.     15*^^. 

Three  acts.    Argument  and  brief  notice  to  the  reader.     Neither  the  author,  Gio- 
vanni Battieta  Nen,  nor  the  composer,  Carlo  Francesco  Pollaroli,  is  mentioned. 
First  performed  at  Reggio  Teatro  della  Comunit^,  1698.  Schatz  8282 

—  Gl'amici  rivali.     Favola  pastorale  iu  musica.     Da  rappresentarsi 
nel  Teatro  di  S.  Fantin.     Questo  camevale  1714  ..  . 

Venezia,  n.  publ.,  n.  d.     58  p.     Ij^Y^. 

Three  acts.     Impresario's  dedication  dated  December,  1714,  ai^ument,  ca.st. 

This  "operetta  musicale"  as  the  impresario  calls  it,  is  but  a  somewhat  altered 
version  of  "L'enigma  disciolto,"  text  by  Giovanni  Battista  Neri,  music  by  Carlo 
Francesco  Pollaroli,  neither  of  whom  is  mentioned  in  the  libretto.  In  the  original 
version,  for  instance,  the  first  act  ends  with  the  aria,  "Amor  vien  sii  gli  occhi," 
whereas  "Gli  amici  rivali"  has  "Orinda  mia  crudel."  Schatz  8283 

L'enjouee.     Entree  in  Monret's  Les  Graces. 

L'enlevement  des  Sabines,  ballet  heroique.     See  Ferrero's  La  dis- 
fatta  di  Dario. 

Enone. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744,  t-  ^^h  P-  [169]-247 
p.     W"^. 

Five  acts  and  licenza.  Argument.  No  composer  is  mentioned,  but  first  com- 
posed by  Caldara.  In  the  "Catalogo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are 
given  aa  Vienna,  1734.     (First  performed  August  28.) 

ML  49.A2Z3 

—  Enone.     Pubblicata  per  la  prima  volta  in  Vienna  1734. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,   1785-86,   t.   vii,  p. 

343-415.     21'^'^. 

Five  acts  and  licenza.    Argument.     No  composer  is  mentioned  (but  see  above). 

ML  49.A2Z4 

Les  enragez.     Piece  d'un  acte,  representee  a  la  Foire  Saint  Laurent 
1725. 
Le  Theatre  de  U  foire,  Paris,  1728,  t.  vi,  pi,  [71]-122  p.     17'"'. 

Le  Sage,  Fuzelier,  and  d'Omeval  are  mentioned  as  the  authors.  Largely  en 
vaudevilles.  The  airs,  selected  or  composed  and  arranged  by  Jean  Claude  Gillier, 
the  "compositeur"  of  the  company,  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs." 

First  performed  July  21,  1725,  preceded  by  "L'enchanteur  Mirliton"  and  "Le 
temple  du  M^moire."  ML  48.L2VI 

Enrichetta,  ballet.     See  Bianchi's  La  sposa  in  equivoco. 

L'Enrico.     Dramma  per  musica  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  del  Cocomero,  nel  camevale  dell'  anno  1732  .  .  . 

Firenze,  Giuseppe  Pagani  e  Melchiorre  Alberighi,  1732.  78  p. 
15"'^. 

Three  acts.  By  Francesco  Vanneschi.  Impresario's  dedication,  argument,  case, 
scenario,  and  name  of  the  author.     Composer  not  recorded  by  Allacci  or  Schatz. 

ML48.A5    V.18 

Enrico  IV,  ballet.     See  Mugnes'  Fernandez  Cortes. 


OPEEA   LIBRETTOS  441 

L'enrolement  d*Arlequin,  opera-comique  en  un  acte.  M^le  de 
prose  &  de  vaudevilles.     Joue  en  1726. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  5,  [147\-202  p. 

17  Y"^' 

Composer  not  recorded  by  Parfaict,  etc.  PQ  2019. P6 

Les  ensorceles  ou  Jeannot  et  Jeannette.  Parody  of  Rameau's  Les 
surprises  de  I'amour. 

Die  entdeckte  Semiramis.  Tr.  of  Hasse's  La  Semiramide  riconos- 
ciuta. 

Die  entdeckte  verstellung,  oder  Die  geheime  Hebe  der  Diana 
[vignette].  In  einem  pastoral  auf  dem  Hamburgischen  Schau-platz, 
vorgestellt  im  april  des  1712^'^  jahrs. 

Hamburg,  Friedrich  Conrad  Grejiinger,  n.  d.     Unpaged.     19'^'^. 

Three  acts.  By  Johann  Ulrich  Koenig,  who  says  in  his  "Vorbericht"  that  he 
selected  this  sujet,  though  of  the  more  than  130  operas  performed  at  Hamburg  during 
the  last  40  years,  more  than  30  had  been  taken  from  the  "Historia  fabulosa,  oder 
Mythologie  der  Alton."    He  further  says: 

"In  der  hauptverwirrung  folgte  einem  Italiaener,  von  welchem  auch  die  bin  und 
wieder  eingemengte  italiaenischen  arien,  den  liebhaber  zu  gefallen,  beybehalten." 

He  means  Francesco  de  Lemene's  "Endimione."  The  composer,  Reinhard 
TKeiser,  is  not  mentioned.  Schatz  5088 

—  Der  sich  raechende  Cupido,  [vignette]  in  einem  musicalischen 
schau-spiele  auf  dem  Hamburgischen  Theatro  aufgefuehret  im  jahr 
1724. 

Hamburg,  Caspar  JdkTiel,  n.  d.     Unpaged.     18'^^"'. 

Three  acts.  Cast  and  "vorbericht,"  according  to  which  this  is  an  altered,  partly 
condensed,  partly  augmented  version  of  "Diana."  It  is  further  stated  that  all  the 
music  was  composed  by  Reinhard  Keiser,  except  the  Italian  arias,  "Giove  vieni," 
"Lontan  da  tuoi  bei  rai,"  "Bendato  arcier,"  "Qual  solinga  tortorella,"  "Can tan 
lieti,"  "Pill  cori,  piu  vite,"  and  "Pensa  che  fost'  e  sei,"  which  were  interpolated. 
The  author,  Johann  Ulrich  Konig,  is  not  mentioned.  Schatz  5129 

Das  entfuehrte  bauernmaedchen.  Tr.  of  Bianchi's  La  villanella 
rapita. 

Die  entfuehrung  aus  dem  serail.  A.  T.  of  Andre's  Belmont  und 
Constanze. 

Die  entfuehrung  aus  dem  serail.  A.  T.  of  Dieter's  Belmont  und 
Constanze. 

Arien  und  gesaenge  zum  singspiel:  Die  entfuehrung  aus  dem 
serail.  In  musik  gesezt  von  herrn  musikdirektor  Knecht,  in 
Biberach. 

Kaufbeuren,  Dom,  n.  d.     Unpaged.     W^^. 

Three  acts.  By  Christoph  Friedrich  Bretzner,  who  is  not  mentioned.  Cast  added 
in  contemporary  hand. 

First  performed  at  Kaufbeuren,  Theater  der  burgerlichen  Agenten  Gesellschaft 
A.  C,  September,  1790;  at  Biberach,  Theater  der  evangelischen  Meister-Saenger 
Gesellschaft  im  Schlachthause,  February  2,  1787.  Schatz  5197 


442  LIBKARY  OF   CONGRESS 

Die  entfuehrung  aus  dem  serail.  Ein  singspiel  in  drey  aufzuegen, 
nach  Bretznem  frey  bearbeitet,  und  fuer  das  K.  K.  Nationaltheater 
eingerichtet.  In  musik  gesetzt  vom  herm  Mozart.  Aufgefuehrt  im 
KTk.  Nationalhoftheater. 

Wien,  heym  logenmeister,  1782.    67  p.     W*^, 

Text  retouched  by  Gottlieb  Stephanie  d.  jiing. 

First  performed,  as  indicated,  July  16,  1782.  Schatz  6811 

—  Die  entfiihrung  aus  dem  serail.     Ein  sin^piel  in  di*ey  aufzu- 

fen,  nach  Bretznem  frey  bearbeitet.  In  musik  gesetzt  vom  herm 
lozart.  Zum  erstenmale  gegeben  bey  abermaliger  erofnung  der 
Deutschen  Scliaubiihne  unter  der  general-untemenmung  Sr.  Durch- 
laucht  fiirst  Georg  Martin  Lubomirski  etc  etc.  den  8  may  1783. 

Warschau,  Gedruckt  in  der  Kmiglichen  lind  der  Repuhlik  privil. 
GroUischen  huchdruckerey ,  n.  d.     70  p.     i^J<='". 

Cast  and  dedication.    Stephanie's  version  of  Bretzner's  text.  Schatz  6856 

—  Arien  und  gesaenge  aus  dem  singspiel :  Belmonte  und  Kon- 
stanze  in  drei  aufzuegen.  Frei  bearbeitet  nach  Bretzner.  Die 
musik  ist  vom  herrn  Mozart. 

Berlin,  n.  puhl,  1788.    32  p.     16<'-^. 

First  performed  at  Berlin,  Nationaltheater,  October  16, 1788.  ML  50.2. E5M8 

—  Arien  und  gesaenge  aus  dem  singspiel:  Belmonte  und  Kon- 
stanze  in  drei  aufzuegen.     Die  musik  ist  vom  herm  Mozart. 

Berlin,  n.  pubh,  1798.    26  p.     16'^. 

The  same  version  as  above.  Schatz  6812 

Entrepreneuren  i  Knibe.  Tr.  of  Cimarosa's  L'impresario  in 
angustie. 

Die  entzifferung.     Tr.  of  Salieri's  La  cifra. 

Epaminonda.  Dramma  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  camovale  dell'  anno 
1732  .  .  . 

Venezia,  Carlo  Bu(marigo,  n.  d.     Ip.l.,  72  p.     15'^'^. 

Three  acts.  Author  not  mentioned,  but  text  by  Domenico  Lalli,  according  to 
Schatz.  Dedication,  argument,  scenario,  cast,  and  name  of  Geminiano  Giacomelli 
as  the  composer.  •  Schatz  3811 

The  Ephesian  matron.     A  comic  serenata,  after  the  manner  of  the 
Italian.     As  it  is  performed  at  Ranelagh  House.     The  music  by  Mr. 
Dibdin. 
London,  W.  Griffin,  1769.     6,  \2]-24  p.     W"^. 

One  act.  Cast  and  advertisement,  according  to  which  this  piece,  "at  a  short 
warning  ...  in  great  haste  put  together,"  was  a  deliberate  experiment  of  the  man- 
agers oi  Ranelagh  House  in  "improvement  upon  the  detached  songs  and  ballads 
iisuaUy  simg  in  their  orchestra  "  by  attempting  to  imitate  the  Italian  intermezzi,  such 
as  La  serva  padrona,  Baiocco  e  Serpilla,  etc.  The  author,  Isaac  Bickerstaffe,  is  not 
mentioned.  Longe  306 

—  The  Ephesian  matron,  a  comic  serenata,  after  the  manner  of  the 
Italian.     By  Isaac  Bickerstaffe,  Esq.     The  music  by  Mr.  Dibdin. 

[4S]-55  p.  19'^'^.  {Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  vi,  Edinburgh,  1792.) 

Ranelagh  House  cast,  where  the  work  was  first  performed,  1769.      Schatz  11753F 


OPERA   LIBRETTOS  443 

Les  epoux  reunis,  opera-comique  en  deux  actes;  repr6seht4  pour  la 
premiere  fois  sur  le  Theatre  de  la  Foire,  en  1736. 

diaries  Francois  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  3,  68 
f.     17''"'. 

Prose  and  vaude\dlle8.  Composer  not  recorded  by  Parfaict,  etc.,  who  dates  the 
first  performance  Feb.  3,  1736.  PQ  2019. P3 

Epponina.     O.  T.  of  Giovannini's  text  Giulio  Sabino. 

L'epreuve.     A.  T.  of  La  ruse  d'amour. 

L'epreuve  villageoise,  opera  boufFon  en  deux  actes  et  en  vers, 
represents  pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires 
duroi,  le  jeudi  24  juml784,  apres  avoir  et6 joue  devant  Leurs  Majestes 
a  VersaiQes  sous  le  titre  de  Theodore  &  Paulin,  le  vendredi  5  mars, 
&  sur  le  Theatre  italien,  le  jeudi  18  du  m^me  mois.  Par  D.  Des- 
forges.     Musique  de  M.  Gretry. 

Paris,  Prault,  1784.s    70  p.     19^"^. 

Cast.    Same  dedication  and  "Lettre"  as  below.  ML  50.2.E55G7 

—  L'epreuve  villageoise,  opera  bouffon,  en  deux  actes,  en  vers,  rep- 
r6sent6  pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du 
roi,  le  jeudi  24  juin  1784,  apres  avoir  6te  jou6  devant  Leurs  Majestes 
a  Versailles,  sous  le  titre  de  Theodore  &  Paulin,  le  vendredi  5  mars, 
&  sur  le  Theatre  italien,  le  jeudi  18  du  mSme  mois.  Par  Mr  Des- 
forges.  Musique  de  M.  Gretry. 
Paris,  Prault,  1785.     53  p.     18'"^. 

Cast,  author's  dedication,  and  a  "Lettre  k  Monsieur  de  Coranc^"  dated  June  23, 
1784,  in  which  Desforges  says: 

"Malgr6  I'indulgence  c[ui  dicta  le  jugement  port6  but  Theodore  &  Paulin  dans  le 
Journal  de  Paris,  je  sentis  que  I'ouvrage,  trop  s^rieux  peut-^tre,  &  cone6quemment 
peu  susceptible  d'un  vrai  succfes  sur  un  theatre  consacre  k  la  gait6,  devoit  subir  une 
metamorphose;  je  m'en  occupai.  M.  Gr6try  me  donna  des  id^es  qui  fixferent  & 
^gayerent  les  miennes."  Schatz  4149 

Les  epreuves  de  misanthropie  et  repentir.  A.  T.  of  Comment 
faire. 

L'Epulone.  Opera  melo-dramatica  esposta,  con  le  prose  morali- 
critiche,  dal  P.  Francesco  Fulvio  Frugoni  .  .  . 

Venetia,  Comhi  &  La  Noil,  1675.  16  p.  I.  (incl.  frord.  and  port.), 
652,  [54]  p.     22^"^. 

The  text  of  the  allegorical,  didactic,  morality  play  "L'Epulone"  (five  acts  and 
prologue)  on  p.  1-160  of  this  most  curious  volvime.  No  composer  or  performance 
recorded.  PQ 

Gli  equivoci.  Dramma  buffo  in  due  atti.  Ad  imitazione  della 
comedia  inglese  di  Shakespeare,  che  ha  per  titolo :  Les  meprises.  Da 
rappresentarsi  nel  Teatro  di  Corte  I'anno  1787. 

Vienna,  Giuseppe  nob.  de  Kurzbelc,  n.  d.     84  p.     i^i*'"*. 

Lorenzo  da  Ponte  is  mentioned  aa  the  author,  Stephen  Storace  as  the  composer. 

First  performed  December  27, 1786,  as  indicated.  Schatz  10079 


444  LIBRARY  OF   CONGRESS 

Gli  equivcJci — Continued. 

—  Gli  eq-uivoci.  Dramma  buffo  in  due  atti.  Da  rappresentarsi  nel 
Teatro  Elettorale  di  Sassonia. 

Dresda,  n.  puM.,  1797,  173  p.     15^. 

Stephen  Storace  is  mentioned  as  the  composer.  German  title-page,  "Die 
irrthuemer,"  and  text  face  Italian,  which  follows  the  original  Vienna  ed.  with  very 
few  differences'  the  "Ah  il  flebil  suono"  (I,  11)  for  instance,  having  become  "La 
meschina  nel  mio  eeno"  (I,  10). 

First  performed  at  Dresden,  I^vember  18,  1797.  Schatz  10080 

Grequivoci  d'amore,  e  d'innocenza.  Dramma  per  musica  da 
rappresentarsi  nel  f  amosissimo  Teatro  Grimani  di  San  Gio.  Grisostomo. 
Nell'  autunno  1723  ..  . 

Venezia,  Marino  Rossetti,  1723.     48  p.     15"". 

Three  acta.  By  Antonio  Salvi,  who  is  not  mentioned.  Printer's  dedication, 
argument,  cast,  ecenario,  and  name  of  Carlo  Francesco  Gaspaxini  as  the  composer. 

Schatz  3565 

Gli  equivoci  del  sembiante.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  novo  di  Casale  I'anno  1703. 

Milano,  Carlo  Giuseppe  Quinto,  n.  d.     83,  [1]  p.     l/^Y^- 

Three  acts.  Scenario  and  ailment  with  name  of  Antonio  Caldara  as  composer 
and  this  clue  as  to  the  author: 

"Ti  sark  comparso,  o  lettore,  sotto  de  gli  occhi  un'  altro  drama  intitolato  la  Statira 
layorato  sii  questo  stesso  argomento;  mil  perche  fti  questo  fatica  di  brevissimo  tempo, 
mi  venne  capriccio  di  riformarlo  k  mio  comodo;  cominciata  I'idea,  mi  h  convenuto 
novamente  nnovarla  per  I'aggionta  di  due  personaggi,  e  terminar  I'opera  con  tutta 
celeritS,  ..." 

Schatz  attributes  the  text  to  Domenico  Filippo  Contini,  at  the  same  time  attribut- 
ing the  music  to  Alessandro  Scarlatti,  which  is  obviously  incorrect.    ML  48.A5    v. 12 

Gli  equivoci  in  azaore  overo  La  Rosaura,  drama  per  musica.  Da 
rappresentarsi  nelle  felicissime  nozze  delP  eccellentissima  Signora  la 
Signora  Donna  Tarquinia  Colonna,  conl'eccellentissimo  Sig.  D.  Marco 
Ottoboni,  duca  di  Fiano  .  .  .  e  dell'  eccellentissima  Signora  donna 
Cornelia  Ottoboni,  con  I'eccellentissimo  Signor  D.  Urbano  Barberini 

Roma,  Gio.  Francesco  Buagni,  1690.     57,  U]  p.     IJ^Y^. 
Three  acts.    By  Giovanni  Battista  Lucini,  who  is  not  mentioned.     Dedication 
with  name  of  Alessandro  Scarlatti  as  the  composer,  argument,  and  cast. 

First  performed  December,  1690,  in  Rome,  at  the  French  Embassy.     Schatz  9535 

Gl'equivoci  nel  sembiante.     Dramma  per  musica  .  .  . 

Roma,  Francesco  Tizzoni,  1679.    front,  52  p.     13*^^. 

Three  acta.    Dedication  by  the  impresario  Pietro  Giov.  Leone,  which  begins: 

"Comparisce  nel  Theatro  del  Mondo  il  presente  dramma  spogliato  di  quella  vaga 
melodia  [by  Alessandro  Scarlatti,  who  is  not  mentioned]  m  cui  si  leggiadramente 
vestito  passeggi6  non  ha  molto  pe  Theatri  di  Roma  non  per  altro  che  per  isvelare  ad 
ogni  uno  Gl'equivoci  nel  sembiante." 

The  "discrete  lettore"  is  informed 

"Queeti  h  parte  di  quella  penna,  dalla  quale  gi4  nacgue  il  dramma  famoso  intito- 
lato 'La  donna  ancora  e  fedele'  .  .  ."  [by  Domenico  Fihppo  Contini]. 

First  j)erformed  at  Rome,. Teatro  Capranica,  carnival  1679.  Dent  gives  the  alter- 
native title  "L'errore  innocente,"  but  this  must  have  been  added  later  on. 

Schatz  9527 

Gli  equivoci  svelati.     L.  T.  of  Sarti's  I  contratempi. 

L'equivoco,  ballet.     See  Paer's  Cinna. 


OPEBA   LIBRETTOS  445 

L'equivoco.  Commedia  per  miisica  di  Liviano  Lantino  da  rappre- 
sentarsi  nel  Teatro  de'  Fiorentini  nell'  esta  di  quest'  anno  1764. 

Napoli,  Vincenzo  Mazzola-Vocola,  1764-     52  p.     15''^. 

Three  acts.  Cast  and  name  of  Niccol6  Piccinni  as  the  composer.  Text  by  Antonio 
Villano,  called  as  above.  Schatz  8125 

L'equivoco.  Commedia  per  musica  da  rappresentarsi  nel  Real 
Teatro  del  Fondo  di  Separazione  per  prim'  opera  di  questo  corrente 
anno  1791. 

Napoli,  Vincenzo  Flauto,  n.  d.     41  p.     15^^- 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Giacomo  Tritto  as  the  composer.  With  the  opera  was  performed  Giovanni  Battista 
Giannini's  "La  morte  di  Meleagro,  ballo  tragico  in  cinque  atti,"  of  which  argument, 
cast,  and  name  of  Giuseppe  Ercolano  as  composer  of  the  music  ("tutta  nuova")  on 
p.  5-7.  Schatz  10462 

L'equivoco  curioso.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  quart'  opera  di  quest' 
anno  1790. 

Napoli,  n.  puhl,  1790.     43  p.     15'^'^. 

Two  acts.    Cast  and  name  of  Domenico  Cercill  as  composer.  Schatz  1774 

L'equivoco  dei  due  molinari,  ballet.  See  Paer's  Tegene  e 
Laodicea. 

L'equivoco  delli  due  amanti  molinari,  ballet.  See  Nasolini'a 
Gl'lndiani. 

L'equivoco  fortunato,  ballet.     See  Gnecco's  L'indolente. 

L'equivoco  ricompensato,  ballet.  See  Robuschi's  Li  raggiri 
fortunati. 

Er  soil  und  muss  ein  narr  seyn.  Tr.  of  Schuster's  II  pazzo  per 
forza. 

Er  war  nicht  ganz  barbar.  A.  T.  of  Ebers'  opera  Inkle  und 
Yariko. 

''  Eraclea.     Tragicomedia  per  musica  da  rappresentarsi  nel  Teatro 
Vendramino  di  San  Salvatore.     L'anno  MDCXCVI  .  .  . 
Venetia,  Nicolini,  1696.    front.,  60  p.     14'''". 

Five  acts.  Dedication  by  the  author,  Giovanni  Cesare  Godi,  dated  Venice,  Feb- 
ruary 5,  1696,  notice  to  the  reader,  argument,  and  scenario.  The  composer,  Bernardo 
Sabadini,  is  not  mentioned.  Sch.vtz  9195 

Eraclito  e  Dem.ocrito.  Commedia  per  musica.  Da  rappresentarsi 
nei  Piccoli  Teatri  di  S.  M.  11  re  di  Prussia. 

Berlino,  Haude  e  Spener,  n.  d.     99  p:     17'''^. 

Two  acts.  Cast.  Neither  the  author,  Giovanni  de  Gamerra,  nor  the  composer, 
Antonio  Salieri,  is  mentioned.  German  title-page,  "Heraclit  und  Democrit,  and 
text  face  Itahan. 

First  performed  at  Charlottenburg,  Schlosstheater,  July  3,  1796;  at  Vienna,  Hof- 
theater,  n.  d.  Burg,  August  13,  1795.  Schatz  9287 


446  LIBRARY   OF   CONGRESS 

Erano.     Ein  schauspiel  mit  gesaengen  aus  den  zeiteri  der  kreuzzuege. 
Drey  akte  von  A.  J.  G.  C.  Batseh. 
n.i.,1779.    56  p.    16^^"^. 

One  aft.    No  composer  mentioned.    Not  recorded  by  Schatz.  ML  50.2.E58 

Erast  und  Lucinde.     Tr.  of  Gr^try's  Silvain. 

Ercole  al  Termedonte.  Dramma  per  musica  da  rappresentarsi  nel 
Real  Teatro  di  S.  Carlo  nel  di  12  di  gennaio  1793.  Festeggiandosi  la 
nascita  di  Ferdinando  IV  ,  .  . 

Na'poli,  Vincenzo  Flauto,  1793.     20,  24  f.     Id^'^'^. 

Two  acts.  The  author  is  not  mentioned,  and  not  known  to  Schatz.  Impresario's 
dedication,  cast,  scenario,  and  name  of  Niccol6  Piccinni  as  the  composer. 

On  the  first  p.  11-19,  argument  and  cast  of  Giambattista  Giannini's  ballet  in  five 
acts, ' '  L'amanti  schiavi, ' '  and  argument  of  his  other  ballet,  * '  Gli  Europei  nell'  isola  de* 
canibali."    The  composers  of  the  music  are  not  mentioned.  Schatz  8126 

Ercole  e  Dejauira,  ballet.     See  Bianchi's  Daliso  e  Delmita. 

Ercole  e  Dejanira,  ballet.    See  Paer's  La  virtti  al  cimento. 

y  Ercole  in  cielo.     Tragedia  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  San  Gio.  Grisostomo.     L'anno  MDCXCVI  .  .  . 
Venetia,  Nicolini,  1696.     82  f.     16^"^. 

Four  acts.  Dedication  signed  by  the  author,  conte  Girolamo  Frigimelica  Roberti, 
long  dramatui^c  notice  to  the  reader,  argument,  and  scenario.  The  composer,  Carlo 
Francesco  PoUaroli,  is  not  mentioned.  Schatz  8284 

Ercole  in  Lidia.  Dramma  del  Signer  conte  Maiolino  Bisaccioni, 
gentil'  huomo  della  camera  del  re  Christianissimo.  Rappresentato 
nel  Teatro  Novissimo  nelF  anno  1645.  • 

Venetia,  Giovanni  VeceUio  e  Matteo  Leni,  16^5.     144  P-     14^^- 
Three  acts  and  prologue.    Giovanni  Bovetta  is  mentioned  as  the  composer. 

Schatz  9105 

L 'Ercole   in  Tebe.     Drama   per  musica   del   dottor  Gio.   Andrea 
Moniglia  fiorentino  riformato  all'  uso  di  Venetia  da  Aurelio  Aureli 
per  il  Teatro  Vendramino  a  S.  Salvatore.     L'anno  MDCLXXI  .  .  . 
Venetia,  Curti  and  Nicolini,  1671.    front.,  72  p.     Id""^. 

Three  acts.  Author's  dedication  dated  Venice,  December  12,  1670,  argument, 
and  scenario.  No  composer  is  mentioned,  but  Aureli,  in  his  libretto  of  "Claudio 
Cesare,"  distinctly  mentions  Giovanni  Antonio  Boretti  as  composer  of  his  "L'Ej-cole 
in  Tebe."  Schatz  1222 

Ercole  in  Tebe.  Festa  teatrale  rappresentata  in  Firenze  per  le 
reali  nozze  de'  Serenissimi  sposi  Cosimo  Terzo,  principe  di  Toscana, 
e  Margherita  Luisa,  principessa  d'Orleans. 

Fiorenza,  NeUa  nuova  Stamperia  aW  insegna  della  stella,  1661.  4 
p.  l,  152  p.     23^"^. 

The  thirteen  magnificent  plates  engraved  by  Valerio  Spada,  which  were  pub- 
lished with  the  volume,  are  wanting  in  our  copy.     (Com/)arc  Wotquenne  and  below.) 

Prologue  and  five  acts.  Dedication  by  tne  author,  Giovanni  Andrea  Moneglia 
(Moniglia),  dated  Florence,  June  25,  1661,  and  argument.  On  p.  [109}-152  a  minute 
and  very  interesting  "Descrizione  dell'  Ercole  in  Tebe.  Festa  Teatrale,"  by  Ales- 
eandro  Segni  {see  below),  which  mentions  the  participants  in  the  ballets  and  in  the 
abbattimento,  and  on  p.  150  reads: 

"il  tutto  condotto  a  fine  sotto  I'accorta  direzione  del  Sig.  Lionardo  Martellini,  che 
alle  machine,  ed  al  Teatro  era  sopr'  intendente.  Si  come  i  cori  che  sopra  vi  s'udi- 
vano  ineieme  con  tutte  le  musiche  della  presente  festa,  fur  regolate  dalli  SS.  Filippo 


OPERA   LIBRETTOS  447 

Ercole  in  Tebe — Continued. 

Franceschi,  e  Pietro  Strozzi,  avendole  compoete  il  Sig.  Jacopo  Melani,  BOggetto  coei 
eequisito  in  tal  professione,  che  ben  ha  mostrato  in  questo,  ed  altri  eimili  componi- 
menti  non  dovere  la  presente  et^  invidiare  nella  perfezione  dell'  armonia  a'  piu 
antichi  eecoli  tanto  millitanti  dai  Greci,  e  ferono  epiccare  maggiormente  la  equisitezza 
di  tal  composizione  le  perfettisime  voci,  e  acconcie  maniere  de'  professori  che  nella 
festa  ebber  parte  i  quali  tutti  essendo  de'  migliori  che  o^i  vivan  nell'  Europa,  eran 
pur  o  per  nascita,  o  per  altra  cagione  dependent!  da  questa  corte  .  .  . 

For  further  details  consult  AdemoUo'B  "I  primi  fasti  del  Teatro  di  Via  della  Pergola 
in  Firenze,"  who,  however,  is  conspicuously  silent  about  the  date  of  performance, 
July  8,  1661,  according  to  Schatz.  ML  50.2.E6M2 

—  Ercole  in  Tebe.  Festa  teatrale  representata  in  Firenze  per  le 
reali  nozzi  de'  serenissimi  sposi  Cosimo  Terzo  principe  di  Toscana  e 
Margherita  Aloisa  principessa  d'Orleans. 

Fiorenza,  nuova  Stamperia  aW  insegna  della  stella,  1661.     120  p. 

Five  acts  and  prologue.  Dedication  signed  by  the  author,  Giovanni  Andrea 
Moneglia  (Moniglia),  and  dated  "Firenze  25.  giug.  1661,"  and  argument.  Jacopo 
Melanl,  the  composer,  is  not  mentioned.  In  this  edition  the  " Descrizione "  was 
omitted.  Schatz  6290 

—  Ercole  in  Tebe.  Festa  teatrale  rappresentata  in  Firenze  per  le 
reali  nozze  de'  serenissimi  sposi  Cosimo  Terzo  principe  di  Toscana,  e 
Margherita  Luisa  principessa  d'Orleans.  • 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Firenze,  Vin- 
cenzio  Vangelisti,  1689,  v.  1,  [119]-256  p.,  13  pi.     2J^^'^. 

Five  acts  and  prologue,  each  preceded  by  a  "Descrizione,"  written,  so  Moniglia 
informs  us  in  the  preface  of  the  volume,  by  Alessandro  Segni.  He  does  not  mention 
the  composer,  Jacopo  Melani,  until  the  last.     Argument.  ML  49.A2M7 

Ercole  snl  Tago.  Dramma  per  musica  da  cantarsi  nella  Real  Villa 
di  Queluz  per  celebrare  il  felicissimo  giorno  natalizio  della  Serenis- 
sima  Signora  Donna  Maria  Francesca  Benedetta  principessa  del 
Brasile  li  25  luglio  1785.  L'autore  della  poesia  Vittorio  Amadeo 
Cigna  Torinese,  della  musica  Luciano  Xavier  di  Santi  .  .  . 
\Lisbond\,  Stamperia  Reale,  n.  d.  23  p.  14h^™' 
One  act.    Cast  and  argument.  Schatz  9395 

•^  Ercole  su'l  Termodonte.     Drama  per  musica  nel  famoso  Teatro 
Vendramino  di  S.  Salvatore  I'anno  1678.     Del  Bussani  .  .  . 
Venetia,  Francesco  Nicolini,  1678.    front,  72  p.     IS^^. 

Three  acts.  Author's  dedication,  argument,  and  scenario.  Antonio  Sartorio, 
the  composer,  is  not  mentioned.  Schatz  9493 

Ercole  sul  Termodonte.  Dramma  per  musica,  da  rappresentarsi 
nel  Teatro  Reale  Privilegiato  di  Dresda  I'anno  1747. 

n.  L,  n.  d.     (double)  86  p.     15^^- 

Three  acts.  Argument,  cast,  and  scenario.  Neither  Giacomo  Francesco  Bussani, 
the  author,  nor  Johann  Georg  Schiirer,  the  composer,  is  mentioned.  German  title- 
page,  "Hercules  am  Thermodon,"  and  text  face  Italian. 

First  performed,  as  indicated,  July  19,  1747.  •    Schatz  9732 

Ercole  su'l  Termodonte.  Drama  per  musica  da  recitarsi  nella 
Sala  deir  illmo  Sig.  Federico  Capranica  I'anno  1723. 

Roma,  Stamperia  del  Bemdhb,  1723.     71  p.     14^"^. 

Three  acts.  By  Giacomo  Francesco  Bussani,  who  is  not  mentioned.  Argument} 
scenario,  cast  and  name  of  Antonio  Vivaldi  as  composer.  ML  50.2.E61V4 


448  LIBRARY   OF   CONGRESS 

L'Ercole  trionfante.  Drama  rappresentato  nel  nuovo  Teatro 
Ducale  di  Piaccnza  .  .  .  Riformato  all'  uso  corrente  da  Aurelio 
Aureli  ... 

Parma,  Stam-peria  ducale,  1688.     87  p.     15Y^' 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  prefatory  note 
by  Aureli,  which  reads,  in  part: 

"Nel  1661  fu  questo  drama  c6  titolo  d'Ercole  in  Tebe  [music  by  Jacopo  Melani] 
composto  dalla  penna  erudita  del  Sig.  dottor  Gio.  Andrea  Moneglia  di  Firenze  per  le 
nozze  reali  degli  Serenissimi  sposi  Coeimo  Terzo  prencipe  di  Toscana  e  Marehorita 
Luisa  prencipessa  d'Orleans.  Nel  1671  per  comando  ai  soggetto  auttorevole  mio 
gran  patrone  in  Venetia  fui  costretto  ^  riformarlo  in  molte  parti,  e  nelle  ariette  all'  uso 
di  quella  citt^,  dove  rappresgtato  nel  Teatro  Vendramino  a  S.  Salvatore  con  la  musica 
del  gii  Sig.  Antonio  Boretti  V.  Mastro  all'  ora  di  capella  di  questa  A.  S.  incontrb  non 
ordinario  aggradimento,  &  applauso.  Ora  non  85  per  qual  forza  di  stella  venga  k  com- 
parirti  nel  Teatro  Ducale  tamosissimo  di  Piacenza  con  quella  magnificenza,  ch'^ 
propria  di  chi  lo  fk  rappresentare.  Averti  per6  che  lo  vedrai  in  moltissime  scene 
riformato  dall'  altro  che  feci,  e  con  la  maggior  parte  dell'  arie  per  non  dir  quaaitutte 
rinovate  quali  poste  in  musica  dalla  virtti  ammirabile  del  Sig.  D.  Bernardo  Sabadizii 
Ber\'itore  attuale  di  questa  A.  S.  .  .  ."  Schatz  9196 

Die  erdichtete  luft-geister.  A.  T.  of  Blaise's  Isabella  und  Ger- 
traude. 

Die  erdichteten  lehnserben.     Tr.  of  Sarti's  I  fiati  eredi. 

L'erede  riconosciuta.     A.  T.  and  L.  T.  of  Picciimi's  La  pescatrice. 

Der  eremit  auf  Formeiitara.     Eiu  schauspiel  mit  gesang  in  zwey 

aufzuegen  von  Kozebue. 

n.  %.,  1790.     76  p.     17 ''^. 

Peter  Bitter,  the  composer,  is  not  mentioned. 

First  performed  at  Mannheim,  Nationaltheater,  December  14, 1788.    Schatz  8822 

Arien  zum  Eremit  auf  Formentara.     Eine  oper  in  zween  aufzuegen. 
Die  musik  ist  von  lirn.  Wolf,  kapellmeister  zu  Weimar  .  .  .     Aufge- 
fuehrt  von  der  Rechenmacheriscnen  gesellschaft.     1790. 
n.  L,  n.  d.     Unpaged.     W^. 

By  August  von  Kotzebue,  who  is  not  mentioned. 

First  performed,  as  indicated,  at  Regensburg,  Theater  im  Ballhause,  1790;  at 
Weimar,  Hoftheater,  November  26.  1789.  Schatz  11081 

—  Erexniten  paa  Formentara.  Et  skuespil  med  sang  i  to  acter  af 
August  V.  Kotzebue.  Til  kapelmester  Wolfs  musik.  Oversat  af 
P.  D.  Faber. 

KiphenJiavn,  Nicolaus  MoUer  og  s0n,  1791.     94  p-     15<^^. 

Preface  signed  by  the  translator,  giving  details  concerning  his  engagement  for  the 
work  of  translating  Kotzebue's  text.  Schatz  11082 

Die  erfinderische  liebe.     Tr.  of  Paisiello's  L'amore  ingegnoso. 

Ergasto  ed  Eurilla,  vinti  dall'  amore,  ballet.    See  Mayr's  Lodoiska. 

Ergilda.  Dramma  per  musica  di  Bartolomeo  Vitturi  da  rappresen- 
tarsi  nel  Teatro  di  S.  Angelo  I'autunno  dell'  anno  1736  .  .  . 

Venezia,  Marino  Rossetti,  1736.     48  p.     15^'='^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of 
Galuppi  as  composer. 

First  performed,  as  indicated,  November  12,  1736.  Schatz  3486 


OPERA   LIBRETTOS  449 

L'Erginda.     Favola  per  musica  di  Aurelio  Aurelii.     Accademico  fra 

gl'Imperfetti  L'indifferente. 

Venetia,  Giuliani,  1662.     75  jp.  {incl.fr ont.).     Id""^. 

Prologue  and  three  acts.  Author's  dedication,  notice  to  the  reader,  and  scenario. 
The  composer,  Gasparo  Sartorio,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  de'  S.  S.  Apostoli,  carnival,  1652.     Schatz  9496 

L'Erginia  imascherata.  Dramma  da  rappreseutarsi  in  musica. 
Nel  Teatro  di  S.  Fantino  Tanno  1710. 

Venezia,  Andrea  Mercurio,  1710.     4^  P-     l^Y^- 

Three  acts.  Cast  and  scenario.  Author  (Antonio  Marchi)  and  composer  (un- 
known to  Schatz)  not  mentioned.  Schatz  11324 

Erifile.  Drama  per  musica  da  rappresentarsi  in  Roma  nel  Tratro 
delle  Dame  nel  corrente  carnevale  aelF  anno  MDCCLII  .  .  . 


rem 


Roma,  Fausto  Amidei,  n.  d.     63  p.     15'^ 

Three  acts.  Author  not  mentioned  and  imknown  to  Schatz.  Dedicatory  poem, 
argument,  scenario,  cast  and  name  of  Girolamo  Abos  as  composer.    ML  50.2.E63A2 

L'Erifile.     Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Vendramino  a  S.  Salvatore,  I'anno  1697  ... 
Venezia,  Nicolini,  1697.     60  p.     Ij^Y"^. 

Three  acts.  Dedication  signed  by  the  author,  Giovanni  Battista  Neri,  argument, 
scenario,  notice  to  the  reader,  with  name  of  Attilio  Ariosti  as  composer. 

Schatz  319 
Erifile.     Dramma  per  musica  da  rappresentarsi  nel  Ducale  Teatro  il 
camovale  dell'  anno  1781  ,  .  . 

Modena,  per  gli  eredi  di  Bartolomeo  Soliani,  n.  d.     1^.5  p.     W'^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of  the 
composer,  Francesco  Bianchi,  but  not  of  the  author,  Giovanni  di  Gamerra. 

First  performed,  as  indicated,  February  3,  1781;  at  Florence,  Teatro  della  Pergola, 
January.  1779.  Schatz  989 

Erifile.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  da  S. 
Agostiuo  il  camovale  dell'  anno  1783  ...  * 

Genova,  Stamperia  Gesiniana,  n.  d.     54,  [1]  p.     13^"^. 

Three  acts.  By  Giovanni  di  Gamerra,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.  On  p.  49-54,  cast  and 
description  of  "Zorei  e  Ozai  ballo  pantomime  in  quattro  atti  composto  ...  da  Fran- 
cesco  Clerico,"  who  was  also  responsible  for  the  music.  Schatz  3844 

Erifile.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  camovale  del  1786  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  43  p.     15^'^. 

Three  acts.  By  Giovanni  de  Gamerra  (with  alterations),  who  is  not  mentioned. 
Argument,  cast,  scenario,  and  the  names  o{  Carlo  Monza  as  composer  of  the  opera, 
of  Vittorio  Amedeo  Canavasso  as  composer  of  the  music  for  Francesco  Clerico's  bal- 
lets, of  which  the  two  first  had  the  titles  "La  vanity  corretta  dal  disprezzo"  and 
"La  caduta  di  Troia."     Cast,  argument,  scenario. 

First  performed  at  Turin,  as  indicated,  December  26,  1785.  Schatz  6614 

Erifile  reg^na  di  Lacinto.  Dramma  per  musica  del  Sig.  de  Gamerra. 
Rappresentato  per  la  prima  volta  nel  Regio  Teatro  di  Londra  I'anno 
MDCCLXXVIII. 

[Sassari,  Giuseppe  Piattoli,  1784].     6  p.  l,  64  p.     W"^. 

The  imprint  on  the  first  p.  1.,  bearing  the  engraved  coat  of  arms  of  and  inscription 
to  cavaliere  Rovero  di  Piea.    The  other  p.  1.  contain  a  lengthy  dedication  by  the 

72251°— VOL  1—14 29 


450  LIBRARY   OF   CONGRESS 

Erifile  regina  di  Lacinto — Continued. 

publisher  and  a  prefatory  note  dated  Sassari,  July  11,  1784,  and  addressed  by  him 
to  the  author.  According  to  this  the  aCTeement  was  that  several  of  Gamerra's  works, 
including  such  that  were  not  yet  published,  were  to  be  published.  Nothing  came 
of  it  because  "un  ragguardevole  personaggio  di  questa  citt^,"  to  whose  care  they 
had  been  entrusted,  kept  them  and  they  were  not  found  again  until  after  his  death. 
On  the  basis  of  his  pri\alege  of  1778  Piattoli  now  first  publishes  "Erifile"  and,  as  he 

I'ustly  remarks,  in  view  of  the  paper,  press  work,  and  a  few  exquisite  vignettes,  in  a 
>etter  make  up  than  was  customary.    He  finally  wishes  to  know  the  author's  pleasure 
with  respect  to  the  other  dramas. 

The  opera  was  first  performed  at  London,  Haymarket,  February,  1778. 

ScHATz  9244 

Erigone.     O.  T.  of  Mondonville's  Bacchus  et  Erigone. 

Erik  Eiegod.     Eine  oper  af  J.  Baggesen. 

Ki0benhaim,  J.  F.  Morthorstes  enke,  1798.     64  p.     16^'^. 

Three  acts.    The  composer,  Friedrich  Ludwig  Aemilius  Kunzen,  is  not  mentioned. 
First  performed  at  Copenhagen,  Royal  Theatre,  January  30,  1798.     Schatz  5316 

L'Erinto,  drama  regio  musicale  comparso  tra  le  festive  accoglienze 
fatte  dalla  Serenissima  casa  elettorale  alia  venuta  del  reverendissimoj 
et  eminentissimo  principe  Massimiliano  Gandolfo,  arcivescovo  di 
Saltzburgo  .... 

Monaco,  Giovanni  JecTclino,  1671.     8  p.  I.,  99  p.     18^"'^. 

Three  acts  and  prologue.     Argument  and  dedicatory  sonnet  signed: 
"II  Gisberti  consacrando  le  fatichede  due  grandi  autori,  dell   illffio  Signor  conte 
Bissari  poeta,  e  del  S.  Gio.  Gasparo  Kerl  M.  di  capella  elet." 

Performed,  as  indicated,  at  Mimich,  Hoftheater,  1671;  previously  there,  1661. 

Schatz  5141 

L'Erismena.     Drama  per  musica  di  Aurelio  Aureli,  favola  seconda 

dedicata  all'  illustriss.  Signor  Giacomo  Cavalli. 

Venetia,  Andrea  Giuliani,  1655.     89,  23  p.     ISY"^- 
Three  acta  with  prologue,  followed  by  the  23  p.  of  the  "Scenario  dell'  Erismena 

di   Aurelio   Aureli."     Author's  dedication,   preface   mentioning   Pietro   Francesco 

Cavalli  as  the  composer,  and  argument. 

First  performed  at  Venice,  Teatro  di  S.  Apollinare,  carnival  1655.     Schatz  1720 

L'Eritrea:  Drama  undecima  posthumo  di  Giovanni  Faustini,  Da 
rappresentarsi  nel  noviss.  Teatro  di  S.  Apponale  I'anno  1652.  Posta 
in  musica  dal  Sig.  Francesco  Cavalli  dignissimo  organista  di  San 
Marco  .  .  . 

Venetia,  Giuliani,  1652.     84  p.     l^^"^. 

Three  acts  with  prologue.  Dedication  by  Giacomo  Batti  and  Delucidatione  della 
fevola.  Schatz  1721 

Der  erkennte  Cyrus.     Tr.  of  Hasse's  11  Ciro  riconosciuto. 

•''  L'Ermelinda.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Canaregio  Fanno  1679  del  nobil  huomo  Sier  Marco  Morosini  .  .  . 
Venetia,  Francesco  Nicolini,  1679.     57  p.,  1  I.     14'^'^. 

Three  acts.  Publisher's  dedication,  ai^ument,  scenario,  list  of  errata  (1  fly  leaf) 
and  notice  to  the  reader,  in  which  the  author  says : 

"dopo  haver  composte  dieci  opere  comiche,  che  non  poco  t'hanno  eodisfatto,  ti 
presento  in  drama  per  musica  una  regina,  giovinetta,  semplice  e  nuda;  coprila  tu 
col  manto  del  tuo  compatimento,  ch'io  m'accingo  alia  fatica.    Vivi  felice." 

The  composer.  Carlo  Sajon,  is  not  mentioned.  Schatz  9263 


OPERA   LIBRETTOS  451 

L'Ermengarda.  Dranima  per  musica  da  rappresentarsi  nelF  au- 
tunno  MDCCXXIII.     Nel  Teatro  Giustiniano  di  San  Moise. 

Venezia,  Carlo  Buonarrigo,  n.  d.     ^8  p.     IJi-Y^- 

Three  acts.  Argument  and  scenario.  Neither  the  author  Antonio  Maria  Luchini, 
is  mentioned,  nor  the  composer,  Tommaso  Albinoni.  Schatz  91 

L'Ermengarda  regina  de'  Longobardi.     Drama  per  musica  da, 
rappresentarsi  nel  famoso  Teatro  Grimano  a  S.  S.  Giovanni,  e  Paolo, 
Fanno  1670  .  .  . 

Venetia,  Francesco  Nicolini,  1670.    front,  81  p.     i^""*- 

Three  acts.     Publisher's  notice,  in  which  he  says: 

"...  Ermengarda,  (che  doveva  esser  rappresentata  per  seconda,  m^,  che  per  la 
perdita  del  Sig.  cav.  Cesti  h  stato  necessatiamente  alterato  dall'  ordine  .... 

"Spera  [I'autore]  perci5  se  non  in  altro  di  sodisfarti  nella  quantita  dell'  ariette 
quanto  nemiche  delle  buone  regole  del  filo  del  drama,  e  della  brevita,  altretanto 
per5  grate  al  modemo  secolo  per  I'harmonia  della  musica  (composta  dalla  virtii 
impareggiabile  del  Sig.  Antonio  Sartorio,  mastro  di  capetla  del  Sereniss.  duca  di 
Bronsuich  ..." 

The  author,  Pietro  Dolfino,  is  not  mentioned .     Argument  and  scenario. 

Schatz  9482 

L'Ermione.  Drama  per  musica  nel  giorno  natalizio,  e  primo  di 
maggiorita  dell'  Alte^za  Serenissima  Elettorale  di  Massijniliano 
Emanuele,  duca  dell'  una,  e  I'altra  Baviera  .  .  .  I'anno  M.DCLXXX. 
Posto  in  musica  dal  S.  D.  Giuseppe  Antonio  Bemabei  .  .  . 
Monaco,  Giovanni  JecMino,  n.  d.  7  p.  I.,  80,  [1]  p.  14Y'^- 
Argument,  scenario,  and  dedication  signed  by  the  author,  Ventura  Terzago,  and 
dated  "Monaco  11.  Luglio  1680."  Both  in  acts  first  and  second  ballets  were  intro- 
duced, and  at  the  end  of  the  opera  one  was  performed,  called  "Ganimede."  The 
ballets  were  invented  by  Mons.  Rodier.     The  composer  of  the  music  is  not  mentioned. 

Schatz  826 

Das  erndte-fest.     Tr.  of  Schulz'  H0st-gildet. 

Ernelinda.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassiano.     U  carnovale  dell'  anno  1750. 
Venezia,  Modesto  Fenzo,  1750.     36  p.     14^"^. 

Three  acts.  Cast,  scenario,  and  notice  to  the  reader,  who  is  told : 
"La  prima  volta,  che  fii  dato  alia  luce  il  presente  dramma  parto  di  celeb  re  autore 
[Francesco  Silvani]  ei  recitb  in  questo  teatro  col  titolo  la  Fede  tradita,  e  vendicata,  e  ne 
traaee  un  sommo  universale  applause.  In  altri  teatri  con  diversi  titoli  ma  sempre 
fortunamente  replicossi,  ed  ora  eu  queste  scene  comparisce  di  bel  nuovo,  bench^ 
abbreviate  di  molto  quando  non  volessimo  -dire  stroppiato  ..." 

According  to  Wiel,  "La  fede  tradita,  e  vendicata  was  performed  at  Venice,  1704 
and  1715,  with  music  by  Francesco  Gasparini,  and  1726,  with  music  by  Antonio 
Vivaldi.  Now,  one  of  the  later  titles  of  the  libretto  was,  "Ricimero,"  and  an  opera  of 
this  title  (music  by  Galuppi)  was  first  performed  at  Milan,  Regio  Ducal  Teatro, 
December  26 j  1744  (Piovano).  Neither  Galuppi  nor  any  other  composer  is  mentioned 
in  the  Emehnda  (Venice,  1750)  libretto,  which  points  to  a  pasticcio,  and  indeed, 
Allacci  says,  "musica  da  diversi."  Wiel  simply  has,  "Musica;? "  Schatz  attributes 
the  music  to  "Galuppi  &  andere  componisten,^'  evidently  on  the  strength  of  Galuppi's 
"Ricimero,"  of  Milan,  1744.  Piovano  does  not  commit  himself,  but  says  that  if  Erne- 
linda was  by  Galuppi,  it  could  have  been  but  a  replica  of  his  "Ricimero."  The  quo- 
tation from  the  notice  to  the  reader  does  not  permit  suth  an  interpretation.  The 
probabilities  are  that  "Ernelinda"  was  a  paaticcio,  with  ingredients  from  Ga«parini, 
Vivaldi,  and  Galuppi.  Schatz  3522 


452  LIBRARY  OF  CONGRESS 

Emelinde,  princesse  de  Norvege,  tragedie  lyrique  en  trois  actes, 
representee,  pour  la  premiere  fois,  par  FAcademie-royale  de  musique, 
le  mardi  24  novembre  1767. 
Paris,  Aux  depens  de  I'Academie,  chez  de  Lormel,   1767.     75  p. 

Three  acts.  Dedication  signed  by  the  author,  Poinsinet,  argument,  cast,  name  of 
Philidor  as  composer,  and  this  prefatory  note: 

"J'ai  imit6  de  I'italien  ce  poeme,  compost  par  Mathieu  Noris,  V^nitien,  &  repr^ 
8ent6,  pour  la  premiere  fois,  k  Venise  en  1684,  sur  le  theatre  de  saint  Chrisost6me,  qui 
^toit  alors  un  des  plus  fameux  de  I'Europe.  Cet  auteur  a  joui  long-tems,  m^me  aprfes 
sa  mort,  d'une  grande  reputation;  nous  avons  de  lui  40  opera,  mais  celui-ci  est  le 
seul  qui  se  soit  conserv6  eur  les  th^&tres  d'ltalie,  malgre  la  vicissitude  des  goftts  &  dee 
terns.  Je  I'ai  vu  repr^senter  k  Parme,  mis  en  musique  par  le  sieur  Ferardini,  pro- 
fesseur  a  Naples.  Le  grand  intoret  qui  me  parut  r6sulter  de  ce  drame,  me  determina 
d'abord  h.  le  traduire,  &  de  retour  en  France,  cherchant  k  tenter  un  nouveau  genre 
eur  le  theatre  de  notre  Acad6mie-Royale,  j'ai  cru  ne  pouvoir  mieux  faire  que  de 
I'imiter.  Le  fameux  abb6  Metastasio  m'avoit  prdvenu;  il  en  a  copi^  des  sc&nes 
entieres,  &  notament  la  septieme  du  second  acte,  dans  son  Adrien:  il  ne  m'en  falloit 
pas  davantage  pour  me  convaincre  du  m6rite  r^el  de  ce  poeme.  Mais  quels  change- 
mens  n'ai-je  pas  6te  contraint  d'y  faire?  Un  opera  dure  cinq  heures  en  Italie,  il  n'en 
doit  pas  durer  trois  en  France,  encore  est-il  n^cessaire  d'y  insurer  au  moine  un  Ballet 
par  acte,  chose  absolumentinconnue  dans  I'opera  Italien.  A  Paris  toutse  chante;  ^ 
Rome,  k  Londres,  k  Vienne,  les  scenes  se  debitent.  A  ces  corrections,  que  la  dur6e 
horaire  &  le  gofit  national  m'ont  rendu  indispensables,  j'en  ai  joint,  que  mon  goiit 
particulier  m'a  dict^es.    Le  troisieme  acte  n'a  aucune  ressemblance  avec  I'original." 

ML  50.2.E65P3 

Ernesto  ed  Elisa,  ballet.     See  Prota's  I  studenti. 

Ero  e  Leandro.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  S.  Carlo  nel  di  13.  di  agosto  1794.  Per  festeggiarsi  la 
nascita  di  S.  M.  la  regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1794.     4^  P-     IW^- 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Impresario's  dedica- 
tion dated  Naples,  August  13,  1794,  argument,  scenario,  cast,  and  name  of  Ferdinando 
P^r  (Paer)  as  the  composer.  On  p.  9-15,  cast  and  description  of  Domenico  Le  Fevre's 
"  Venere  con  Adone  ossia  Le  gelosie  di  Diana  e  di  Marte,  ballo  allusive  al  dramma  di 
Ero  e  Leandro."     The  composer  of  the  music  is  not  mentioned.  Schatz  7551 

Die  eroberung  des  gueldenen  fluesses.     A.  T.  of  Keiser's  Jason. 

L'eroe  castigliano,  ballet.     See  Zingarelli's  Apelle. 

L'eroe  cinese. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1765,  t.  vi,  76  p.     W'^. 
Three  acts.    Argument.  ML  49.A2M42 

—  L'eroe  cinese.  Dramma  scritto  dall'  autore  in  Vienna  .  .  .  rap- 
presentato  la  prima  volta  con  musica  del  Bonno  da  giovani  distinte 
dame,  e  cavalieri  nel  Teatro  dell'  Imperial  giardino  di  Schonbrunn 
.  .  .  nella  prima  vera  dell'  anno  1752. 

pi.,  [181]-258  p.  26'^^.  {Metastasio,  Opere,  t.  vii,  Parigi,  vedova 
Herissant,  1780.) 

Three  acts.    Ailment.  ML  49.A2M44 

L'eroe  cinese  del  Sig.  abate  Pietro  Metastasio.     Dramma  per  musica 
da  rappresentarsi  nel  Teatro  Giustinian  di  San  Moise.     Nella  pros- 
sima  nera  dell'  Ascensione  I'anno  MDCCLIII. 
Venezia,  Modesto  Fenzo,  n.  d.     1^7  p.     IJ^Y'^. 

Three  acts.  Argument,  cast,  scenario.  Composer  not  mentioned  and  unknown 
to  Schatz.  Schatz  11325 


OPEKA  LIBRETTOS  453 

L'eroe  cinese,  dramma  per  musica  da  rappresentarsi  nel  Reggio 
Teatro  di  Sans-Souci  .  .  . 

Berlino,  Haude  e  Spener,  1773.     4  p.  I.,  109  p.     17^"^. 

Three  acts.  Argument,  cast,  Bcenario,  and  names  of  Metaetasio  as  author,  of 
Johann  Adolph  Ha,sse  as  composer.  German  title  page,  "Der  chinesische  held," 
and  text  face  Italian. 

First  performed,  as  indicated,  at  Potsdam,  July  18,  1773;  at  Hubertusburg,  Neues 
Hofopemhaus,  October  7,  1753.  Schatz  4538 

L'eroe  cinese.      Dramma  per  musica  da  rappresentarsi  nel  nuovo 
Teatro  di  Corte  .  .  .  nel  camovale  dell'  anno  AIDCCLXXI. 
Monaco,  Francesco  Gioseppe  Thuille,  n.  d.     145,  [1^  p.     16"^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metaetasio  as  the  author,  of 
Sacchlni  as  the  composer.  German  title-page,  "Der  chinesische  held,"  and  text 
face  Italian. 

First  performed  at  Munich,  April  27,  1770.  Schatz  9219 

—  L'eroe  cinese,  azione  drammatica,  da  rappresentarsi  nel  Regie 
Teatro  Danese — Den  chinesiske  helt  .  .  . 

Ki0henhavn,  E.  J.  Graae,  1773.     51  p.     17^"^. 

Metaetasio's  three  acts  reduced  to  one!  Argument,  cast,  and  name  of  Sacchini 
ae  the  composer.     Danish  text  faces  Italian. 

First  performed,  as  indicated,  Febriiary  5,  1773.  Schatz  9220 

L'eroe  coronato.  Serenata  per  musica  da  cantarsi  in  occasione  delle 
publiche  feste  per  la  inaugurazione  della  statua  equestre  di  S.  M. 
Fedelissima  D.  Giuseppe  I  .  .  .  celebrate  dal  senate  della  Camera  di 
Lisbona  il  di  vii.  giugno  MDCCLXXV. 

[Lishona],  NeUa  Stamperia  reale,  n.  d.     22  p.     19*^. 

Gaetano  Martinelli  is  mentioned  as  the  author,  but  David  Perez,  the  composer, 
is  not  mentioned.  Schatz  7881 

Gli  eroi  spartani.  Dramma  per  musica  per  celebrare  il  felicissimo 
giomo  natalizio  del  serenissimo  Signore  Don  Giuseppe  principe  del 
Brasile  li  21  agosto  1788. 

[Lishona],  n.  d.,  Nella  stamperia  reale.     31  p.     16^"^. 
One  act.     Gaetano  Martinelli  is  mentioned  as  the  author,  Antonio  Leal  Morelra 
ae  the  composer.     Ailment  and  cast. 

First  performed  at  Lisbon,  as  indicated.  Schatz  6630 

L'eroica  gratitudine.     A.  T.  of  Hasse's  II  Ruggiero. 

L'eroica  gratitudine.     A.  T.  of  Metastasio's  drama  II  Ruggiero. 

L'eroico  amore.  A.  T.  of  Gasparini,  Polaroli  and  Ballarotti's 
L'Alciade. 

L'Eroina  lusitana.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  S.  Carlo  detto  della  Principessa  alia  presenza  di  Sue 
Altezze  Reali  li  serenissimi  principi  del  Brasile  nostri  signori  la  prima 
volta,  che  onorano  il  teatro  meaesimo  in  occasione  delle  pubbliche 
feste  per  lo  felicissimo  nascimento  di  .  .  .  D.  Antonio  principe  della 
Beira  .  .  .  I'autunno  del  I'anno  1795. 
Lishona,  Simoni  Taddeo  Ferreira,  1795.  143  p.  14""*- 
Two  acts.  Gaetano  Martinelli  is  mentioned  as  the  author,  Antonio  Leal  Morelra 
as  the  composer.  ("La  musica  h  tutta  nuova.")  Ailment  and  cast.  Portuguese 
text  faces  Italian.  Moreira  is  called  "compositore  di  musica  della  Real  camera  di 
S.  M.  ¥.  e  maestro  del  Real  Seminario  di  Lisbona."  Schatz  6635 


454  LIBBARY  OF  CONGRESS 

Erosine,  pastorale  h^roique;  reprfeent6  devant  Leurs  Majest^s,  h 
Fontainebleau,  le  9  novembre  1765. 

[Paris],  CJiristophe  Ballard,  1765.  21^  p.  20^"^.  (Journal  des 
spectacles,  t.  ii,  Paris,  1766.) 

One  act.  Cast  and  names  of  de  Moncrif  as  author  of  the  text,  of  Pierre  Montan 
Berton  as  composer  of  the  music,  and  of  Laval,  pfere  et  fib  as  "composers"  of  the 
ballet.     Printed  also  as  entree  in  "  Les  fetes  liriques."  ML  48.J7 

Die  errettete  unschuld,  oder  Germanicus,  roemischer  general.  In 
einem  singe-spiel  auff  dem  Grossen  Hamburgischen  schau-platz  vor- 
gestellet.     Im  jahr  1706. 

n.  i.,  n.  d.      Unpaged.     18^'^^. 

Three  acts.  Argument  and  scenario.  Neither  tbe  author  (unknown  to  Schatz) 
nor  the  composer,  Carl  Heinrich  Griinewald,  is  mentioned.  Schatz  4226 

L'erreur  d'un  bon  pere.     A.  T.  of  Dalayrac's  Alexis. 

L'erreur  d'un  moment,   on  La  suite  de  Julie;    com6die  mSl^e 
d'ariettes  et  en  un  acte,  par  M.  Monvel;  representee  pour  la  premiere 
fois  le  14  juin  1773.     La  musique  est  de  M.  Des  Aides. 
Paris,  veuve  Duchesne,  177 S.     viii,  [9]-6S  p.     lO""^. 

Monvel's  dedication  and  cast.     On  p.  62-63,  the  "Air:  Guillot  un  jour"  (I,  7). 

YUDIN  PQ 

—  L'erreur  d'un  moment,  ou  La  suite  de  Julie;  com^die,  mdl^e 
d'ariettes,  et  en  un  acte.  Par  M.  Monvel;  representee  poiu*  la  pre- 
miere fois  le  14  juin  1773.     La  musique  est  de  M.  Des  Aides. 

Paris,  veuve  Duchesne,  1773.     39  p.     18^"^. 

Cast.     On  p.  38-39,  the  "Air.    Guillot  un  jour"  (I,  7).  Schatz  2517 

—  Arien  und  gesaenge  aus  dem  sinjgspiel  in  einem  aufzuge :  Der 
kurze  irrthum  nacn  dem  franzoesiscnen  des  herrn  Monvel  von 
Grossmann,  aufgefuehrt  von  der  Tillyschen  gessellschaft. 

n.  i.,  1790.     8  p.     16^"^- 

First  performed  at  Rostock,  Stadt-theater,  1790.  Schatz  2518 

—  Die  reue  vor  der  that.  Ein  singspiel  in  einem  aufzuge  von 
Monvell.  Aus  dem  franzoesischen  uebersetzt  von  G.  F.  W.  Gross- 
mann. 

Frankfurt  und  Leipzig,  Hermannische  huchhandlung ,  1783.     62  ^, 

IW"^' 

First  performed  at  Frankfurt  a.  M.,  Neuee  Schauspielhaus  im  Junghofe,  1783. 

Schatz  2519 

L'errore  innocente.     A.  T.  of  A.  Scarlatti's  Gl'equivoci  nel  sem 
biante. 

L'Ersilla.     Drama  per  musica  di  Giovanni  Faustini.     Favola  sesta, 
Venetia,  Francesco  Valvasense,  I648.     83  p.     13^"^. 

Three  acts  and  prologue.  Argument.  Composer  not  mentioned,  and  imknown  to 
Schatz. 

First  performed  at  Venice,  Teatro  di  San  Moist*,  carnival,  1648.        Schatz  11326 


OPERA   LIBEETTOS  455 

Erwin  und  Elmire,  ein  schauspiel  mit  gesang  [verses] 
Frankfurt  und  Leipsig,  1775.     64  p-     16'''". 

One  act.  By  Johann  Wolfgang  von  Goethe,  who  is  not  mentioned.  First  edition 
in  book-form,  originally  published  in  ' '  Iris,"  1775. 

First  performed  with  music  by  Johann  Andre  at  Berlin,  Dobbelinsches  Theater, 
July  17,  1775.  Schatz  186 

Erwin  und  Elmire.     Ein  singspiel.     Von  Goethe.     Achte  ausgabe. 
Leipzig,  Georg  Joachim  Goschen,  1788.     Ip.l.,  64  p.     17 ^''^. 
Two  acts.     In  verse.  PT  1915.E8     1788 

Erwin  und  Elmire,  ein  schauspiel  mit  gesang  in  zwey  aufzuegen, 
von  J.  W.  Goethe  [verses].  Aufgefuehrt  auf  der  hochfuerstUcn. — 
Thurn  und  Taxischen  Hof-schaubuehne. 

Regenshurg,  mit  Breitfeldischen  schriften,  n.  d.     4'^  P-     17'^. 

Nothing  further  recorded  by  Schatz.  Schatz  11453 

Die  erzwungene  ehe.     Tr.  of  II  matrimonio  per  forza. 

An  escape  from  France.     A.  T.  of  Reeve's  British  fortitude. 

Eschila  e  Timoleone  ossia  La  caduta  di  Timofane,  tiranno  di 
Corinto,  ballet.     See  Cimarosa's  Traci  amanti. 

L'esclave  ou  Le  marin  g^nereux.     Tr.  of  Piccinni's  Gli  stravaganti. 

A  escola  dos  ciosos.     Tr.  of  Salieri's  La  scola  de  gelosi. 

L'esiglio  d'Amore.  Drama  del  Signor  Francesco  Berni.  Cantato 
in  Feirara,  nel  Teatro  di  Cortile,  con  machine  ordinate  dal  Signor 
Carlo  Pasetti.  E  musica  de'  Signori  D.  Andrea  Mattioli,  e  Filiberto 
Laurenzi  ... 

Ferrara,  Gioseppe  Gironi,  1651.     4  P-  ^v  ^^>  U]  P-     15'^^. 

Three  acts,  with  prologue.  Dedication  dated  Ferrara,  February  20,  1651,  and 
notice  to  the  reader,  informing  him  of  the  more  than  customary  haste  in  writing  and 
preparing  the  libretto.  '  Schatz  6106 

L'esilio  d' Apollo,  pasticcio.  See  Portugal's  La  donna  di  genio 
volubile,  Lisbona,  1798. 

L'esilio  di  M.  T.  Cicerone.     See  M.  Curzio. 

L'esilio  di  Tarquinio  il  Superbo,  VII.  r^  di  Roma,  baUet.  See 
Zingarelli's  La  morte  di  Mitridata. 

Esione.  Drama  per  musica  da  recitarsi  nel  Regio  Teatro  a  la  pre- 
senza  de  le  Loro  A.  A.  R.  R.  I'anno  1699  .  .  . 

Torino,  Gio.  Battista  Fontana,  n.  d.     4  P-  ^-^  ^^  P-     16'^^". 

Three  acts.  Cast,  argument,  and  name  of  composer,  Francesco  Ballaxotti.  The 
librettist,  Pietro  d'Averara,  is  indicated  by  initial  in  the  dedication.      Schatz  592 

Esione  liberata,  ballet.     See  Sarti's  Cleomene. 

L'Esopo.  Tragicomedia  per  musica  da  rappresentarsi  alle  Sac. 
Cesaree  e  Reali  Maesta  nel  camovale  dell'  anno  MDCCIII.  Posta  in 
musica  dal  Sig?  Marc'  Antonio  Ziani  .  .  .  con  I'arie  per  li  balletti  del 
Sig?  Gio.  GioseflFo  HofiFer  .  .  . 


456  LIBBABY  OF  CONGBESS 

L'Esopo — Continued. 

Vienna  d^ Austria,  gli  heredi  Cosmeroviani  deUa  Stamperia  di 
S.  M.  C,  n.  d.    80  p.    l^Y"^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  In  the  notice  to  the 
reader  the  anonymous  author  calls  hie  text  a  "drama  burlesco,  ti  dir6,  che  h6  volute 
conformarlo  alia  piacevole  etagione  del  camevale,  in  cui  deve  rappresen  tarsi." 

Schatz  11185 

L'Espagnol  genereux — Der  grossmuethige  Spanier,  ballet.  See 
Tozzi's  Zenobia. 

L'es'perance.     See  L'indiff^rence. 

L'eta  dell'  oro. 

p.  259-286.  15Y^'  {Ottavio  TronsareUi,  Drammi  musicali,  Roma, 
Francesco  CorheUetti,  1632.) 

Three  acta.    Argument.    No  composer  mentioned.  ML  49.A2T7 

Eteocle  e  Polinice.     Drama  per  musica  da  rappresentarsi  nel  Teatro 

k  S.  Salvatore,  I'anno  MDCLXXV  .  .  . 

Venetia,  Francesco  Nicolini,  1675.    front.,  72  p.     i^*^"*- 
Three  acts.     By  Tebaldo  Fattorini  who  is  not  mentioned.    Dedication,  argument, 

scenario  and  notice  to  the  reader  with  name  of  Giovanni  LegrenzL  as  composer. 

Schatz  5535 

Etio.     A.  T.  of  P.  A.  Ziani's  L'innocenza  risorta. 

II  etoit  temps.     See  Destouches  and  Lalande's  ballet  Les  616mens. 

Les  etrennes  de  I'aniour,  com6die-ballet;  en  un  acte.  Repre- 
sentee, pour  la  premiere  fois  par  les  Comediens  franpois  ordinaires 
du  roi,  le  1  Janvier  1769.  Les  paroles  sont  de  M.  Cailhava.  La 
musique  de  M.  Boyer. 

Paris,  Le  Jay,  1769.     39,  [1]  p.     19^"^. 

Printed  in  the  text  the  airs  "Qui  mieux  que  moi,"  "Que  votre  desseln,"  "Un 
militaire  semillant,"  "De  Phaeton  la  fin,"  "De  tea  froideurs,"  "Tendres  amants  si 
vousvoulez"  (vaudeville).  ML  50.2.E75 

Etwas  seltsames  oder  Schoenheit  \uxd  ehrbarkeit.  Tr.  of  Martin  y 
Soler's  Una  cosa  rara. 

L'Eudamia.  Drama  pastorale  per  musica  ...  da  rappresentarsi 
in  essa  citta  [Parma]  nel  nuovo  Ducal  Teatro  nel  camovale  del  1718. 

Roma  cfc  in  Parma,  Paolo  Monti,  1718.     4  p.  l,  48  p.     17 Y"^. 

Three  acts.  By  conte  Vincenzo  Piazza  di  S.  Stefano.  In  the  impresario's  dedi- 
cation we  are  told  that  the  present  "drama"  had  been  previously  heard  and  pub- 
lished in  Rome.  This  dedication  is  dated  Parma,  February  6,  1718,  and  the  reim- 
primatur  February  3,  1718.  On  p.  47^8  it  is  stated  that  uiovanni  Maria  Capello 
was  the  composer  and  that  "per  secondare  le  singolari  idee  delle  di  lui  incomparabili 
modulazioni  ei  sono  variati  alcuni  verei,  e  specialmente  si  h  posta  qualche  ana  nella 
forma  seguente."  These  are  "Quel  core  altero"  (I,  6),  "Ahi  che  non  son  sicuri" 
(II,  4),  "Su  quest'  Olmo"  (III,  8),  "La  tua  nemica  e  mia"  (III,  9),  "Or  son  tutto 
contento"  (III,  12),  "Che  siate  maledette"  (III,  12).  Schatz  1589 

L'Eudossia.  Dramma  per  musica  recitato  per  le  vacanze  del  car- 
nevale  dell'  anno  1696.     Nel  nobile  collegio  Tolomei  di  Siena. 

Siena,  Stamp.  delPuhl.,  n.  d.     64  p.     14'^™'- 

Three  acts  and  prologue.  Argument.  Not  recorded  by  Allacci,  Wotquenne  or 
Schatz.  Presumably  composed  by  Giuseppe  Fabbrini,  if  he  still  was  in  charge  of 
the  music  at  the  college  in  1696.  ML  48.A5    v.46 


OPERA   LIBRETTOS  467 

Eufrosine.     Tr.  of  M6hiil's  Euphrosine  et  le  tyran  corrig6. 

Eugenia.  Dramma  del  Siguor  Beaumarchais  ridotto  a  prosa,  e 
musica  da  Giuseppe  Foppa  per  rappresentarsi  nel  nobilissimo  Teatro 
Venier  in  San  Benedetto  I'autunno  dell'  anno  1792. 

Venezia,  Modesto  Fenzo,  1792.     63  p.     17 Y"^- 

Three  acts.  Cast  and  name  of  Sebastiano  Nasolini  as  the  composer.  With  the 
opera  was  performed  Giuseppe  Traffieri's  ballet  "L' Americana  in  Scozia."  The 
composer  of  the  music  is  not  mentioned.  Schatz  7000 

—  Eugenia.  Dramma  per  musica,  da  rappresentarsi  nel  Teatro 
Elettorale. 

Dresda,  n.  puhl,  1794.     151  p.     W"^. 

Three  acts.  Nasolini,  the  composer,  is  mentioned,  but  not  Foppa,  the  author. 
German  title  page,  "Eugenie,"  and  text  face  Italian,  which  has  been  versified  and 
otherwise  shows  differences  from  the  original. 

First  performed  1794,  as  indicated.  Schatz  7001 

Eugenie.     Tr.  of  Nasolini's  Eugenia. 

Eumene. 

Apostolo  Zeno,  Poesie  drammaticJie,  Venezia,  1744,  i-  "^j  V-  [353]-447 
p.     W^. 

Three  acts.  Prefatory  note  and  argument.  No  composer  is  mentioned.  In  the 
"Catalogo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Venice,  1698.  (See 
below.)  ML49.A2Z3 

—  Eumene,  pubblicato  per  la  prima  volta  in  Venezia  1698. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  i,  p.  2S5-S18, 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

Eumene.  Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  di  San  Gio.  Grisstomo  I'autimno  dell'  anno 
MDCCXVII  .  .  . 

Venezia,  Marino  Rosetti,  1717,  n.  d.     72  p.     15"^. 

Three  acts.  Publisher's  dedication,  argument,  scenario,  cast,  name  of  Tommaao 
Albinoni  as  composer,  and  notice  to  the  reader.  The  libretto  is  by  Antonio  Salvi 
(not  mentioned),  out  in  an  altered  version  as  appears  from  the  notice  to  the  reader: 

"In  questa  nuova  edizione  si  fe,  per  degni  nspetti,  cambiato  il  luogo,  e  in  con- 
sequenza  alcuno  de'  nomi  degli  atton  .  .  .'  Schatz  92 

Eumene.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniano  di  S.  Mos^  il  camovale  dell'  anno  ^MDCCXXIII. 

Venezia,  Carlo  Buonarrigo,  1723.     4^  V-     i^*^^- 

Three  acts.  Bv  Apostolo  Zeno,  who  is  not  mentioned,  and  whose  text  is  not  to  be 
confused  with  Salvi's.  Argument,  notice  to  the  reader,  cast,  scenario,  and  name  of 
Tommaso  Albinom  as  composer.  Schatz  118 

Eumene.     Dramma  per  musica  da  rappresentarsi  in  Roma  nel  nobil 
Teatro    di    Torre    Argentina    nel    corrente    carnevale    dell'    anno 
MDCCLIV  .  .  . 
Roma,  Fausto  Amidei,  n.  d.     59  p.     15*^^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Antonio  Aurisicchio  as  composer, 
and  dedicatory  poem  of  the  librettist,  "Gioacchino  Pizzi  fra  gli  Arcadi  Nivildo 
Amarinzio."  Schatz  503 


458  LIBRARY   OF   CONGRESS 

Bumene.  Dramina  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1784. 

Venezia,  Modesto  Fenzo,  1784.     53  p.     16^"^- 

Three  acts.  Arcument,  cast,  scenario,  and  name  of  composer,  Ferdinando  Giuseppe 
Bertoni,  but  not  or  librettist,  Apostolo  Zeno.  On  p.  23-30,  description,  with  cast,  of  the 
first  ballet,  "Adriano  in  Siria,  ballo  eroico,"  by  Domenico  Leflevre  [!  Le  Ffevre].  The 
composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  December  26,  1783.  Sohatz  938. 

Eumene.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovalle  dell  alxno  1778. 

Venezia,  Modesto  Fenzo,  1778.     55  p.     17''"'. 

Three  acts.  By  Apostolo  Zeno.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser, Giovanni  Battista  Borghi.  On  p.  21-28,  cast,  preface,  and  detailed  description 
of  "Cleopatra,  ballo  tragico  pantomime  .  .  .  del  Giuseppe  Canziani."  The  com- 
poser is  not  mentioned. 

First  performed,  as  indicated,  December  26,  1777.  Schatz  1233 

Eumene.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
deir  Ajuda  nel  felicissimo.giomo  natalizio  del  fedelissimo  monarca 
D.  Giuseppe  I  .  .  . 

[Lishoa],  NeUa  stamperia  reale,  n.  d.     7 2.  p.     W"'. 

Three  acts.  By  Apostolo  Zeno.  Argument,  scenario,  cast,  and  names  of  the  com- 
poser, JoSlo  de  Sousa  CarvaJho,  and  the  librettist. 

First  performed,  as  indicated,  June  6,  1773.  Schatz  1668 

Eumene.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino,  nel  carnovale  del  1778  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  52  p.     16^^. 

Three  acts^  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Giacomo  Insanguine  as  composer.  Vittorio  Amedeo  Canavasso  com- 
posed the  music  for  the  ballets,  which  had  titles  not  specific  enough  to  be  quoted. 

Schatz  4838 

Eumene.     Drama   per  musica   da   rappresentarsi  nella   Sala   dell' 
illustriss.  Sig.  conte  d'Alibert  nel  came  vale  dell'  anno  1721  .  .  . 
Roma,  Tinassi,  1721.     81  p.     15""". 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Antonio  d'Alibert's  dedi- 
cation, argument,  cast,  name  of  Nicole  Antonio  Porpora  as  the  composer.  On 
p.  71-81,  the  text  of  the  two  intermezzi,  "Dorilla  e  Nesso."  Schatz  gives  Porpora  as 
the  composer  of  these,  too,  but  it  should  be  noted  that  Porpora's  name  appears  at  the 
end  of  the  opera  text  on  p.  69,  with  no  reference  to  these  intermezzi.  The  author  of 
their  text  is  not  mentioned ,  and  is  unknown  to  Schatz .  On  p .  81 ,  the  substitute  aria  for 
III,  15,  "Resta  superbo  cor."  Schatz  8366 

Eumene.     Drama  per  musica  da  rappresentarsi  nel  nobil  Teatro  a 
Torre  Argentina  il  carnevale  dell'  anno  1765  .  .  . 
Roma,  Ottavio  Puccinelli,  n.  d.     56  p.     15'^"'. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Dedicatory  sonnet,  argu- 
ment, scenario,  cast  and  name  of  Antonio  Sacchini  as  composer. 

First  performed  in  January  1765,  as  indicated.  ML  50.2.E85S2 

Eumene.  Drama  per  musica  da  rappresentarsi  nel  giomo  natalizio 
deir  Altezza  Serenissima  Elettorale  Massimisliano  Emanuele  ...  in 
Monaco  il  di  11  luglio  dell'  anno  1720. 

Monaco,  Enrigo  Teodoro  di  Collen,  n.  d.     3  p.  I.,  70,  [20]  p.     15""'. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Cast,  scenario,  and  notice 
to  the  reader.  The  composer,  Pietro  Torn,  is  not  mentioned.  The  unnumb.  20  p. 
contain  a  scene-by -scene  synopsis  of  the  text  in  German.  Schatz  10364 


OPERA   LIBRETTOS  459 

Eumene.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Aiigelo  I'autunno  dell'  anno  MDCXCVII.     Di  A.  Z. 
Venezia,  Girolamo  Alhrizzi,  1697.     6  p.  I.,  58  p.     15^'^. 

Three  acts.  By  Apostolo  Zeno.  Argument,  dramaturgic  prefatory  note,  and 
scenario.     The  composer,  Marc'  Antonio  Ziani,  is  not  mentioned  Schatz  11201 

Second  copy.    ML  48. A5    v. 10 

L'Eupatra.  Drama  per  musica.  Di  Giovanni  Faustini.  Favola 
duodecima. 

Venetia,  U  Ginammi,  1655.     118  p.     14'''". 

Prologue  and  three  acts.  Argument,  scenario,  publisher's  dedication  and  notice 
to  the  reader,  in  which  he  says: 

"Ecco  finalmente  I'Eupatra  gia  anni  quattro  promessa.  Duodecima  fatica  dram- 
matica  del  Sig.  Gio.  Faustini  di  felice  memoria.  Se  le  sue  opere  hanno  in  questa  citt^j 
&  neir  Italia  tutta,  dove  frequentemente  vengono  rappresentate  ottenuti  gl'applausi 
universali,  non  si  deve  temere,  che  anco  questa  Principessa  non  habbia  a  coseguire  i 
dovuti  li  allori  .  .  .  L'autore  quasi  presago  di  sua  intempestiva  morte  lascio  di  sue 
pugno  ne'  fogli  alcune  notarelle,  onde  andavano  poste  certe  canzonette,  che  sono  poi 
Btate  fatte  da  virtuosissimo  soggetto.  A  gl'idioti  paiono  oscure  quelle  favole,  che  solo 
si  evelano  nell'  ultima  scene,  ma  gl'intendenti,  e  studiosi  I'amirano,  poiche  in  simili 
compositioni  devono  tenersi  sospesi  anco  gl'ingegni  piu  curiosi,  che  co^i  ha  sempre 
professato  l'autore,  non  solo  nelle  dodeci  opere  sin'  hora  stampate,  m^  in  altre  ancora, 
che  si  riserbano  gl'anni  venturi,  havendo  egli  sempre  applicato  tutto  I'animo  all' 
inventione,  da  che,  per  la  continua,  &  incessante  applicatione,  ne  deriv6  I'origine  di 
Bua  infermitk,  che  troppo  acerbamente  in  et^  di  trentadue  anni  gli  levo  la  vita  .  .  . 
Alcune  cose  per  capo  di  brevity,  tutto  che  stampate,  non  si  cantano;  si  potranno  per6 
Bcorrere,  essendo  li  versi  segnati  nel  mai]gine  con  due  virgole." 

The  composer,  Pietro  Andrea  Ziani,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  Sant'  Apolinare,  carnival,  1655. 

Schatz  11214 

Eupkrosine  et  Le  tyran  corrige,  ou  Le  pouvoir  de  Famom*;  com6- 
die  en  trois  actes  &  en  vers,  par  F.  Hoffman,  mise  en  musicjue  par 
E.  M6hul,  representee  pom*  la  premiere  fois  par  les  Comediens  italiens 
ordinaires  du  Roi,  le  samedi  4  sept.  1790,  avec  I'ancien  &  nouveau 
troisieme  acte,  pour  I'agrement  des  lecteurs  &  la  facility  de  I'execu- 
tion  theatrale. 

Liege,  BoUen,  Troisieme  annee  repuhlicaine,  [1794-95].  88  p. 
19^"^.  Schatz  6242 

—  Eufrosine,  zangspel,  met  balletten.  Door  P.  C.  Witsen  Geys- 
beek. 

Amsteldam,  Ahraham  Mars,  1798.     [x\,  123  p.     16^"". 

Five  acts.  Dedicatory  poem  by  Geysbeek  dated  November  1,  1798,  and  "voor- 
bericht."  Schatz  6274 

Eurene.  Drama  per  musica  da  rappresentarsi  nel  Regio  Ducal 
Teatro  di  Milano  nel  carnovale  dell'  anno  1729  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1729.     5  p.  I.,  59  p.     14Y^- 
Three  acts.     Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  Luca 
Antonio  Predieri  as  composer.     The  author,  Claudio  Nicola  Stampa,  is  not  men- 
tioned. 

First  performed  in  January,  1729,  as  indicated  ML  48. A5    v.3 

L'Euridamente.  Drama  regio  di  Giacomo  dall'  Angelo,  L'Assicu- 
rato  frk  gl'Imperfetti.     Da  rappresentarsi  nel  Teatro  di  S.  Moisd  .  .  . 

Venetia,  Gio.  Pietro  Pinelli,  1654.     ^4  P-     H"""- 

Three  acts  and  prologue.  Author's  dedication  dated  Venice,  January  20,  1654; 
and  his  notice  to  tne  reader  with  the  name  of  Francesco  Luccio  as  composer  and 
with  apologies  for  the  defects  of  his  drama,  due  partly  to  his  inexperience  as  libret- 
tist and  due  also  "perche  nell'  istesso  tempo,  che  io  componevo  era  poato  alle  note 
musicali."  Schatz  5746 


460  LIBRARY   OF   CONGRESS 

L'Euridice  d'Ottavio  Rinuccini,  ranresentata  nello  sponsalitio  della 
Christianiss.  regina  di  Francia,  e  di  Navarra.     [coat  of  arms] 
Fiorenza,  Cosimo  Giunti,  1600.     4  p.  I.,  16  I.     20^^"^. 

On  verso  of  last  leaf  printer's  mark,  a  wood-cut. 

The  preliminary  matter  consists  of  the  title  page  (verso  blank),  Ottavio  Rinuccini'a 
dedication  to  Maria  Medici  dated  "Di  Firenze  il  di  [blank]  d'Ottobre  1(>00"  (p.  1. 
2-3,  verso  of  3  blank)  and  the  list  of  Interlocutori  (p.  1.  4,  verso  blank).  Though 
easily  accessible  by  quotation  elsewhere,  the  famous  dedication  follows  here  in  full: 

"E  etata  openione  di  molti,  Christianiss.  Regina,  che  gl'antichi  Greci,  e  Romani 
cantassero  eu  le  scene  le  tragedie  intere,  ma  si  nobil  maniera  di  reoitare  non  che 
rinnouata,  ma  ne  pur  che  io  sappia  fin  aui  era  stata  tentata  da  alcuno,  &  ci6  mi  cre- 
deu'io  per  difetto  della  mueica  modema  ai  gran  lunga  all'  antica  inferiore,  ma  pensiero 
si  fatto  mi  tolse  interamente  dtll'  animo  M.  lacopo  Peri,  quando  vdito  I'intentione 
del  Sig.  lacopo  Corsi,  e  mia  mise  con  tanta  gratia  sotto  le  note  la  fauola  di  Dafne 
composta  da  me  solo  per  far  vna  semplice  proua  di  quello,  che  potesse  il  canto  dell' 
et^  nostra  che  incredibilmente  piacque  a  que  pochi,  che  I'vdirono,  onde  preso  animo, 
e  dato  miglior  forma  alia  stessa  fauola,  e  di  nuovo  rappresentandola  in  casa  il  Sig. 
lacopo,  fu  ella  non  solo  dalla  nobilt^  di  tutta  questa  Patria  fauorita,  ma  dalla  Sere- 
nissima  Gran  Duchessa,  e  gl'illustrissimi  Cardinali  Dal  Monte,  &  Montalto  vdita,  e 
commendata,  ma  molto  maggior  fauore,  e  fortuna  ha  sortito  I'Euridice  messa  in 
musica  dal  medesimo  Peri,  con  arte  mirabils,  e  da  altri  non  piii  vsatahauendo  meritato 
dalla  benigjiit^,  e  magnificenza  del  Sereniss.  Gran  Duca  d'essere  rappresentata  in 
nobiliesima  scena  alia  presenza  di  V.  M.  del  Cardinale  Legato,  e  di  tanti  principi,  e 
signori  d' Italia,  e  di  Francia,  la  onde  cominciando  io  a  conoscere,  quanto  simili 
rappresentationi  in  musica  siano  gradite,  ho  voluto  recar  in  luce  queste  due,  perche 
altn  di  me  piu  intendenti  si  ingegnino  di  accrescere,  e  migliorare  si  fatte  poesie,  di 
maniera,  che  non  habbiano  inuidia  a  quelle  antiche  tan  to  celebrate  da  i  nobili  scrit- 
tori.  Potr^  parere  ad  alcuno,  che  troppo  ardire  sia  stato  il  mio  in  alterare  il  fine  della 
fauola  d'Orleo,  ma  cosi  mi  6  parso  conueneuole  in  tempo  di  tanta  allegrezza,  hauendo 
per  mia  giustificatione  esempio  di  poeti  Greci,  in  altre  fauole,  &  il  nostro  Dante  ardi 
di  affermare  eesersi  sommerso  Vlisse  nella  sua  nauigitione,  tutto  che  Omero,  e  gl 'altri 
poeti  hauessero  cantato  il  contrario.  Cosi  parimente  ho  seguito  I'autorit^  di  Sofocle 
nel  L'Aiace  in  far  riuolger  la  scena  non  potendosi  rappresentar  altrimenti  le  preghiere, 
&  i  lament!  d'Orfeo.  Riconosca  V.  M.  in  queste  mie  ben  che  piccole  fatiche  1  humil 
deuotione  dell'  animo  verso  di  lei,  &  viua  lungamente  felice  per  riceuer  da  Iddio 
ogni  giomo  maggior  grazie,  e  m^gior  fauori." 

It  will  be  noticed  that  Rinuccini  mentions  only  Jacopo  Peri  as  composer  of  his 
"L'Euridice,"  yet  we  know  from  Peri  himself,  that  part  oi  the  music  used  on  October 
6,  1600,  the  date  of  first  performance  of  "L'Euridice"  was  by  Giulio  Caccini.  He 
informed  the  public  in  his  score  of  "L'Euridice,"  dated  1600,  but  actually  published 
in  Febniary,  1601,  at  the  earliest,  since  the  dedication  ^  is  dated  February  6,  1600 
(old  style;  new  style = February  G,  1601): 

"E  bench^  fin  allora  I'avessi  fatta  nel  modo  appunto  che  ora  viene  in  luce,  nondi- 
meno  Giulio  Caccini  (detto  Romano)  il  cui  sommo  valore  ^  noto  al  mondo,  fece  I'arie 
d'Euridice  et  alcune  del  Pastore  e  Ninfe  del  coro;  e  de'  cori  "Al  canto,  al  ballo," 
"Sospirate  "  e  "Poi  che  gli  etemi  imperi  " :  c  questo  perch^  dovevano  essere  cantate 
da  persone  dependent!  da  lui,  le  quan  arie  si  leggono  nella  sua,  composta  e  stampata 
pur  dopo  che  questa  mia  fu  rappresentata  a  S.  M.  Cristianissima  ..." 

In  other  words,  Peri  would  give  ua  to  understand  that  the  interpolation  of  music 
by  his  rival,  Caccini,  was  wholly  unnecessary;  that  it  was  forced  on  him;  that  Caccini 
had  composed,  by  October  6,  1600,  only  a  small  part  of  Rinuccini's  text;  and  that  he 
completed  the  score  not  until  after  the  performances.  Convinced  of  his  own  priority, 
Peri  seems?  to  have  felt  especially  disappointed  because  Caccini  succeeded  in  getting 
his  own,  later  score  sooner  published  than  he.  Peri. 

If  Peri's  statements  are  correct,  then  Caccini  must  have  composed  the  larger  part 
of  his  score  in  a  hurry,  since  he  dates  the  dedication  of  his  score  December  20,  1600, 
which  permits  the  inference  that  the  score  was  not  on  the  market  until  early  in  1 601 ,  i.  e. , 
dated  by  the  publisher,  Giorgio  Marescoti  1600,  but  published  during  that  part  of  the 
old-style  year  1600,  which  according  to  the  new  would  be  1601.  Peri's  statements 
are  indirectly  corroborated  by  the  met  that  Caccini  is  singularly  silent  on  the  whole 
question  of  priority,  and  has  nothing  whatsoever  to  say  about  the  history  of  his  score 
in  the  performances  of  1600.    He  simply  writes: 

» In  this  dedication  Peri  speaks  of  his  "  Euridice  "  as  "  ^e  nuove  musiche  [!!]  fatte  da  me  nello  sponsalizio 
della  MacstS,  Vostra."  In  other  words,  Peri  used  this  famous  term,  at  least  in  print,  prior  to  Caccini, 
whose  "  Le  Nuove  musiche"  have  as  date  of  dedication  February  1, 1601,  id  est  1002,  and  as  date  of  the 
Liccnza  July  1, 1602.  The  old-style  date  of  the  title  page  (1601)  is  misleading.  The  modem  date,  of 
course,  is  1602. 


OPERA   LIBRETTOS  46>1 

L'Euridice — Continued. 

"Avendo  io  composto  in  musica  in  stile  rappresentativo  la  favola  d'Euridice  e 
fatta  la  stampare." 

Caccini  did  not  have  the  satisfaction  of  seeing  his  entire  score  performed  at  Florence 
until  December  5, 1602,  when  his  "L'Euridice  "  was  given  in  honor  of  cardinals  Mont- 
alto  and  Del  Monte  and  marchese  Peretti.  The  performance  lasted  two  hours,  and  it 
would  seem  that  Caccini  had  at  least  this  satisfaction,  that  no  interpolations  from 
Peri's  "L'Euridice"  were  forced  upon  him. 

Solerti,  who  discovered  this  performance  of  1602,  describes  the  1600  libretto  in  his 
"Albori  "  (vol.  2)  exactly  as  above,  i.  e.,  with  a  blank  date  in  Rinuccini's  dedication, 
but  in  his  "Gli  origini  del  melodramma  "  he  reprints  the  dedication,  with  the  date  of 
October  4,  and  so  did  Guidi  in  his  reprint  of  Peri's  "Euridice  "  score.  It  seems  that 
two  issues  of  the  libretto  exist  differing  from  each  other  in  that  particular  only. 

SCHATZ  7919 

Euridice  di  Tessaglia.  Pastorale  regia  di  recita  musicale  del,  Co 
Pietro  Paolo  Bissari  K. 

Vicenza,  gVheredi  Amadij,  1658.     78,  [2]  p.     ISY"^. 

Prologue  and  three  acts.  Argument.  The  two  p.  at  end  contain  a  notice  to  the 
reader.     Composer  not  mentioned,  and  unknown  to  Schatz.  Schatz  11327 

L'Eurillo  overo  La  costanza  negl'  amori  fra'  pastori.  Dramma  pas- 
torale da  recitarsi  nel  came  vale  del  presente  anno  1697  in  casa  del 
Signor  conte  Centini.  Posto  in  musica  dal  Signor  Gioseppe  della 
Porta. 

Roma,  Gioseppe  Vannacci,  1697.     48  p.     13^"^. 
Three  acts.    Author  unknown  to  Schatz.    The  notice  to  the  reader  says : 
"L'Eurillo  dramma  pastorale  altre  volte  si  fe  \*isto  ne'  teatri,  e  si  fa  vedere  il  pre- 
sente anno  in  Roma,  mutato  per6  nella  maggior  parte  per  I'arie  aggiunte,  e  per  alcune 
scene,  e  parte  de'  recitativi  levati,  ed  accresciuti  da  Pintace  de  Trosis:  Ci5  si  h  fatto 

Eer  conformarsi  al  ^usto  modemo;   ee  ritroverai  qualche  errore,  compatiscilo,  attri- 
uendo  alia  fretta  si  h  havuta,  essendo  in  meno  d  un  mese  mutata,  posta  in  musica, 
ed  imparata  da  recitanti."  Schatz  2477 

Eurimedonte  e  Timocleone,  owero  I  rivali  delusi.  Drama  per 
musica  da  rappresentarsi  nel  nuovo  famosissimo  Teatro  di  S.  Girolamo 
per  la  fiera  delle  Bagatelle  I'anno  1746  .  .  . 

Venezia,  Luigi  Pavini,  1746.     60  p.     11"^"^. 

Three  acts.  By  Girolamo  Zanetti,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Johann  Ad.  Hasse  as  the  composer. 
Schatz  says  that  the  performance  took  place  in  the  house  of  Sig.  Angelo  Maria  Labia, 
with  wax  figures  on  the  stage  and  the  singers  behind  the  scenes,  (as  was  done  so  fre- 
quently at  Venice  in  the  latter  part  of  the  17th  cent.).  Also,  Schatz  says,  the  names 
in  the  cast  were  all  fictitious.  Schatz  4579 

Eurione.  Dranmia  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
delli  quattro  signori  Associati  Cavalieri  e  patrizj  della  Regio-inclita 
ciiik  di  Pavia.     Nella  primavera  dell'  anno  1775  .  .  . 

Pavia,  Porro,  Bianchi  e  compagni,  n.  d.     4^  P-     16'^'^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  names  of  Francesco  Bianchi 
as  composer;  of  "Cleofante  Doriano  P.  A.,"  (conte  Antonio  Papi)  as  author.  The 
imprimatur  is  dated  May  25,  1775.  With  the  opera  were  performed  (composers  of  the 
music  not  mentioned)  Gaspare  Angiolini's  ballets,  "L'orfano  nella  China"  and 
'Sidney  e  Silly."  ML  48.A5    v.  12 

Eurione.     Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
di  Padova  per  la  solita  fiera  di  giugno  dell'  anno  1754  .  .  . 
Venezia,  Modesto  Fenzo,  1754.     46  p.     17^"^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  name  of  Antonio 
Gaetano  Pampani  as  the  composer.  The  author,  Cleofonte  Doriano,  P.  A.  (=conte 
Antonio  Papi),  is  not  mentioned. 

First  performed  at  Rome,  Sala  dei  Sig''  Capranica,  carnival,  1754.     Schatz  7760 


462  UBRARY   OF   CONGRESS 

L'Euripo.  Drama  per  musica  cli  Giovanni  Faustini,  favola  set- 
tima  .  .  . 

Venetia,  Francesco  Miloco,  1649.     90  p.     IJ^'^^. 

Three  acts,  with  prologue.  Argument.  The  composer,  Pietro  Francesco  Cavalli, 
is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  carnival,  1649.  Schatz  1738 

Euristeo. 

Apostolo  Zeno,  Poesie  drammaiiche,  Venezia,  1744i  i-  '^>  V-  U97]-265. 

Three  acts  and  licenza.  Ar^ment.  No  composer  is  mentioned.  In  the  "Cata- 
logo  "  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1724.  (First  per- 
formed May  17,  music  by  Caldara.)  ML  49.A2Z3 

—  Euristeo.     Pubblicato  per  la  prima  volta  in  Vienna  1724. 

Apostolo  Zeno,  Poesie  drammaiiche,  Orleans,  1786-86,  t.  vi,  p.  169- 
2S2.     21^"^. 

Three  acts  and  Licenza.    Ai^ument.    No  composer  is  mentioned.    ML  49.A2Z4 

Euristeo.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuele  nella  fiera  dell'  Ascensione  dell'  anno 
MDCCXXXII. 

Venezia,  Carlo  Buonarigo,  1732.     1  p.  I.,  48  p.     14''^. 

Three  acts.  By  Apostolo  Zeno,  modernized  by  Domenico  Lalli,  neither  of  whom 
is  mentioned.  Dedication,  argument,  scenario,  cast,  and  name  of  Johann  Adolph 
Hasse  as  composer.  On  p.  48,  the  aria,  "Non  mi  chiamar  crudele,"  substituted  for 
"Toma  al  padre  "  (I,  7).  Schatz  4580 

L'Europa  galante.     Festa  teatrale  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Berlino  per  il  felicissimo  giorno  natalizio  della  Sacra 
Real  Maestk  di  Sofia  Dorotea,  regina  madre  .  .  . 
Berlino,  A.  Eaude  e  J.  C.  Spener,  1748.     77,  [3]  p.     16i<^. 

Three  acts.  Based  on  Houdart  de  la  Motte's  "L'Europe  galante"  by  Leopoldo  de 
Villati,  who  is  not  mentioned.  Carl  Heinrich  Graun  is  mentioned  as  the  composer. 
German  title-page,  "Das  galante  Europa,"  and  text  face  Italian. 

First  performed,  as  indicated,  March  27,  1748.  Schatz  4b95 

Europa  riconosciuta.     Dramma  per  musica  da  rappresentarsi  nel 
nuovo  Re^io  Ducal  Teatro  di  Milano  nella  solenne  occasione  del  suo 
primo  aprimento  nel  mese  d'Agosto  dell'  anno  1778  ,  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     80  p.     16'^'^. 

Two  acts.  Mattia  Verazi's  name  as  author  (in  half-title  preceding  the  title  page), 
that  of  Antonio  Salieri  ("La  musica  h  nuova  composizione  ")  as  the  composer.  Dedi- 
cation, argument,  scenario,  and  cast.  This  optra  was  followed  by  Verazi's  "Apollo 
placato,  azione  teatrale  pantomimica,"  of  which  is  printed  on  p.  [69J-80  cast,  argu- 
ment, and  description  with  the  name  of  Luigi  de  Baillou  as  the  composer  of  the  ballet 
music  and  of  Antonio  Salieri  of  "la  musica  del  recitative  istrumentato,  dell'  aria  e 
del  coro,  con  cu  termina  il  ballo." 

First  performed  at  La  Scala,  as  indicated,  August  3,  1778.  Schatz  9288 

Second  copy.    ML  48. A5    v.  12 

L'Europe  galante,  ballet.  Represents  par  I'Academie  royale  de 
musique,  I'an  1697.  Les  paroles  de  M.  de  la  Mothe  &  la  musique  de 
M.  Campra.     XLIII.  opera. 

n.  i.,  n.  d.  front,  123-270  p.  14'^^-  {Recueil  general  des  opera, 
Paris,  1703,  t.  vi.) 

Detached  copy.     Five  entrees. 

First  performed,  as  indicated,  October  24,  1697.  Schatz  1548 

Second  copy.    ML  48. R4 


OPEBA    LIBRETTOS  463 

Gli  Europe!  nell'  isola  de'canibali,  ballet.    See  Picciimi's  Ercole 

al  Termedonte. 

Evelina.     Score  title  of  Sacchiui's  Arvire  et  Evelina. 

Les  evenements  imprevus,  comedie  en  trois  actes,  m^l6e  d'ariettes; 
representee  devant  Leurs  Majestes,  a  Versailles,  le  11  novembre  1779, 
et  a  Paris,  par  les  Comediens  italiens  ordinaires  du  roi,  le  samedi  13 
du  m^me  mois.  Les  paroles  sont  de  M.  d'Hele.  La  musique  de  M. 
Gretry. 

Paris,  la  veuve  Duchesne,  1780.     4^  p.     19'^'^. 

Cast.  On  p.  3-5  the  air  of  "Qu'il  est  cruel  d'aimer"  (I,  1)  and  on  p.  19-21  of 
"Ah!  dans  le  eiecle  "  (II,  1).  Schatz  4151 

—  Die  unvermutheteri  zufaelle.  Ein  singspiel  in  drey  aufzuegen. 
Aus  dem  franzoesischen  aiif  die  musik  des  herrn  Gr6try  iibersetzt  von 
herrn  Stephanie  dem  juengern.  Aufgeftihrt  auf  dem  k.  k.  National- 
hoftheater. 

Wien,  zujinden  heym  logenmeister,  1781.     61  y.     16^''™. 

First  performed,  as  indicated,  September  1,  1781.  Schatz  4152 

Grevenimenti  di  Rugero.  L.  T.  of  Albinoni's  Alcina  delusa  da 
Rugero. 

Evergete.     Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo,  I'autunno  dell'  anno  1748. 
Venezia,  AW  insegna  delta  Scienza,  1748.     58  p.     15Y™'' 
Three  acts.     By  Francesco  Silvani  and  Domenico  Lalli,  who  are  not  mentioned. 
Ai^ument,  scenario,  cast,  and  name  of  Lorenzo  Gibelli  as  the  composer. 

Schatz  3828. 

The  exploits  of  Harlequin.     A.  T.  of  the  British  stage. 

Die  eyfersucht  der  bauern.     Tr.  of  Sarti's  Le  gelosie  villane. 

Der  eyfersuechtige  bauer.     Tr.  of  Naumann's  D  viUano  geloso. 
L'Ezio. 

[S59\-4S4  p-  W'^^.  {Pietro  Metastasio,  Opere  drammatiche,  Vene- 
zia, Giuseppe  BettineUi,  1733-37,  t.  1.) 

Three  acts.    Argument.    No  composer  is  mentioned,  ML  49.A2M4 

—  Ezio. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  t.  ii,  1765,  [193]-306  p. 
16""". 

Three  acts.     Argument.  ML  49.A2M42 

—  Ezio.  Rappresentato  la  prima  volta  in  Roma  con  musica  dell' 
Auleta,  nel  Teatro  detto  delle  Dame,  il  di  26  decembre  1728. 

J)l.,  [219]-340  p.     £6'^'^.     {Pietro   Metastasio,  Opere,  t.  ii,  Parigi, 
ova  Herissant,  1780.) 
Three  acts.'  Argument.  ML  49.A2M44 

—  Aetius. 

Metastasio,  Tragedies-opera,  Vienne,  1751,  t.  Hi,  p.  [129-261  ]    14'^^- 
Three  acts.    Richelet's  translation  of  "Ezio." 


464  LIBRARY   OF   CONGRESS 

Ezio.     Opera  del  Signer  abbate  Metastasio.     Dramma  per  musica  da 
rappresentarsi  nelTeatrodi  Brescia  ilcarno vale  1743  .  .  . 
Brescia,  Giuse'p'pePasini,  1742.     70  p.     i7'=™. 

Three  acts.  Cast,  dedication,  atgument,  and  note,  "La  musica  f^  di  diversi 
autori."  ML  50.2. E9 

Ezio.  Dramma  per  musica  del  Signore  abate  Pietro  Metastasio  .  .  . 
da  rappresentarsi  nel  Pubblico  teatro  di  Lucca  nelF  autunno  dell' 
anno  MDCCLXXXII. 

Lucca,  Francesco  Bonsignori  n.  d.     64  p.     15'^'^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Felice  Alessandri  as  com- 
poser. 

First  performed  at  Verona  in  1767  at  the  Teatro  Filarmonico.  Schatz  145 

Ezio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniani  di  San  Mois6  nella  prossima  nera  delF  Ascensione  dell'  anno 
1778  .  .  . 

Venezia,  n.  puU.,  n.  d.     17 Y'^-     ^6  p. 

Three  acts.  By  Metastasio.  Impresario's  dedication,  cast,  scenario,  argument, 
and  names  of  composer,  Pasquale  Anfossi  ("La  musica  sara  tutta  nuova  "),  and  libret- 
tist. On  p.  21-24,  description,  with  cast,  signed  by  Marc  Antonio  Missoli  as  author 
of  "L'origine  degli  amori  di  Marc  Antonio  nell'  arrivo  di  Cleopatra  in  Tarso."  As 
second  ballet,  by  the  same  author,  was  performed  "II  compimento  di  quattro 
deeiderj."    Composers  of  the  music  not  mentioned.  Schatz  275 

» 
Ezio.     Drama  per  musica  di  Pietro  Metastasio  irk  gli  Arcadi  Artino 
Corasio.     Da  rappresentarsi  nel  Teatro  detto  delle  Dame  nel  carno- 
vale  delF  anno  1729  .  .  . 

Roma,  Zempel,  e  de  Meij,  n.  d.     80  p.     16^^- 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  name  of  Pietro  Auletta  as 
composer. 

First  performed,  as  indicated,  on  December  26, 1728.  Schatz  498 

Ezio:  drama  musica.     Da  rappresentarsi  sopra  il  Teatro  di  S.  M.  B. 
Seconda  edizione. — Ezio,  an  opera.     Set  to  music.     As  it  is  repre- 
sented at  the  King's  Theatre  in  the  Ilay-Market  .  .  . 
London,  G.  Wood/all,  1764-5.     47  p.     19'"^. 

Cast  and  argument.  English  translation  faces  the  considerably  altered  Italian  by 
Metastasio.  Neither  he  is  mentioned  nor  the  composer.  Bumey  (IV,  485)  calls  this  a 
pasticcio,  mentioning  the  arias,  "  Reca»li  quell'  arciero,"  "Caro  mio  bene  addio,"  and 
Mi  dona,  mi  renda,"  as  composed  by  Giovanni  Battista  Pescetti.  Other  com- 
posers were  J.  Chr.  Bach,  Galuppi,  G.  F.  de  Majo,  and  Vento. 

First  performed,  as  indicated,  November  24,  1764.  ,  ML  48.M2N 

Ezio.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  S.  Benedetto  il  carnovale  dell'  anno  MDCCLXVII  .  .  . 

Venezia,  Modesto  Fenzo,  1767.     72  p.     17 Y"". 

Three  acts.  Impresario's  dedication,  argument,  cast,  and  name  of  composer,  Fer- 
nando Giuseppe  Bertoni,  but  not  of  Metastasio. 

First  performed  January,  1767.  Schatz  912 

Ezio.     Drama  per  musica,  da  rappresentarsi  nel  Regio  Teatro  di 

Torino  nel  carnovale  del  1731.     Alia  presenza  delle  Reali  Maestk  del 

re,  e  della  regina  di  Sardegna,  etc. 

Torino,  Gio.  Battista  Valetta,  n.  d.     4  P-  ^-j  ^4  P-     15Y^- 

Three  acts.     By  Metastasio.    Argument,  scenario,  cast,  and  name  of  the  composer, 

Riccardo  Broschi. 

First  performed,  as  indicated,  December  26,  1730.  Schatz  1340 


OPERA   LIBRETTOS  465 

Ezio.  Drarnma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro  delli 
quattro  Signori  Associati  Cavalien  e  patrizj  della  Regio  inclita  citta 
di  Pavia  nel  carnovale  dell'  anno  1784  .  .  . 

Pavia,  Pietro  Galeazzi,  n.  d.     1  'p.  I.,  50  'p.     llt-Y"^. 

Three  acts.  By  Metastasio.  Dedication,  argument,  scenario,  caet,  and  name  of 
the  composer,  Giovanni  Battista  Calvi.  Of  the  three  ballets  by  Eusebio  Luzzi,  the 
first  was  called  "II  diavolo  a  quattro"  (music  by  Gaspare  Angiolini),  and  the  second 
"II  convitato, "  music  by  "Si^.  cavaliere  Gluch"  [!].  No  such  ballet  is  mentioned 
by  Wotquenne  or  Liebeakind.  Probably  the  music  of  Gluck's  ballet  Don  Juan 
(Vienna,  1761)  waa  iised,  Schatz  1518 

Ezio.     Drama  per  musica  da  rappresentarsi  in  Verona  nel  Teatro 
deir  Accademia  Filarmonica  nel  carnovale  1740  .  .  . 
Yerona,  Dionigi  Ramanzini,  n.  d.     70  p.     IS^*^^. 

Pages  49-50  (act  II,  sc.  XIV)  have  been  supplied  in  ms.,  so  a  note  informs  at  end, 
from  the  Padova  1765  ed.  of  Trajetta's  "Ezio.       Pages  20-21  also  in  ms. 

Three  acts.  By  Metastasio.  Ai^ument,  cast,  scenario,  and  statement:  "La 
musica  h  del  Sign.  Antonio  Cortona  e  di  altri."  Schatz  2264 

Ezio,  dranmia  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  S.  Benedetto  nel  carnovale  dell'  anno  MDCCLXXII. 
Venezia,  Modesto  Fenzo,  1772.     48  p.     18'"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Cast,  argument,  scenario,  and 
name  of  Giuseppe  Gazzaniga  as  the  composer. 

First  performed  in  February,  1772.  Schatz  3687 

Ezio.  Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Berlino  per  il  felicissimo  giorno  natalazio  della  Sacra  Real  Maesta  di 
Sofia  Dorotea  regina  madre  .  .  . 

Berlino,  Haude  e  Spener,  1755.     16^"^. 

Imperfect;  ends  with  p.  152. 

Three  acts.  Altered  from  Metastasio  by  Giampietro  Tagliazucchi,  who  is  not 
mentioned.  Argument,  scenario,  and  name  of  Carl  Heinrich  Graun  as  the  com- 
poser.   German  title  page,  "Aetius,"  and  text  face  Italian. 

First  performed,  as  indicated,  April  1,  1755.  Schatz  4096 

Ezio.  Dramma  per  musica,  da  rappresentarsi  nel  Teatro  della  Regia 
Elettoral  corte  di  Dresda,  nel  carnevale  dell'  anno  MDCXLV.  La 
musica  h  del  Sig'  Gio.  Adolfo  Hasse  .  .  . 

Dresda,  la  vedova  Stossel  e  Giovanni  Carlo  Krause,  n.  d.  4  V-  ^-t 
72  p.    21^"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario. 
Schatz  and  Mennicke  call  this  Basse's  second  version. 

First  performed,  as  indicated,  January  20,  1755.  The  so-called  first  version  waa 
first  performed  at  Naples,  carnival,  1730 (Mennicke);  Naples,  fall  of  1730  (Schatz,  who 
gives  the  cast).  Schatz  4539 

Ezio.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Malvezzi  la 
primavera  dell'  anno  MDCCXLI. 
Bologna,  Bartolomeo  Borghi,  n.  d.     76,  [1]  p.     17Y^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  aa  author,  of 
Nicol5  Jonunelli  as  composer. 

First  performed,  as  indicated,  April  29, 1741.  Schatz  4857 

72251°— VOL  1—14 30 


466  LIBBARY  OF   CONGRESS 

Ezio  — Continued. 

• —  Ezio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ducale 
di  Stutgart  festeggiandosi  il  felicissimo  giorno  natalizio  di  Sua  Altezza 
Serenissima  Carlo  duca  r^nante  di  Wirtemberg  e  Teck,  etc.  La 
poesia  ^  del  Signor  abbate  Pietro  Metastasio  ...  La  musica  ^  nuo- 
vamente  composta  dal  Signor  Nicolo  Jommelli  .  .  . 
Stutgart,  Cristofero  Frederico  Cotta,  1758.     135  p.     i5<="». 

Three  acts.  Argument,  cast,  scenario.  German  title  page,  "AetiuB,"  and  text 
face  Italian,  which  ib  not  quite  the  eame  as  in  the  first  version  of  1741.  For  instance, 
scene  I,  6,  has  been  mucn  condensed  and  lacks  the  aria^  "Se  un  bell'  ardire,"  as 
also  in  the  much  altered  scene  I,  8,  the  aria,  "Se  povero  il  ruscello,"  and  II,  3,  the 
aria,  "Cara,  se  un  core  amante."  The  last  two  scenes  of  the  first  act  are  totally 
different,  etc.,  etc.  The  Stuttgart  version,  unless  a  fourth  version  exists,  would  then 
belong  to  the  third  version  (Vienna,  October  4,  1749)  and  was  first  performed,  as 
indicated,  February  11,  1758.  The  second  version  was  first  performed  at  Naples, 
Teatro  di  San  Carlo,  November  4,  1748.  Schatz  4858 

—  Ezio.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
deir  Ajuda  in  occasione  di  festeggiarsi  il  felicissimo  giorno  natalizio 
di  Sua  Reale  Maesta  Faugustissima  Signora  D.  Marianna  Vittoria  .  .  . 
nella  prima  vera  dell'  anno  1772. 

Lishona,  Stamperia  reale,  n.  d.     74  V-     16"^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author,  of 
Niccol6  Jommelli  as  composer  ("nuova  composizione").  The  text  is  somewhat 
different  from  that  of  the  third  (resp.  fourth)  version  of  1758.  For  instance,  the  scene 
I,  8,  "Ezio  sappia,  ch'io  bramo,"  has  a  different  dialogue;  I,  9,  "Vedrem,  se  ardisce 
ancora,"  has  become  I,  10;  the  scene,  "Eccomi  al  cenno  tuo, "  with  the  aria.  "So 
chi  t'accese,"  has  been  added  as  I,  9,  and  the  two  last  scenes  in  act  I  are  again  dif- 
ferent, the  act  closing  with  the  line,  "Quando  si  sa  morir,"  instead  of  "lo  qui  tomo 
a  palpi  tar."    Schatz  calls  this  the  third  setting  of  "Ezio"  by  Jommelli. 

First  performed,  as  indicated,  March  31,  1772.  Schatz  4894 

Ezio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S.  Angelo 
I'autunno  dell'  anno  1737  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     70  p.     15*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  and  name  of  Giovanni  Battista  Lampugnam  as  composer. 

Schatz  5388 

Ezio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Grimani  k 
San  Samuele  per  la  fiera  dell'  Ascensione  I'anno  1743. 

Venetia,  Steffano  Monti,  n.  d.     1  p.  I.,  54  p-     15^^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Giovanni  Battista  Lam.pug- 
nani  as  the  composer.    Metastasio  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Angelo,  fall  of  1737.  Schatz  11719 

Ezio.     Drama  per  musica  da  rappresentarsi  nel  famosissimo  Teatro 
Grimani  di  S.  Gio.  Grisostomo  nel  camevale  MDCCXLVII. 
[Venezia],  n.  publ.,  n.  d.     2  p.  I.,  50  p.     15*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication^ 
argument,  cast,  scenario,  and  name  of  Giovanni  Battista  Pescetti  as  the  composer. 

Schatz  7965 

£^io.  Dramma  per  musica  di  Artino  Corasio,  Pastor  Arcade,  da 
rappresentarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo 
nelr  autunno  dell'  MDCCXXVIII  ... 

Venezia,  Carlo  Buonarigo,  n.  d.     1  p.  I.,  72  p.     14¥^- 
Three  acts.     By  Metastasio,  who  is  not  mentioned.     Dedication  dated  Venice, 
Nov.  20,  1728,  and  signed  by  Domenico  Lalli  as  impresario,  argument,  cast,  scenario, 
and  name  of  Nicole  Antonio  Porpora  as  the  composer.  Schatz  8370 


OPERA   LIBRETTOS  467 

"Ezio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  San 
Samuelle  per  la  fiera  dell'  Ascensione  ramxo  MD^LIV. 

Venezia,  Angiolo  Geremia,  n.  d.     ^8  p.     15Y^' 

Three  acts.  By  Metaetasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Scarlatti  as  the  composer.  Schatz  9545 

Ezio.     Dramma  serio  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
di  Vicenza  la  state  dell'  anno  1792  .  .  . 
Vicenza,  Giusto,  n.  d.     55  p.     17"^. 

Two  acts.  Dedication  by  the  impresario,  Angelo  Recaldini^  cast,  and  names  of 
Metastasio  as  author,  of  Angelo  Tarchi  as  composer  ("La  musica  e  tutta  nuova"). 
With  the  opera  was  performed,  composer  of  the  music  not  mentioned,  Filippo  Beretti'e 
ballet,  "La  caccia  d'lsabella  regina  di  Spagna."  Schatz  10239 

Ezio.     Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro  in 
Padova  Ja  fiera  dell'  anno  1765  .  .  . 
Padova,  Fratelli  Conzatti,  n.  d.     66  p.  {incl.  port.)     18^™. 

The  engraved  port .  is  that  of ' '  Petrus  Metaetasius  ex  numismate  anni  1750. ' '  Three 
acts.  Impressano's  dedication,  argument,  cast,  scenario,  and  names  of  composer, 
Tomasso  Trajetta,  and  author,  Metaetasio. 

First  performed  at  Padova  in  June,  1765;  at  Rome,  Teatro  delle  Dame,  carnival, 
1757.  Schatz  10410 

Ezio,  Tt>allet.     See  Zingarelli's  Quinto  Fabio. 

Fabio  vincitor  di  se  stesso.     See  M.  Curzio. 

The  fable  of  the  pantomime  dances  explained. 

n.  i.,  n.  d.     16  p.     ^Oi<=™. 

Caste.  Contains  short  explanation  of  the  three  dances,  "Annette  and  Lubin," 
"The  Dutch  wedding,"  and  "The  nymphs  of  Diana:  or  Cupid  turned  Faun."  The 
first  is  preceded  by  an  introductory  note  to  the  effect  that  this  is  Noverre'e  pantomime 
version  of  Adolphe  Blaise's  opera,  "Annette  et  Lubin  "  (1762).  ML  52.2. F2 

La  facendiera.  Dranuna  giocoso  per  musica  da  rappresentarsi  in 
Torino  nel  Teatro  di  S.  A.  S.  il  Signor  principe  di  Carignano  nell' 
autunno  dell'  anno  1751. 

Torino,  Ignazio  Cafasso,  n.  d.     4^  p.     l^Y^' 

Three  acts.  Cast.  Author  and  composer  not  mentioned,  and  imknown  to  Schatz, 
who  calls  this  a  pasticcio. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  1746.  Schatz  11328 

Le  facheux  veuvage,  opera-comique,  bd  trois  actes.  Donn6  k  la 
Foire  Saint-Laurent  en  1725. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  4,  US  p.     17^^. 

En  vaudevilles.    Composer  not  recorded  by  Parfaict,  etc.  PQ  2019. P6 

Der  fagottist,  oder  Die  zauberzither.     Ein  singspiel  in  drey  aufzue- 
gen  von  Joachim  Perinet.     Die  musik  ist  von  hm.  vVenzel  Mueller  . . . 
Wien,  Mathias  Andreas  Schmidt,  1791.     70  p.     16^""^. 

Cast. 

First  performed  at  Vienna,  Marinellieche  schaubiihne  in  der  Leopoldstadt,  June  8, 
1791.     Krone  gives  the  title  aa,  "Kaspar  der  Fagottist  oder  die  Zauberzitter." 

Schatz  6920 


468  LIBRARY   OF   CONGRESS 

Der  fagottist — Continued. 

—  Die  zauberzither.  Eine  komische  oper  in  drey  aufzuegen. 
Neubearbeitet.  Die  musik  ist  von  herrn  Wenzel  Miiller  in  men. 
Aufgefuehrt  auf  dem  kurfiierstl.  Hoftheater  in  Muenchen. 

[TFien],  Franz  Seraph  Huehschmann,  1795.     If.  p.  I.     83  p.     15^^. 

The  Becond  and  third  p.  1.  contain  a  preface  signed  C,  which  reads,  in  part: 
"Herr  Perinet  in  Wien,  bey  dem  Marinellischen  Theater,  pahm  die  fabel  zu  dieser 
komiechen  oper  aus  dem  vierten  band  des  von  Wieland  herausgegebenen  vortreflichen 
Dschinnistan,  die  aber  dort  Lulu,  oder  die  Zauberfloete  ueberschrieben  ist  und  gab  ihr 
den  titel :  Die  zauberzither  und  der  Fagottist.  Man  geizt  jetzt  nach  spektakelstuecken, 
(ich  will  nicht  untersuchen,  ob  die  gute  sache  der  Komischen  oper  dadurch  gewinnen 
wird)  und  so  wurde  denn  die  Zauberzither  in  Wien,  in  Prag  aufgenommen,  und  sehr 
oft  gegeben.  Auch  wuenschte  man  eie  auf  andem  theatem  zu  schen;  allein,  der 
dialog  und  die  verse,  eins  wie  das  andere,  wimmelte  von  abgeschmacktheiton,  wohl 
Bogar  von  unanstandigen  zweydeutigkeiten ,  dass  man  bedenken  tragen  musste,  diese 
oper  in  ihrer  originalgestalt  zu  geben.  Die  oekonomie  des  stueckes  musste  bleiben, 
weil  sie  zu  genau  mit  der  musik  vereinigt  war;  eelbst  in  einigen  gesaengen  durften 
gewisse  ungereimtheiten  nur  gedaempft  und  geschwaecht  werden,  weil  man  sonst 
verse — ohne  musik  gehabt  haben  wuerde  .  .  .  Wenigstens  habe  ich  alles  versucht, 
herrn  Muellers  musik  keinen  eintrag  zu  thun  ..." 

First  performed  at  Munich,  churmerstl.  National  Schaubuhne.  February  27,  1795. 

SCHATZ  6921 

—  Gesaenge  aus  dem  singspiele :  Die  zauberzither,  oder  Der  fagot- 
tist in  drey  aufzuegen  von  Joachim  Perinet.  Musik  von  Wenzel 
Mueller  in  Wien. 

Rostock,  n.  puhl,  1796.     16  p.     16'"^. 

First  performed  at  Rostock,  Stadttheater,  1796.  Schatz  6922 

—  Die  zauberzither.  Eine  komische  oper  in  drey  aufzuegen. 
Neubearbeitet.  Die  musik  ist  von  herrn  Wenzel  Mueller  in  men. 
Zweyte  auflage. 

Prag,  Calve,  1796.    front,  vi,  [2],  12^  p.     IS""^. 

Contains  the  same  preface  aa  the  Vienna  ed.  of  1795.  Schatz  11714 

The  fair  American:  a  comic  opera,  in  three  acts;  as  it  is  performed, 
with  universal  applause,  at  the  Theatre-Roval,  Drury-Lane.     Written 
by  F.  Pilon  ... 
London,  J.  Almon,  1785.     2  p.  I.,  9-68  p.     20<^'^. 

The  music  was  composed  by  Thomas  Carter,  who  is  not  mentioned.  Cast  and 
author's  dedication. 

First  performed,  as  indicated,  May  18,  1782.  ML  50.2.F13C2 

Second  copy.    Longe  95 

The  fair  Caledonian.     A.  T.  of  Love  and  money. 

The  fair  foundling.     A.  T.  of  Patie  and  Peggy. 

The  fair  maid  of  Kent.     A.  T.  of  Windsor  castle. 

The  fairies.     An  opera.     Taken  from  A  midsummer  night's  dream, 
written  by  Shakespear.     As  it  is  perform'd  at  the  Theatre-Royal  in 
Drury-Lane.     The  songs  from  Shakespear,  Milton,  Waller,  Dryden, 
liansdown,  Hammond,  etc.     The  music  composed  by  Mr.  Smith. 
London,  J.  and  R.  Tonson  and  S.  Draper,  1755.     4^  p.     18"^. 

Three  acts  and  prologue.  Cast  and  argument.  "Generally  attributed  to  Garrick, 
but  is  repudiated  by  him,"  says  the  Diet,  of  Nat.  biog.  The  Advertisement  on  p.  [6] 
would  seem  to  imply  that  John  Christopher  Smith  himself  wrote,  i.  e.  compiled,  the 
text: 


OPEBA   LIBRETTOS  469 

The  fairies — Continued. 

"Many  passages  of  the  first  merit,  and  some  whole  scenes  in  the  Midsummer  Night's 
Dream,  are  necessarily  omitted  in  this  opera,  to  reduce  the  performance  to  a  proper 
length;  it  was  feared  that  even  the  best  poetry  would  appear  tedious  when  only 
supported  by  recitative.  Where  Shakespear  has  not  supplied  the  composer  with 
songs,  he  has  taken  them  from  Milton,  Waller,  Dryden,  Lansdown,  Hammond,  etc., 
and  it  is  hoped  they  will  not  seem  to  be  unnaturally  introduced." 

On  the  other  hand,  these  two  lines  in  the  "Prologue,  written  and  spoken  by  Mr. 
Garrick"  (which,  by  the  way,  is  a  plea  for  English  opera),  would  lead  us  to  suspect 
Garrick's  authorship,  after  all: 

"  I  dare  not  say,  who  wrote  it — I  could  tell  ye, 
To  soften  matters — Signor  Shakespearelli." 
First  performed,  as  indicated,  February  3,  1755.  ML  50.2.FH 

Second  copy.     Longe  50 
Third  copy.     Longe  298 

—  The  fairies.  An  opera.  Taken  from  A  midsummer  night's 
dream,  \\Titten  by  Shakespear.  As  it  is  perform'd  at  the  Theatre- 
Royal  in  Drury-Lane.  The  songs  from  Shakespear,  Milton,  Waller, 
Dryden,  Lansdown,  Hammond,  &c.  The  music  composed  by  Mr. 
Smith.  The  second  edition. 
London,  J.  and  R.  Tonson  and  S.  Draper,  1755.     ^8  p.     19^'^. 

Three  acts  and  prologue.     Cast  and  argument.     Same  as  the  first  edition. 

ML  50.2.F142 

The  fairy  Favour.     A  masque  .  .  . 

London,  Joseph  Cooper,  1766.     4  p.  I.,  19  p.     20""^. 

One  act.     By  Thomas  Hull.     The  composer  not  recorded  by  Clarence. 
Performed  at  Covent  Garden,  1766.  Longe  109 

The  songs  and  description,  of  the  pantomime;    called.  The  fairy 
Favour:    or,  Harlequin  animated.     First  performed  at  the  Theatre 
Royal,  Drury  Lane.     Monday,  December  27,  1790. 
London,  J.  Wrighten,  n.  d.     11  p.     20"'^. 

One  act.    Cast.     By  the  publisher?    No  composer  recorded  by  Clarence. 

Longe  207 

The  fairy  prince:  a  masque.     As  it  is  performed  at  the  Theatre- 
Royal  in  Covent-Garden. 
London,  T.  Becket,  1771.     4  p.  I.,  25  p.     W"^. 

Two  parts.  Cast  and  Advertisement  in  which  the  author,  George  Colman  (not 
mentioned),  says: 

"The  greater  part  of  this  masque  is  borrowed,  with  some  variation,  from  Ben 
Jonson.  The  same  liberty  has  been  taken  with  a  few  passages  of  Shakespeare,  and  a 
chorus  of  the  late  Gilbert  We.st,  Esq.     The  final  chorus  is  from  Dryden  ..." 

Thomas  Aug.  Ame  is  mentioned  as  the  composer. 

First  performed  November  12,  1771.  Longe  52 

The  fairy-queen:  an  opera.     Represented  at  the  Queen's  theatre 
by  Their  Majesties  servants. 
London,  Jacob  Tonson,  1692.     3  p.  I.,  52  p.     21^"^. 

Five  acts.  Prologue  and  preface.  According  to  Barclay  Sq^uire  "an  anonymous 
adaptation  of  Shakespeare's  "Midsummer  night's  dream,"  m  which,  curiously 
enough,  not  a  single  line  by  Shakespeare  appears  with  [Henry]  Puxcell's  music. 
It  was  produced  at  the  Dorset  Garden  Theatre  m  the  spring  of  1692." 

The  curious  preface  reads  in  part:  "And  many  of  the  English  gentry  are  sensible 
what  advantage  Paris  receives,  by  the  great  number  of  strangers  which  frequent  the 
opera's  three  days  in  a  week,  throughout  the  year.  If  therefore  an  opera  were  estab- 
lished here,  by  the  favour  of  the  nobility  and  gentry  of  England;  I  may  modestly 
conclude  it  would  be  some  advantage  to  London,  considering  what  a  sum  we  must 
yearly  lay  out  among  tradesmen  for  uie  fitting  out  so  great  a  work.    That  Sir  William 


470  LIBRARY   OF   CONGRESS 

The  fairy-queen — Continued. 

Davenant'e  Siege  of  Rhodes  was  the  first  opera  we  ever  had  in  England,  no  man  can 
deny  .  .  .  'Tis  true,  the  Siege  of  Rhodes  wanted  the  ornament  of  machines,  which 
they  value  themselves  so  much  upon  in  Italy.  And  the  dancing  which  they  have  in 
Buch  perfection  in  France.  .  .  .  That  a  few  private  persons  should  venture  on  so 
expensive  a  work  as  an  opera,  when  none  but  princes  or  states  exhibit  'em  abroad, 

I  hope  is  no  dishonour'to  our  nation.  And  I  dare  affirm,  if  we  had  half  the  encourage- 
ment in  England,  that  they  have  in  other  countries,  you  might  in  a  short  time  have 
as  good  dancers  in  England  as  they  have  in  France,  though  I  despair  of  ever  having 
as  good  voices  among  us,  as  they  have  in  Italy.  These  are  the  two  great  things  which 
travellers  say  we  are  most  deficient  in  .  .  ."  ML  50.2.F145 

A  fairy  tale.     In  two  acts.     Taken  from  Shakespeabe.     As  it  is 
performed  at  the  Theatre-Royal  in  the  Hay-Market. 
London,  G.  Kearsly,  1777.     24  p.     21"'''. 

Two  acts.  Cast.  In  the  text  are  mentioned  as  composers  (principally)  Michael 
Ame  and  Dibdin,  Bumey,  Hook,  Smith.  Text  adapted  by  George  Colman  (not 
mentioned)  from  "A  midsummer  night's  dream." 

First  performed  at  Drury  Lane,  November  26,  1763  (Genest).  Lonqe  243 

The  faithful  country  maid.     A.  T.  of  The  village  wedding. 

y  Falaride,  tiranno  d'Agrigento.     Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Sant'  Angelo  I'anno  MDCLXXXIV  .  .  . 
Venetia,  Francesco  Nicolini,  1684.     ^^  V-     14Y™'- 

Three  acts.  By  Adriano  Morselli.  Dedication,  argument,  and  name  of  Giovanni 
Battista  Bassani  as  composer,  but  not  of  librettist. 

First  performed  at  same  theatre,  fall  of  1683.  Schatz  634 

II  falegname.  Commedia  per  musica  da  rappresentarsi  nel  Regio- 
Ducal  Teatro  di  Mantova  la  primavera  dell'  anno  1782  ... 

Mantova,  Alberto  Pazzoni,  n.  d.     72  p.     17 Y'^. 

Three  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Dedication  dated 
Mantova,  May  8,  1782  (the  opening  of  the  operatic  season),  cast,  scenario  and  name 
of  Domenico  Cimarosa  as  composer. 

First  performed  at  Naples,  Teatro  de'  Fiorentini,  1780.  ML  50.2.F147C4 

—  II  falegname.  Dramma  ^iocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniani  in  San  Moise  per  prima  opera  delF  autunno  1784. 

Venezia,  Modesto  Fenzo,  1784.     52  p.     i(?^'^"». 

Two  acts.  By  Giuseppe  Palomba.  Cast,  name  of  the  composer,  Cimarosa, 
scenario,  and  prefatory  note,  in  which  appears  this  statement: 

"Quest'  opera  certamente  non  6  delle  piii  regelate,  nfe  delle  piii  adattate  al  gusto 
d'un  publico  intelligente  com'  6  quelle  di  questa  citt^,  essendo  il  presente  dramma 
di  un  poeta  Napolitano,  e  scritto  per  il  Teatro  di  Napoli  dove  non  viene  osservata  nh 
aggiustatezza  di  caratteri,  nd  condotta  di  rappresentazione." 

Schatz  1922 

—  II  falegname.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  publ,  1787.     135  p.     UY'^. 

Two  acts,  with  name  of  the  composer,  Cimarosa,  and  cast  added  in  ms.  German 
title-page,  "Der  tischler"  and  text  face  Italian. 

First  performed  at  Dresden  in  1787.  Schatz  1923 

Der  fall  ist  noch  viel  seltener  oder  Die  geplagten  ehemaenner. 
O.  T.  of  Schack's  Die  geplagten  ehemaenner. 


OPERA   LIBRETTOS  471 

The  fall  of  Phaeton.     As  it  is  perform'd  at  the  Theatre-Koyal  in 
Drury-Lane.     Invented  by  Mr.   Pritchard.     The  musick  compos'd 
by  Mr.  Arne.     And  the  scenes  painted  by  Mr.  Hayman. 
London,  R.  Turbut,  1736.     23  p.     W"^. 

Argument  and  cast.  "The  fall  of  Phaeton"  on  p.  [5]-15  is  followed  on  p.  [17J-23 
by  "the  songs  in  Harlequin  restor'd,  or  Taste  alamode." 

First  performed  1736,  as  indfcated.  ML  50.2.F15A7 

Le  fallaci  apparenze.  Dramma  giocoso  per  musica  in  due  atti. 
Poesia  di  Gio.  Battista  Lorenzi,  accomodata  dal  tenente  Antonio 
Valli  da  recitarsi  nell'  autnnno  1793  nel  nobilissimo  Teatro  di  San 
Samuele.  * 

Venezia,  Modesto  Fenzo,  1793.     62  p.     18^"^- 

Scenario  and  name  of  Gennaro  Astaritta  as  composer.  Lorenzi 'e  text  originally 
was  called  "Gelosia  per  gelosia."  Schatz  386 

Fallaride,  tiranno  d'Agricento,  ballet.  See  Andreozzi's  La  prin- 
cipessa  filosofa. 

Die  falschen  verdachte.  Ein  singspiel  in  zween  aufzuegen.  Dem 
publikum  der  stadt  Botzen  von  den  niesigen  tonkuenstlem  gewiedmet. 
Aufgefuelirt  im  fasching  des  jahrs  1796. 

n.  pi.,  Karl  Jos.  Weiss,  n.  d.     88  p.     Id^"^. 

With  name  of  the  composer,  Franz  Peter  Gregorius  Blhler,  but  not  of  the  librettist, 
who  is  imknown  to  Schatz. 

First  performed,  as  indicated,  February  5,  1796.  Schatz  1037 

False  and  true,  a  play  in  three  acts,  now  performing  at  the  Theatre 
Royal,  Hay-market. 
London,  J.  Bell,  1798.     2  p.  I.,  57,  5  p.     20^<^. 

Cast.  Interspersed  with  songs,  etc.  By  Rev.  Moultrie.  Neither  he  nor  the 
composer,  Samuel  Arnold,  is  mentioned. 

Iirst  performed  August  11,  1798.  Longe  249 

Le  false  apparenze.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  prim'  opera  del  cor- 
rente  anno  1791. 

Napoli,  n.  publ.,  1791.     1^2  p.     15'^'^. 

Two  acts.    Cast  and  name  of  Pietro  Gugliehni  as  the  composer.        Schatz  4244 

Le  false  magie  per  amore.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per 
quart'  opera  di  quest'  anno  1791. 

Napoli,  Vincenzo  FUuto,  1791.     Jfi  p.     UY"^. 

Two  acts.    Cast  and  name  of  the  composer,  Domenico  Cerdll.         Schatz  1775 

La  Falsirena.     Drama  per  musica.     Da  rappresentarsi  nel  Teatro 
di  S.  Angelo  I'anno  1690.     Di  D.  Rinaldo  Cialli  .  .  . 
Venetia,  Nicolini,  1690.     72  p.     14<='^. 

Three  acts.  Argument,  scenario,  notice  to  the  reader,  with  name  of  Marc'  Antomo 
Ziani  as  composer,  and  Tomaso  Bezzi  for  the  "sceniche  rappresentanze,"  who  also 
signed  the  dedication. 

First  performed,  as  indicated,  carnival,  1690.  Schatz  11196 


472  LIBRARY  OF   CONGRESS 

La  Palsirena — Continued. 

—  Marte  deluso.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Angelo  Tanno  1691.     Di  D.  Rinaldo  Cialli  .  .  . 

Venetm,  Nicolini,  1691.     58  p.     14'''^. 

Three  acts.  Author's  dedication,  "motivi  del  drama,"  scenario,  and  notice  to  the 
reader,  with  Marc'  Antonio  Ziaxd's  name  as  composer,  beginning:  "Eccoti  un  j)oetico 
innesto  tronco  vecchio,  gambo  nuovo.'"'  This  refers  to  the  fact  that  this  is  "La  Falsi- 
rena,"  with  a  new  title  and  considerably  altered.  For  instance,  I,  1  has  now  the 
aria,  "Speranze  gradite,"  instead  of  "Speranza  dolce  e  cara";  the  second  scene  begins 
with  the  aria,  "Si,  el  rapide  correte,"  instead  of  "Perche  mai  luci  adorate";  and  the 
aria,  "II  dardo  di  Cupido,"  has  been  dropped  from  the  third  scene. 

First  performed,  as  indicated,  carnival,  1691.  Sohatz  11197 

II  falso  amico,  ballet.     See  La  villeggiatura  in  scompiglio. 

« 

II  falso  Tiberino.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  San  Cassano  il  camovale  dell'  anno  MDCCVIII  .  .  . 
Venezia,  Marino  Rossetti,  1708.     7  f.  I.,  58  p.     15'='^. 

Three  acts.  Attributed  by  Allacci  and  Schatz  to  Zeno  (and  Pariati),  but  no  such 
text  appears  in  his  collected!  works.  Impresario's  dedication,  argument,  cast,  and 
name  of  Carlo  Francesco  Pollaroli  as  the  composer.  Schatz  8285 

Falstaflf  osia  Le  tre  burle.     Dramma  giocoso  per  musica  in  due  atti 
da  rappresentarsi  nel  Teatro  Ellettorale  di  Sassonia. 
Dresda,  n.  pull.,  1799.     183  p.     15^"^. 

Two  acts.  By  Carlo  Prospero  Defranceschi,  who  is  not  mentioned.  Antonio 
Salieri  is  mentioned  as  the  composer.  German  title-page,  "Falstaff  oder  Dreymahl 
angefuehrt,"  and  text  face  Italian. 

First  performed  at  Dresden,  as  indicated,  October  26, 1799;  at  Vienna,  Burgtheater, 
January  6,  1799;    Kamthnerthortheater,  January  3,  1799.  Schatz  9289 

—  Arien  und  gesaenge  zu  dem  komischen  singspiel :  Falstaff  in  zwey 
aufzuegen.  Nach  dem  italiaenischen  von  C.  Herklots.  Die  musik 
von  Salieri. 

Berlin,  n.  pull.,  1799.     70  p.     W"^. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  December  16,  1799. 

Schatz  9290 

La  fa!tna  dell'  onore,  della  virtu,  dell'  innocenza  in  carro  trion- 
fante.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Grimani  di 
S.  Samuele  nel  carnovale  dell'  anno  1727  .  .  . 

Venezia,  Alvise  Valvasense,  n.  d.     22  p.     l^-Y^- 

Three  acts.  Dedication  by  Montebaldo  Vovi,  apparently  as  author,  prefatory  note, 
cast,  and  name  of  Salvatore  Apolloni  as  composer.  Schatz  attributes  the  text  incor- 
rectly to  several  authors,  since  the  author  speaks  of  himself  in  the  prefatory  note  in 
the  first  person  and  says,  of  course  exaggerating,  that  the  text  "fii  composta  in  tr6 
minuti  e  mezzo  d'ora.'  Schatz  300 

La  famiglia  in  scompiglio.     A.  T.  of  Cimarosa's  Li  amanti  comici. 

La  famiglia  in  scompiglio.  Dramma  giocoso  per  musica,  da  rajn 
presentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia.  Dresda,  il 
came  vale  1766. 

n.  i.,  n.  d.     I4I  p.     15^"^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario,  and 
na\nes  of  Giuseppe  Scolari  as  the  composer,  of  H.  A.  Bussius  as  translator.  His  Ger- 
man title,  "Die  in  verwirrung  lebende  familie,"  and  text  face  Italian. 

First  performed  at  Dresden,  January  16,  1766,  as  indicated;  at  Parma,  Teatro 
Ducale,  October  26,  1762.  Schatz  9795 


OPEKA  LIBBETTOS  473 

La  famiglia  riunita.     A.  T.  of  the  ballet  Orlina. 

La  famiglia  riunita.     A.  T.  of  the  ballo  pantomimo  Zuluna. 

La  famiglia  stravagante.  Dramina  giocoso  per  musica  da  rappre- 
sentarsi  in  Parma  nel  R.  D.  Teatro  di  Corte  it  camevale  dell'  anno 
MDCCXCITI  .  .  . 

Parma,  Stamperia  Carmignani,  n.  d.     viii,  56  p.     17 Y'^. 

Two  acts.  The  author  is  not  mentioned,  and  is  unknown  to  Schatz.  Impresario's 
dedicatory  poem,  cast,  and  name  of  Giuseppe  Nicoliid  as  the  composer. 

First  performed,  as  indicated,  January,  1793;  at  Piacenza,  Teatro  della  Cittadella, 
carnival,  1793.  Schatz  7151 

Die  familien-heirath,  oder  Der  rekruten-aushub.  Eine  operetta 

in  zwey  aufzuegen. 

WeiTrmr,  HoffmanischehucKhandlung,  1780.     135  p.     14i'''^- 

Composed  by  Christian  Ludwig  Dieter,  who  is  not  mentioned.  Author  imknown 

to  Schatz,  and  also  date  of  first  performance  at  Stuttgart.  Schatz  2578 

La  famille  americaine,  comedie  en  un  acte  et  en  prose  mdl^e  de 
chants.  Paroles  du  citoyen  Bouilly.  Musique  du  citoj^en  Dalayrac. 
Representee  pour  la  premiere  fois  sur  le  Theatre  de  I'Op^ra-comique 
national,  le  1^  ventdse  de  I'an  4™®  de  la  Republique  franpaise. 

Blois,  Jean  Francis  BiUault,  an  7F*  de  la  Republique  [1795-96]. 
63  p.     21 Y'^. 

Cast  and  dedicatory  poem  "A  la  citoyenne  Dugazon,"  who  played  "Madame  Daran- 
ville,  veuve  americaine." 

First  performed,  as  indicated,  February  20,  1796.  ML  50.2.F17D2 

La  famille  indigente,  fait  historique  en  un  acte,  m^l6  de  chant. 
Represente  pour  la  premiere  fois,  a  Paris,  sur  le  Th6^tre  de  la  rue 
Feydeau,  le  4  germinal,  an   2^  de  la  Republique,  24  mars   1795. 
Paroles  du  C.  Planterre,  musique  du  C.  Gavaux. 
Paris,  Huet,  1797,  an  V.     31  p.     21 Y"^- 

Cast. 

Schatz  and  CI.  &  L.  give  March  24,  1794,  as  date  of  first  performance. 

ML  50.2.F172G2 

La  famille  reunie,  comedie  en  deux  actes,  en  prose,  m^l^e  d'ariettes, 
representee  pour  la  premiere  fois  par  les  Comeaiens  italiens  ordinaires 
du  roi,  le  {htank]  novembre  1790.     Les  paroles  sont  de  M.  Favart;  la 
musique  de  M.  Chapelle. 
Paris,  Brunei,  1790.     1  p.  I.,  43  p.     21'="'. 

Cast  and  dedicatory  poem  by  "Favart  file." 

First  performed  Nov.  30,  1790.  ML  50.2.F174C3 

La  famille  Suisse,  opera  en  un  acte.  Represents  sur  le  Theatre  de 
la  rue  Feydeau,  le  23  pluvi6se  de  I'an  cmquieme.  Paroles  de  C. 
Saint-Just.     Musique  de  A.  Boieldieu. 

Paris,  FauveUe  et  Sagnier,  n.  d.     51  p.     21^'^. 

Cast  and  prefatory  note  by  the  author  thanking  for  the  "I'accueil  favorable"  of 
his  piece. 

Firet  performed,  as  indicated,  Feb.  11,  1797.  ML  50.2.F176B6 


474  LIBRARY   OF   CONGRESS 

II  fanatico  burlato.  Commedia  per  musica  di  Saverio  Zini  da  rap- 
presentarsi  nel  Ileal  Teatro  del  Fondo  di  Separazione  per  prim'  opera 
di  quest'  anno  1787  .  .  . 

Napoli,  n.  puhl,  1787.     48  p.     W"^. 

Two  acts.  Impresario's  dedication,  prefatory  note,  and  name  of  the  composer, 
Cimaxosa.     The  dedication  by  the  impresario,  Giuseppe  Lucchesi,  reads  in  part: 

"Di  di  versa  natura  saranno,  S.  R.  M.,  li  spettacoli  che  in  quest'  anno  si  rappre- 
senteranno  nel  vostro  Real  Teatro  del  Fondo  di  quelli  dell'  anno  scorso.  Non  vi  si 
reciteranno  delle  tragedie  in  musica,  ma  earanno  delle  commediolo  toscane  con  bal- 
leti,  avendo  procurato  di  conservar  tutta  quella  decenza  tanto  necessaria  nei  teatri. 
Par  che  questo  genere  di  rappresentazione  mcontri  piii  il  genio  del  paese,  e  la  M,  V. 
che  con  tanto  calore  promove  gli  onesti  divertimenti,  epero  che  voglia  proteggere 
questo  mio  spettacolo  per  potere  in  tal  guisa  meritare  il  pubblico  compatimento  .  .  ." 

With  the  opera  were  performed  Giambattista  Giannini's  "Aci  e  Galatea,  ballo 
pastorale"  and  "II  maestro  di  cappella,  o  sia  II  tutore  deluso,  ballo  di  mezzo  carat- 
tere."    The  composer  of  the  music  is  not  mentioned.  Schatz  1924 

II  fanatico  inberlina.     L.  T.  of  Paisiello's  La  locanda. 

II  fanatico  per  gli  antichi  Romani.  Commedia  per  musica  di 
Giuseppe  Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nella 
prima  vera  di  quest'  anno  1777. 

Napoli,  n.  puhl.,  1777.     60  p.     15'='^. 

Three  acts.     Cast  and  name  of  the  composer,  Domenico  Cimaxosa. 

Schatz  1982 

H  fanatico  per  la  musica.  Dramma  giocoso  in  musica  da  rappre- 
sentarsi nel  Teatro  Zagnoni  in  Bologna  la  primavera  dell'  anno 
1782  .  .  . 

Bologna,  Sassi,  n.  d.     51  p.     15'^™'. 

Two  acts.  Author  unknown  to  Schatz.  Impresario's  dedication,  cast,  scenario, 
and  names  of  the  composers,  Luigi  Caruso  and  Carlo  Spontoni. 

First  performed  at  Reggio,  Teatro  Pubblico,  carnival,  1782;  at  Rome,  Teatro  delle 
Dame,  February  10,  1781.  Schatz  1667 

La  fanciuUa  mal  custodita,  ballet.     See  Anfossi's  Gli  artigiani. 

La  fanciuUa  mal  custodita,  ballet.  See  Sarti's  Fra  i  due  litiganti 
il  terzo  gode,  Milano,  (1795). 

The  fancy'd  queen.     An  opera.     As  it  is  acted  at  the  Theatre- 
Koyal  in  Covent-Garden. 
London,  Charles  Corbett,  1733.     2  p.  I.,. 43,  [1]  p.     W"^. 

One  act  and  prologue.  Cast.  Ballad  opera,  the  airs  of  the  25  songs  of  which  are 
indicated  by  title.     By  Robert  Drury,  who  is  not  mentioned. 

First  performed  during  the  summer  of  1733.  Longb  189 

Fanfale.     Parody  of  Destouches'  Omphale. 

II  fantastico,  commedia  per  musica. 

Three  acts.  By  Gennaro  Antonio  Federico,  music  by  Leonardo  Leo,  first  per- 
formed at  Naples,  Teatro  Nuovo  sopra  Toledo,  carnival  1743. 

Not  in  L.  of  C. 

—  II  nuovo  D.  Chisciotte.  Commedia  per  musica  ra  rappresentarsi 
nel  Teatro  de'  Fiorentini  nell'  autunno  di  quest'  anno  1748  .  .  . 

Napoli,  Domenico  Langiano,  1748.     4  V-  ^-j  ^^  V-     -^^'^'"• 
Three  acts.     Dedication  by  the  impresario  Tomaso  Garzia  ("nella  stagion  presente 
nel  mio  teatro  comparir  deve   ),  cast,  prefatory  note  and  remark: 


OPERA   LIBRETTOS  475 

Fanfale — Continued. 

"La  musica  di  tutte  I'arie  segnate  col  segno  §  e  del  fu  maestro  di  cappella  D.  Leo- 
nardo Leo,  e  quella  della  sinfonia,  recitativi,  finali,  duetto,  e  dell'  altre  arie  senza 
alcun  segno,  b  del  Signor  D.  Pietro  Gomens  (Gomes),  maestro  di  capella  dell'  Ecc. 
Sig.  duca  di  Castropignano." 

Accordingly,  only  the  arias  "Quanto  Amore  fe  tristarello"  (I,  3)  "Aure  amene, 
che  spirate"  (I,  7),  "A  me  tu  cMami  beetia"  (I,  11),  "Si  signore,  io  lo  farb"  (I,  12), 
"Cor  mio  inzuccherato "  (I,  14),  "Capace  di  piu  amarti"  (I,  17)  were  by  Leo.  In 
other  words,  only  the  first  act  seems  to  have  contained  arias  by  him.  The  prefatory 
note  sheds  further  light  on  this  curious  replica: 

' '  Essendoci  stato  addos.sato  il  carico  di  dirigere  la  presente  commedia,  ultimo  parto 
del  lepidissLmo  ingegno  del  fu  Gennaro  Antonio  Federici,  assai  rinomato  in  si  fatti 
componimenti  teatrali,  e  che  col  nome  del  Fantastico  [music  by  Leo]  fu  rappresentata 
sul  Teatro  Nuovo  nel  camovale  del  43.;  noi,  per  mancanza  del  dilei  autore,  abbiamo 
accettato  I'impegno;  avendo  avuto  pero  il  riguardo  di  non  alterarla  punto,  se  non  so 
in  quello,  a  cui  siamo  stati  astretti  dalla  pura  necessita.  Quindi  e,  che  se  la  tro^d 
abbreviata  di  molto,  e  varia  ancora  in  (jualche  parte  di  essa,  come  nel  principio,  ne' 
finali,  ed  in  molte  arie,  ci6  non  e  s^uito,  perche  forse  siasi  stimato  superfluo,  o  non 
proprio  quello  ch'^  stato  tolto,  o  variato,  ne  per  inferir  alcun  biaamo  alia  memoria 
dell'  autore,  il  quale  come  quello,  ch'era  motto  apposto  [mutilated]  tiche  composi- 
zioni,  non  fu  mai  capace  di  simili  mende.  Ma  ci6  si  e  dovuto  fare  per  incontrare  il 
genio  del  publico,  cui  tanto  alletta  nolle  sceniche  rappresentazioni  non  meno  la 
novita  degli  awenimenti,  che  la  brevita  dell'  azzione:  ed  anco  per  esserci  stato 
d'uopo  adattarla  all'  ability  de'  presenti  cantanti  totalmente  diversi  da  quelli,  che 
la  prima  volta  la  rappresentarono,  a  qual  effetto  dove  per  necessity  seguime  il  divi- 
Bato  cambiamento  .  .  ."  ML  50.2.F178L3 

La  fantesca.     O.  T.  of  Hasse's  II  capitano  Galoppo. 

Faramondo. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  174-4}  ^-  '^7  ^^4  V'    19"^. 
Three  acts.     Argument.     No  composer  is  mentioned.     In  the  "Catalogo"  at  end 
of  t.  X.,  date  and  place  of  first  ed.  are  given  as  Venice,  1699.     {See  below.) 

ML  49.A2Z3 

—  Faramondo,  pubblicato  per  la  prima  volta  in  Venezia,  1699. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  i,  p.  319-413. 
Three  acts.     Argiiment.     No  composer  is  mentioned.  ML  49.A2Z4 

II  Faramondo.     Drama  per  musica  da  rappresentarsi  nella  Sala 
deir  illmo  Sig.  conte  d'Alibert  nel  camovale  aell'  anno  1720  .  .  . 
Rojna,  Stamperia  del  Bemaho,  1720.     72  p.-    15'''^. 

Three  acts.  So  unlike  Zeno's  "Faramondo"  as  to  be  practically  a  new  text  by 
unknown  author.  Dedication  by  conte  d'Alibert  ("nel  mio  nuovo  teatro  .  .  .  questo 
secondo  drama"),  argument,  scenario,  cast  and  name  of  Francesco  Gasperini  (Gas- 
parim)  as  composer.  *  ML  50.2.F2G3 

Faramondo.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Gri- 
mani  di  San  Gio.  Grisostomo  I'anno  MDCaCIX  .  .  . 
Venetia,  Nicolini,  1699.     72  p.  {incl.  front.)     15*^. 

Three  acts.  Dedication  signed  with  Apostolo  Zeno's  initials,  argument,  scenario 
The  composer.  Carlo  Francesco  Pollaroli,  is  not  mentioned. 

First  performed,  carnival,  1699,  as  indicated.  Schatz  8286 

—  Faramondo.     Drama  per  musica  rappresentato  neUa  Villa  di 
Pratolino. 

Firmze,  Gio.  Filippo  Cecchi,  1699.     4p.l.,  70  p.     i7<'"». 

Three  acts.  Neither  Zeno,  the  author,  nor  Carlo  Francesco  Pollaroli,  the  com- 
poser, is  mentioned.     Scenario  and  argument,  which  reads  in  part: 

"il  drama,  parto  in  principio  d'una  famosa  penna;  ma  cui  b  convenuto  patire 

aualche  alterazione,  per  eseersi  voluto  adattare  alia  brevity  del  tempo,  e  alia  como- 
its\  del  Teatro." 


476  LIBBARY  OP  CONGRESS 

Faramondo — Continued. 

The  alterations  are  very  much  more  numerous  than  these  words  would  permit  to 
infer.  The  Florence  replica,  for  instance,  begins,  "  Piii  che  mai  fiere,  oh  Dio  "  instead 
of  "Sveno,  Germane;  O  Dio!"  and  the  scenes  VII,  "Del  Tasso  infausto, "  VIII, 
"Mio  r^,  pronta  qui  veggo, "  have  been  replaced  by  "Tardi  giungemmo,  amici"  and 
"Signore,  a  tanta  pompa.'  Schatz  8325 

The  farmer :  A  comic  opera.     In  two  acts.     As  it  is  performed  at  the 
Theatres  Royal  in  Ix)ndon  and  Dublin.     By  John  O  Keefe,  Esq. 
Dublin,  T.  McDonnell,  1788.     55  p.     17 \'^'^. 

London  and  Dublin  casts.     The  composer,  William  Shield,  is  not  mentioned. 
First  performed  at  Covent  Garden,  October  31,  1787.  Longe  149 

—  The  songs,  duets,  choruses,  etc  in  the  musical  entertainment  of 
the  Farmer.  Performed  at  the  Theatre-Royal,  Co  vent-Garden.  The 
musick  composed  and  selected  by  Mr,  Shield.     Seventh  edition. 

London,  T.  Cadell,  1789.     2S  p.     21'^^. 

Cast.    John  O'Keefe,  the  author,  is  not  mentioned.  ML  50.2. F18  S3 

—  The  songs,  duets,  choruses,  etc  in  the  musical  entertainment  of 
the  Farmer.  Performed  at  the  Theatre-Royal,  Covent-Garden. 
The  musick  composed  and  selected  by  Mr.  Shield.     Eighth  edition. 

London,  T.  Cadell,  1791.     19  p.     19<=^. 

Two  acts.  By  John  O'Keefe,  who  is  not  mentioned.  (Boimd  in  at  the  end  of  the 
libretto  of  Paisiello's  "La  locanda,"  London,  1792.)  Schatz  7672 

—  The  farmer :  A  comic  opera  in  two  acts  as  it  is  performed  at  the 
Theatres  Royal  in  London  and  Dublin.     By  John  O  Keefe,  Esq. 

Dublin,  T.  McDonnell,  1792.     36  p.     17''"'. 

London  and  Dublin  (1792)  casts.     William  Shield,  the  composer,  is  not  mentioned. 

Schatz  9866 

Farnace.     Dramjna  per  musica  da  rappresentarsi  sopra  il  famoso 
Ducal  Teatro  di  Bronsevico  nella  fiera  estiva  delF  anno  1754. 
[Bronsevico],  Keitel,  n.  d.     Ill  p.     15*^^. 

Three  acts.  German  title  page,  "Famaces,"  and  text  face  Italian.  Argument, 
cast,  scenario.  Author  (Antonio  Maria  Lucchini)  and  composer  (unknown  to  Schatz) 
not  mentioned. 

First  performed  August,  1754,  as  indicated.  Schatz  11329 

Farnace.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  I'autunno  dell'  anno  1703  ... 

Venezid,  Marino  Rossetti,  1703.     71  p.     15*^^. 

Three  acts.  By  Lorenzo  Morani  (not  mentioned).  Publisher's  dedication,  dated 
Venice,  November  15,  argument,  notice  to  the  reader,  cast,  scenario,  and  name  of 
Antonio  Caldara  as  composer.  Schatz  1493 

Farnace.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Brusselles  nel  carnovale  dell'  anno  1729  .  .  . 

BrusseUe,  n.  publ.,  n.  d.     4  p.  I.,  53,  [11]  p.     18^"^. 

Dedication  by  the  impresario  Gio.  Sebastiano  Brillandi  ("dovendo  esser  I'ultimo 
[drama]  della  presente  stagione"),  scenario,  argument,  cast  and  name  of  Antonio 
Cortona  as  the  composer.  This  preliminary  matter  (except  the  dedication)  and  the 
text  both  in  Italian  and  French . 

A  curious  libretto.  It  is  clearly  by  Luchini  (not  mentioned)  but  with  noticeable, 
even  if  not  very  numerous  differences.  For  instance,  the  scene  I,  8  in  the  Venice 
1726  version  {see  Vivaldi)  "A  sorprendermi  il  cor"  is  not  in  the  Brussels  version  and 
the  former  scene  I,  9  "Qual  sembianza  improvisa"  is  now  I,  8  but  with  the  aria 


OPERA   LIBRETTOS  477 

FarnacG — Continued. 

"Fia  quel  semplice  augelletto"  instead  of  "Al  vezzeggiar  d'un  volto."  The  second 
act  begins  with  the  former  scene  II,  o  "Di  Famace  e  del  figlio"  and  III,  12  (with 
which  the  unpaged  matter  begins)  is  the  same  (though  much  condensed)  as  the  former 
scene  III,  13  and  last  "Berenice  nxorrk,  morra  Pompeo."  Now,  the  text  of  acts  I  and 
II  is  given  complete  with  added  French  prose  translation,  whereas  of  the  third  act 
only  the  Italian  text  of  the  just  mentioned  (last)  scene  was  printed,  but  to  this  was 
added  the  complete  French  prose  translation  of  the  |hird  act.  ML  50.2.F21C6 

Famace.  Drama  per  musica  da  rappresentarsi  nel  Regie  Teatro  di 
Torino  nel  came  vale  del  1751   .  .  . 

Torino,  Pietro  Giuseppe  Zappata  e  figliuoli,  n.  d.     Jf.  p.  I.,  56,  [71  p. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  David  Perez  as  the  composer.  On  the  add.  p.,  the  substitute 
aria,  "Quell'  alma  feroce"  (I,  9).  Comparison  with  Ant.  M.  Lucchini's  "Famace" 
text,  as,  for  instance,  set  by  Rinaldo  da  Capua  (1739),  proves  that  these  two  texts, 
notwithstanding  the  many  differences,  are  identical.  Rinaldo  da  Capua's  opera 
begins:  "Benche  vinto,  e  econfitto;"  that  of  Perez:  "Del  nemico  Famace,"  which 
are  the  opening  words  of  scene  3,  act  I,  in  Rinaldo  da  Capua's  "Famace." 

Schatz  7878 

Farjiace.     Dramma  per  musica  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  della  Pergola  nel  carnevale  dell'  anno  1749  .  .  . 
Firenze,  Cosimo  Maria,  Pier,  n.  d.     55  p.     15'^'^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz,  but  unmistakably, 
and  notwithstanding  many  differences,  the  text  is  identical  with  Lucchini's  "Far- 
nace  "  text,  as  comparison  proves.  Lucchini's  text,  at  least  in  Rinaldo  da  Capua's 
setting  (1739),  begins:  "Benche  vinto,  e  sconfitto;"  in  the  Pescetti  setting:  "Del 
nemico  Famace,"  which  are  the  opening  words  of  scene  3,  act  I,  in  Rinaldo  da  Capua's 
opera. 

Argument,  cast,  scenario,  and  name  of  Giovanni  Battista  Pescetti  as  the  composer. 

Schatz  7966 

Famace.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
San  Cassiano  il  carnovale  dell'  anno  MDCCXVIII.  Di  Domenico 
Lain  .  .  . 

Veneda,  Marino  Rossetti,  1718.     60  p.     15^. 

Three  acts.  Author's  dedication,  argument,  cast,  scenario,  and  name  of  Carlo 
Francesco  Pollaroli  as  the  composer.  Schatz  8287 

Farnace.     Dramma  per  musica   da  rappresentarsi  nel  Teatro   di 
S.  A.  S.  E.  di  Baviera  nel  carnevale  del'  anno  1740. 
Monaco,  Giv.  Giac.  Votter,  n.  d.     61  p.     15'^^. 

Three  acts.  By  Antonio  Maria  Lucchini,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Giovanni  Porta  as  the  composer.  At  the  end  of  the  argument 
we  read : 

"II  dramma  non  comparisce  come  nuovo  .  .  .  Ognun  s^  quanta  sempre,  bench^ 
in  varie  guise  mutato,  incontrasse  lode,  e  applause.  Pur  questa  volta  ancora  diverse 
dalle  passate  in  alcune  parti  apparisce,  ma  tanto  solo,  quanto  k  convenuto  adattarlo 
agli  egregi  attori,  che  il  rappresentano,  e  cantano,  a  cui  per  comodo  della  musica  6 
costretti  la  poesia  a  servire,  piii  che  a  se  stessa." 

First  performed  at  Bologna,  Teatro  Malvezzi,  spring  of  1731.  Schatz  8379 

Famace.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  I'autunno  dell'  anno  1739  .  .  . 

Venezia,  Marino  Rossetti,  1739.     47  p.     IW^. 

Three  acts.  By  Ant.  M.  Lucchini.  Composed  by  Rinaldo  di  Capua.  Dedica- 
tory preface  by  the  impresario,  Domenico  Lalli,  argument,  cast,  scenario,  and  name  of 
the  composer.  Schatz  8796 


478  LIBRARY  OF   CONGRESS 

Famace.     Dramma  per  musica  da  rappresentarsi  nel  nobile  Teatro 
di  San  Samuele  la  fiera  dell'  Ascensione  dell'  anno  1776. 
Venezia,  Gio.  Battista  Casali,  1776.     56  p.     17^^. 

Three  acts.  By  Antonio  Maria  Lucchini,  who  is  not  mentioned.  Ailment,  cast, 
scenario,  and  name  of  Giuseppe  Saxti  aa  the  composer  ("La  musica  sar^  tutta  nuova  "). 
On  p.  [23]-34,  argument,  name  of  Carlo  Canobbio  as  composer  of  the  music,  and 
description  of  Onorato  Vigand's  "Andromaca  in  Epiro,  ballo  eroico,  tragico  panto- 
mimo."  *  ScHATZ  9473 

Famace.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  nel  carnovale  dell'  anno  1726. 

Venezia,  Marino  Rossetti,  1726.     57  p.     l^Y"^. 

Three  acts.  By  Antonio  Maria  Luchini,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Antonio  Vivaldi  as  the  composer.  Schatz  10766 

Farsa  per  musica  nelle  nozze  de'  nobili  sposi  Niccol6  Panciatichi  e 
marchesa  Vittoria  Ximenes  d'Aragona. 

Firenze,  Stamperia  Modchiana,  1762.     xxiii  p.     20*^^. 

Vignettes,  etc.  Dedicatory  poem  by  "L'autore  G.  S.  G."  Carl'  Ambrogio  MeU 
ifl  mentioned  as  the  composer.  The  piece  has  no  title,  but  may  be  called  "Imene 
ed  Armenia"  from  the  only  two  characters  in  the  play.  ML  48.M2F 

Farsetta  per  musica  da  rappresentarsi  nel  Teatro  alia  Valle  nel 
carnevale  dell'  anno  1751  ..  . 

Roma,  Ottavio  PucdneUi,  1751.     27  p.     15^"^. 

Two  parts.  Author  not  mentioned.  Dedication  by  the  publisher  and  Angelo 
Lungi,  cast  and  note  "La  musica  k  del  Sig.  Gioacchino  Cocchi  diretta  dal  Sig.  An- 
tonio Colli."  The  four  characters  of  the  farsetta  are  S.  Niccold  Tagliaciocchi,  Agno- 
lella,  Calandra,  Trappola.  ML  50.2.F22C7 

—  Farsetta  in  musica  da  rappresentarsi  nel  Teatro  della  cittk  di 
Spolti  nel  carnevale  dell'  anno  1758  .  .  . 

Spoleti,  Domenico  Giannini,  n.  d.     30,  [1]  p.     16^^. 

Two  parts.  Dedication,  cast  with  same  characters  as  above  and  name  of  Gioacchino 
Cocchi  as  the  composer.  ML  50.2.F22C72 

Der  fasc]iingsschm.aus,  ein  singspiel  in  zween  aufzuegen,  von  der 
studierenden  jugend  des  katholischen  schulhauses  in  Augsburg  bey 
St.  Salvator  aufgefuehrt  den  20.  21.  und  22ten  Hornunge  [Feb.]  1797. 

[Augsburg],  Joseph  Anton  Eueber,  n.  d.     [15]  p.     18^^'^"^. 

Cast  and  "Vorbericht,"  in  which  "Matthaue  Fischer,  regulierter  chorherr  des 
heiligen  Augustus  zum  heiligen  Kreuze  in  Augsburg"  as  composer.  At  head  of  title: 
"Strafe  der  ungerechten  rachbegierde,  ein  biirgerliches  trauerspiel  .  .  .  und" 

Schatz  3220 

The  fashionable  lady;  or,  Harlequin's  opera.     In  the  manner  of  a 
rehearsal.     As  it  is  perform'd  at  the  Theatre  in  Goodman's-Fields. 
Written  by  Mr.  Ralpn. 
London,  J.  Watts,  1730.     4  p.  l,  94,  [2]  p.     18^^. 

The  [2]  p.  contain  advertisement  by  Watts. 

Ballad  opera.  Three  acts.  Cast.  James  Ralph's  dedication  and  table  of  the  68 
songs,  the  airs  for  which  are  printed  in  the  text  with  their  titles. 

First  performed  April  2,  1730.  Longe  276 

Der  fassbinder.     Tr.  of  Audinot  and  Gossec's  Le  tonnelier. 

La  fata  Alcione  ossia  Amore  ed  innocenza,  ballet.  See  Mayr's 
Awiso  ai  maritati. 


OPEKA   LIBRETTOS  479 

La  fata  benefica,  ballet.     See  Cimarosa's  I  nemici  generosi. 
La  fata  benefica,  ballet.     See  P.  Guglielmi's  Admeto. 

La  fata  benefica.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobile  Teatro  dell'  eccell"*"  casa  Giustiniani  in  S,  Moise  il  came- 
vale  1783. 

Venezia,  n.  publ.,  n.  d.     55  p. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Caet  and  name  of 
Michele  Mortellari  as  the  composer.  Schatz  6680 

La  fata  capricciosa.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  nobile  Teatro  Giustiniani  in  San  Mois6 
il  carnovale  deir  anno  1789. 

Venezia,  Modesto  Fenzo,  1789.     58  p.     18^"^. 

Two  acts.     Scenario  and  name  of  Francesco  Gardi  as  the  composer.    Schatz  3548 

La  fata  meravigliosa.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  Cassano  nel  camevale  1745  ... 

Venezia,  Modesto  Fenzo,  1746  [!].     59  p.     ISY"^- 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, cast,  scenario,  and  name  of  Giuseppe  Scolaxi  as  the  composer. 

Schatz  9796 

La  fata  Urgella,  ballet.     See  Gnecco's  Lo  sposo  di  tre. 

Le  fate.     Dramma  per  musica. 

Dresda,  la  vedova  Stossel,  n.  d.     Unpaged.     18^*^^.    * 

One  act.  Argument.  Neither  the  author,  Stefano  Benedetto  Pallavicini,  is  men- 
tioned nor  the  composer,  Giovanni  Alberto  Ristori. 

First  performed  August  10,  1736,  at  Dresden,  Hoftheater.  Schatz  8817 

The  father  and  the  son  rivals.  Tr.  of  T.  Giordani's  II  padre  e  il 
figlio  rivali. 

Le  fatiche  d'Ercole  per  Deianira.  Drama  per  musica  di  Aurelio 
Aureli,  favola  decima.  Rappresentata  nel  ramosiss.  Teatro  Gri- 
mani  .  .  . 

Venetia,  Francesco  Nicolini,  1662.    front,  82  p.     14*^^. 

Prologue  and  three  acts.  Author's  dedication,  argument,  and  notice  to  the  reader, 
in  which  he  sa^s: 

"Sono  hoggidi  le  persone  della  citt^  di  Venetia  divenute  coei  suogliate  ne  i  gusti 
de  i  drami,  che  non  sanno  piii,  che  desiderar  di  vedere,  ne  I'intelletto  di  chi  compone 
ek  pill,  che  inventare  per  acquistarsi  gl'applauei  de'  spettatori,  6  per  incontrare  la 
sodisfattione  della  ma^ior  parte  (che  di  tutti  6  impossibile)  .  .  .  Confesso  d'essermi 
in  gueste  affaticato  piu  che  negl'  altri  miei  drami  per  incontrar  il  tuo  genio." 

The  composer,  Pietro  Andrea  Ziani,  is  not  mentioned. 

First  penormed,  as  indicated,  carnival,  1662.  Schatz  11221 

Fatima.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1779  .  .  . 

Torinx),  Onorato  Derossi,  n.  d.     viii,  54  p-     17"". 

Three  acts.  Author  not  mentioned,  and  not  known  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Bemard(in)o  Ottani  as  the  composer.  On  p.  55  was  to  follow 
a  description  of  Alessandro  Guglielmi's  ballet  "La  coetanza  guerriera,"  music  by 
Vittorio  Amedeo  Canavaeso.  Schatz  7361 


480  LIBBARY   OF   CONGRESS 

Le  faucon,  op6ra  comique,  en  un  acte,  en  prose,  mdl6  d'ariettes  par 
M.    Sedaine,    la   musique    de    M     *     *     *     Represents    devant   Sa 
Majesty  a  Fontaine bleau,  le  2  novembre  1771,  et  k  Paris,  par  les 
ComSdiens  italiens,  ordinaires  du  roi,  le  19  mars  1772. 
Paris,  Claude  Herissant,  1772.     47,  [1]  p.     21^"^' 
Composed  by  Monsigny.     Prettily  illustrated  by  Huault.  Schatz  6573 

—  Le  faucon,  opera-comique,  en  un  acte,  en  prose  m§16e  d'ariettes* 
par  M.  Sedaine.  La  musique  de  M  .  .  .  KeprSsente  devant  Sa 
Majesty,  a  Fontainebleau,  le  2  novembre  1771 ;  &  "k  Paris  par  les 
Com6diens  italiens  ordinaires  du  roi,  le  19  mars  1772. 

Paris,  Claude  Herissant,  1772.     32  p.     19'='^. 

Cast.     No  music  printed  in  the  text.  Schatz  11726 

Second  copy.    Ytjdin  PQ 

La  fausse  aventuriere,  opera-comique,  en  deux  actes,  mdl6 
d'ariettes.  Par  Mrs.  Anseaume  &  de  Marcouville.  Represents 
pour  la  premiere  fois  sur  le  ThS^tre  de  la  Foire  Saint  Germain,  le 
mardi  22  mars  1757. 

Paris,  Duchesne,  1757.     6 4  p.     20<='». 

Cast.  Composed  resp.  arranged  by  Jean  Louia  Laxuette.  On  p.  56-64,  the  airs, 
"Cours  k  ta  belle"  (1, 1),  "Sexe  dangereux,  trompeur"  (I,  6),  "Quelle  folie  extreme" 
(I,  8).  Schatz  5437 

La  fausse-foire.  Prologue  des  deux  pieces  suivantes.  Repre- 
sents par  la  troupe  du  Sieur  Francisque  k  la  Foire  de  Saint  Laurent 
1721  .  .  . 

Below  the  title,  this  Avertissement: 

Le  privilege  de  I'Op^ra  comique  ayant  4t6accord6  k  d'autres  qu'au  Sieur  Hamoche 
&  k  la  Dlle  de  Lisle,  (les  deux  aresboutans  de  ce  spectacle,  sous  les  noma  de  Pierrot  & 
d'Olivette)  ces  deftx  acteurs  se  joignirent  k  la  troupe  du  Sr.  Francisque,  &  joii^rent  ce 
prologue  avec  les  deux  pieces  qui  le  suivent.  Comme  les  Com^diena  italiens  s'^tab- 
firent  k  la  Foire,  le  secret  d6pit  ^u'en  eiirent  les  Co'm^diena  fran9oi8,  fut  favorable  k  la 
troupe  de  Francisque.  lis  la  laiss^rent  paisiblement  repr^senter  des  pieces  en  prose ; 
mais  les  privil6giez  ses  voisins  lui  firent  interdire  par  I'Op^ra,  non  seulement  le  chant 
&  la  danse,  mais  jusqu'aux  machines  &  changemens  de  decoration." 

—  La  boite  de  Pandore.  Piece  d'un  acte.  Representee  par  la 
troupe  du  sieur  Francisque  h.  la  Foire  de  Saint  Laurent.     1721. 

—  La  t^te-noire.  Piece  d'un  acte  representee  par  la  troupe  du 
S'  Francisque  a  la  Foire  de  Saint  Laurent  1721. 

Le  Theatre  de  la  foire,  Paris,  1724,  t-  iv,  3  pi.,  [3S3]-d02  p.     17'='^. 

According  to  a  note  on  2d  p.  1.,  the  plays  in  t.  iv  were  written  by  Le  Sage,  Fuzelier, 
and  d'Omeval.  These  three  are  practically  without  music.  Below  the  title  of  the 
last  play,  this  Avertissement: 

"Cette  pifece  fut  faite  k  I'occasion  d'un  faux-bruit  qui  courut  k  Paris,  qu'il  y  avoit 
dans  certaine  communaut^  vme  jeune  demoiselle,  dont  le  visage  ressembloit  k  une  tete 
de  mort.  On  offroit,  disoit-on,  une  somme  considerable  au  premier  garcon  qui  vou- 
droit  r^pouser.  II  se  pr^senta  effectivement,  pour  la  voir,  un  grand  nombre  de 
jeunes-gens,  qui  6toient  assez  cr6dules  pour  ajofiter  foi  a  cette  fable,  &  qui  vouloient 
m^me  entrer  par  force  dans  cette  communautl.  On  fut  oblig^,  pour  les  repousser,  de 
mettre  pendant  plusieurs  jours  des  gardes  k  la  porte."  . 

First  performed  July  31,  1721.  ML  48.L2IV 

La  fausse  magie.  ComSdie  en  vers,  et  en  deux  actes  m^lee  de 
chant,  representee  pour  la  premiere  fois  sur  le  Theatre  de  la  Comedie 
italienne,  le  mercredi  premier  fevrier  1775.     Par  M.  Marmontel  .  .  . 

Paris,  la  veuve  Duchesne,  1775.     72  p.     18*^^. 

Cast.  The  composer,  GrStry,  is  not  mentioned.  On  p.  72  the  couplet  air  of 
"Veut-on  que  la  bonne  aventure."  ML  50.2.F23G7 


OPERA   LIBRETTOS  481 

La  fausse  magie — Continued. 

—  La  fausse  magie,  com^die  en  vers  et  en  deux  actes,  m^l6e  de 
chant,  representee  pour  la  premiere  fois  sur  le  Theatre  de  la  Com6die 
italienne,  le  mercredi  l^  f^vrier  1775.  Par  M.  Marmontel  ...  La 
musique  est  de  M.  Gretry. 

Paris,  la  veuve  Duchesne,  1775.     48  p.     18'^^. 

Cast.    On  p.  47-48,  the  couplet  air  of  "Veut-on-que  la  bonne  aventure." 

SCHATZ  4153 

—  Die  abgeredete  zauberey.  Eine  komische  oper  in  einem  aufzuge, 
aus  dem  franzoesisclien  des  herrn  Marmontel  uebersetzt  von  Stephanie 
dem  juengern.  Die  musik  dazu  ist  vom  herrn  Gretry.  aufgefuehrt 
auf  dem  K.  K.  Nationaltheater. 

Wien,  zujinden  heym  logen  meister,  1778.     50  p.     W^. 

First  performed,  as  indicated,  October  27,  1778.  Schatz  4154 

—  Das  blend werk.  Eine  komische  oper  in  einem  aufzuge.  Nach 
dem  franzoesischen  des  Marmontel  und  beybehaltener  Gretryscher 
musik  .  .  . 

GotJia,  Carl  Wilhelm  Ettinger,  1781.    64  p.     15^'''^. 

By  Wilbelm  Christian  Dietrich  Meyer,  who  is  not  mentioned,  and  who,  oddly 
enoi^h,  selected  this  motto  for  his  title  page: 

"Was  nicht  der  muehe  verlohnt  gesprochen  zu  werden,  das  laesst  man  heutzutage 
eingen.  Beaumarchais." 

F'irst  performed  at  Mannheim,  Chiirf.  deutsche  Schaubiihne,  February  25,  1779. 

Schatz  4155 

—  Der  zauberspiegel.  Eine  komische  oper,  in  zwei  aufzuegen. 
Nach  dem  franzoesischen.  Mit  beibehaltung  der  Gretryschen  musik 
von  Ch.  F.  V.  B -n. 

n.  i.,  n.  d.     54  p.     15^""^. 

By  Christian  Friedrich,  freiherr  v.  Benin. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  January  18,  1781.  • 

Schatz  4156 

La  fausse  peur,  comedie  en  un  acte,  m^l^e  d'ariettes,  representee 
pour  la  premiere  fois  par  les  Com^diens  italiens,  le  lundi  18  juillet 
1774.  Par  M.  N  *  *  *.  La  musique  est  de  M.  d'Arcis,  eleve  de 
M.  Gretry,  §,g6  de  14  ans  &  demi. 

Paris,  Valade,  1775.     48  p.     17^'"^. 

Cast.  The  prodigy's  dedication  to  his  mother  is  followed  by  an  Avant-propoB,  in 
which  the  anonymous  author  eays : 

"En  donnant  cette  bagatelle,  je  n'ai  pas  pr^tendu  a  voir  fait  une  bonne  pik;e;  je 
me  Buis  trouv6  trfes-heureux  de  n'en  a  voir  pas  fait  une  detestable.  Mon  but  6toit 
de  procurer  k  un  enfant  intereseant  I'occasion  de  faire  briller  son  g^nie  naiesant  .  .  . 
On  a  trouv6  que  les  scenes  6toient  d^cousues:  je  le  crois  bien.  On  en  a  retranch6 
plusieurs:  on  a  6t6  deux  duo  presque  k  I'instant  de  repr^senter.  Cependant,  j'ose 
esp^rer  qu'k  la  lecture  on  reviendra  de  ce  pr6jug6  d^favorable  ..." 

He  thanks  the  public  for  the  kind  reception  of  his  "enfant."  This  might  lead  to 
the  inference  that  the  composer's  father  was  the  author,  but  we  know  from  the  revised 
edition  of  the  text,  composed  by  Dalayrac  as  "La  legon,"  that  it  was  written  by 
Marsollier.  On  p.  43-48  the  airs  of  "II  faut  cesser  d'etre  severe,"  "Quel  6clat  brille 
dans  sesyeux  "  and  the  vaudeville  " Allone,  cette  heureuse  joum6e."     Schatz  2411 

Second  copy.    Schatz  11671 

72251"— VOL  1—14 31 


482  LIBRARY   OF   CONGRESS 

Les  fausses  apparences  ou  L'amant  jaloux,  com6die,  en  trois  actes, 
m614e  d'ariettes;  representee  devant  Leurs  Majest^s,  k  Versailles  en 
novembrc  [Nov.  20]  1778. 
Paris,  la  veuve  Duchesne,  1779.    2  p.  I,  80  p.     20'^'^. 

Cast.  Gr6try  is  mentioned  as  composer,  d'HMe  as  author.  No  music  printed 
with  the  text.  ML  50.2.F235G6 

—  Les  fausses  apparences,  ou  L'amant  jaloux,  en  trois  actes,  mfiiee 
d'ariettes.  Les  paroles  sont  de  M.  d'Hele.  La  musique  de  M. 
Gr^try.  Representee  devant  Lem^  Majest6s,  k  Versailles,  en 
novembre  [Nov.  20]  1778. 

Paris,  la  veuve  Duchesne,  1780.     64  p.     19*^^. 

Cast.  On  p.  35-37  the  voice  and  bass  of  the  ariette  "Le  mariage  est  une  en  vie" 
(II,  3)  and  on  p.  52-54  of  "Tandis  que  tout  sommeille"  (II,  14). 

Firat  performed  at  Paris,  Com^die-italienne,  Dec.  23,  1778.  Schatz  4157 

—  L'amant  jaloux,  ou  Les  fausses  apparences,  comedie  en  troia 
actes,  melee  d'ariettes;  representee  devant  Leurs  Majestes,  k  Ver- 
sailles en  Novembre  1778.  Les  paroles  sont  de  M.  d'Hele.  La 
musique  de  M.  Gretry. 

Toulouse,  Broulhiet,  1780.     46  p.     18^''^. 

Cast.  ML  50.2.F235G7 

—  Der  eifersuechtige  liebhaber.  Ein  singspiel  in  drey  aufzuegen. 
Aus  dem  franzoesischen;  auf  die  musik  des  nerrn  Gretry  uebersetzt, 
von  hrn.  Stephanie  dem  juengern.  Aufgefuehrt  im  k.  k.  National 
Theater. 

Wien,  zujlnden  heym  logenmeister,  1780.     60,  [1]  p.     17'^'^. 

First  performed,  as  indicated,  October  12.  1780.  Schatz  4158 

Les  fausses  infidelites.     A.  T.  of  Philidor's  Zemire  et  Meiide. 

Fausta  restituita  all'  impero.  Dramma  per  musica  da  rappre- 
sentarsi  nel  nuovo  Teatro  di  Tor  di  Nona  dell'  illustriss.  Signor  conte 
d'Alibert  I'anno  1697  ..  . 

RoTYia,  Domenico  Ant.  Ercole,  1697.     59  p.     IS^"^. 

Three  acts.  Dedication  by  Pietro  Leone,  the  book  dealer,  who  hardly  was  respon- 
sible for  the  alterations  of  Novello  de  Bonis  "Odoacro"  text.  Neither  he  is  men- 
tioned, nor  Giacomo  Antonio  Pertd,  the  composer.    Argument  and  scenario. 

Schatz  7959 

Das  faustrecht  in  Thueringen.  Erster  theil.  Ein  schauspiel  mit 
gesang  in  vier  aufziigen  nach  Halper  a  Spada  ftir  die  schaubiilme 
bearbeitet  von  Karl  Friedrich  Hensler.  Die  musik  von  Ferdinand 
Kauer  .  .  . 

Wien,  Schmidt,  1797.     94  p.     17'^'^. 

First  performed  at  Vienna,  Marinellische  Schaubiihne  in  der  Leopoldstadt,  April 
7,  1796.  Schatz  5027 

—  Das  faustrecht  in  Thueringen.  Zweyter  theil  .  .  .  [same  as 
above]. 

Wien,  Schmidt,  1797.     96  p.     17''"'. 

First  performed  at  the  same  theatre,  January  17,  1797,  or  already  in  1796. 

Schatz  5028 


OPERA   LIBRETTOS  483 

Das  faustrecht  in  Thueringen — Continued. 

—  Das  faustrecht  in  Thueringen.  Dritter  und  letzter  theil  .  .  . 
[same  as  above] 

Wien,  Schmidt,  1797.     100  p.     17'"^. 

On  p.  [2]:  "  Aufgefuehrt  auf  der  k.  k.  privil.  MarinelliBchen  Schaubiihne  in  Wien." 
Schatz  does  not  record  the  date.  Schatz  5029 

Le  faux  lord,  comedie  en  deux  actes,  en  prose,  melee  d'ariettes, 
re])r^entee  devant  Leurs  Majestes,  et  a  Paris,  par  les  Com^diens 
italiens  ordinaires  du  Roi,  le  6  decembre  1783. 
Paris,  Brunei,  1783.     4  p.  I,  86  p.     19"-^. 

The  dedication  is  addressed  to  "A  mon  pfere"  and  signed  "Votre  tendre  fils,  Pic- 
cinni  I'aln^."  In  it  he  calls  this  piece  "mon  premier  essai."  Cast  and  names  of 
[Giuseppe  Maria]  "Piccinni  fils"  as  author,  of  Niccolo  "Piccinni  pere"  as  composer. 

Schatz  8092 

Les  faux  monnoyeurs,  ou  La  vengeance,  drame  en  trois  actes, 
meles  de  chants.  Paroles  de  J.  G.  A.  Cuvelier;  musique  de  Gresnich; 
decorations  de  Moench.  Represente  pour  la  premiere  fois  le  12 
flor6al,  an  5,  [May  1, 1797]  sur  le  Theatre  Montansier  au  Palais-Egalite. 
Paris,  Barha,  an  cinquieme  de  la  Republique,  [1797-98].  1^2  p.  20'^'^. 
Cast.  Schatz  4131 

Le  faux-prodige.     A.  T.  of  Piron's  text  La  robe  de  dissention. 

La  favola  d'  Apollo  e  Dafne,  ballet.     See  Rispoli's  Nitteti. 

La  favola  de'  tre  gobbi.     Intermezzo. 

[1S3]-175  p.  16^'^.  Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  iv,  Torino,  1757. 

Two  parts.  First  performed  with  music  by  Vincenzo  Legrenzio  Ciampi  at  Venice, 
Teatro  di  San  Moise,  carnival  1749.  ML  49.A2G6 

—  La  favola  de'  tre  gobbi.     Intermezzo  di  due  parti  per  musica. 
Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  35, 

[181]-205  p.     18^"^.  PQ 

II  favore  de  gli  Dei.  Drama  fantastico  musicale  fatto  rappresen- 
tare  dal  Serenissimo  Sig.  duca  di  Pgirma  nel  suo  Gran  Teatro  per  le 
felicissime  nozze  del  Serenissimo  Sig.  principe  Odoardo  suo  primo 

fenito  con  la  Serenissima  Signora  principessa  Dorotea  Sofia  di 
[eoburgo  .  ,  .  Poesia  d'Aurelio  Aurelj  .  .  .  e  musica  di  D.  Ber- 
nardo Sabadini  .  .  . 

Parma,  Stampa  ducale,  1690.     xvi,  88  p.    21 Y'^' 

Three  acts.  Aureli's  dedication,  "Dilucidatione,"  cast,  scenario,  list  of  the 
"Machine  in  aria  e  in  terra"  and  AureU's  interesting  and  instructive  prefatory  note 
which  reads: 

"Non  persuaderti  di  leggere  in  queeto  drama  altezza  di  fraee.  La  mia  penna 
avuezza  k  radere  il  suolo  non  s^  spiegare  voli  di  Dedalo.  Scrissi  piii  per  la  musica, 
che  per  la  lettura.  Dove  fu  dalla  magnanimity  di  queeta  A.  S.  fatta  una  scielta  dei 
piu  canon  Cigni,  e  delle  piii  dolci  sirened'ItaUa,  m'  auria  parso  commettere  un  grand' 
errore  ^  non  procurar  di  ponere  ogni  studio  nella  facility  dei  versi,  e  nei  metn  dell' 
arie  per  dar  materia  al  compositore  della  musica  di  farti  godere  delle  lor  soavissime 
voci  ^  quel  segno  maggiore,  ch'h^  potuto  per  mettermi  con  adeguata  misura  il  gran 
numero  d'essi.  Ne  credere  di  compassare  la  recita  di  questo  drama  col  solito  spazio 
di  tempo,  che  si  pratica  ne  gl'  altri  ordinari.    Perche  si  come  il  Gran  Teatro  di  Parnm 


i  tempo,  che  si  pratica  ne  gl'  altri  ordinarj. 
il  piu  maestoso  di  quanti  n'abbia  I'Europa, 


5  il  piu  maestoso  di  quanti  n'abbia  I'Europa,  anzi  il  mondo  tutto,  nulla  cedeudo  in 


484  LIBRARY  OF  CONGRESS 

II  favore  de  gli  Dei— Continued. 

pregio  k  gl'  antichi  piii  famosi  di  Roma gi^dal  tempo  diatrutti,  ne  queeti  s'apre  giamai, 
che  Bolo  in  occasione  di  nozze  di  serenLssimi  principi  Famesi;  Coal  in  esso  rappresen- 
tandosi  qualche  drama  non  mai  scompagnato  da  moltiplicitsi  di  musici,  da  varietA  di 
scene,  e  da  quantity  di  machine,  fu,  e  sari  sempre  cni  hk  scritto,  e  scriverk  per  il 
medesimo  in  simile  occorrenze  costretto  a  passar  la  misura  dell'  ore  limitate  all  altre 
dramatiche  compositioni.  Due  cose  in  questo  drama  h6  studiate.  Inventioue  parte 
necessaria  ad  ogni  poeta,  e  dispositiono  delle  cose  inventate.  Nella  prima  hb  procu- 
rato  con  la  variety  dell'  apparenze  di  recar  diletto,  e  non  tedio  alia  grandezza,  e  nobilta 
de'  epettatori  nel  corso  di  sett'ore,  che  pu6  forse  durare  la  recita  dell'  opera,  in  cui  mi 
dichiaro  d'essermi  scapricciato  k  mia  voglia  merc6  alia  generosity  senza  pari  di  S.  A.  S. 
mio  clementissimo  patrone,  che  mi  hk  concesso  ampio  campo  di  poter  farlo.  Nell' 
altra  h6  impiegato  ogni  studio  per  trovare  quella  facilita  piu  propria  al  drameggiare. 
L'onore  (di  cui  me  ne  dichiaro  incapace)  del  pregiato  commando  di  S.  A.,  che 
m'obligb  in  breve  tempo  k  due  si  gloriose  fatiche,  I'una  per  il  Giardino,  I'altra  per  il 
Gran  Teatro,  animo  e  luvigeri  la  mia  debolezza  a  una  pronta  obedienza.-  Se  avro  in 
qualche  parte  mancato  k  quanto  si  richiederebbe  ad  im  pondo  si  grave;  Spero  che 
1  armonia  della  musica  del  ^'irtuo8is8imo  Sig.  D.  Bemado  Sabadini  mastro  di  capella 
di  S.  A.  S.  sia  per  rapirti  k  tal  segno  la  mente,  che  6  non  vedrai,  6  vedendole  non 
sdegnerai  di  leggere,  e  compatire  le  mie  debolezze.    Vivi  felice." 

Our  copy  lacks  the  unnumb.  page  after  p.  88  with  reference  to  "Girolamo  Pajani, 
suonatore  d'arpa"  as  also  the  fifteen  magnificent  plates  in  the  Brussels  Conservatory 
copy,  partly  reproduced  in  fac-simile  by  Wotquenne  in  his  catalogue. 

First  performed,  as  indicated,  May  25,  1690.  ML  50.2.F237S2 

Favourite  songs,  written  and  composed  by  Mr.  Dibdin.    As  they 
are  performed  in  a  divertissement,  prepared  puq^osely  for  their  intro- 
duction at  the  Theatre-Royal  Covent-Garden. 
London,  Printed  for  the  author,  n.  d.     xxx,  [2]  p.     20'^'^. 

Two  acts.    Cast.    A  prefatory  note  says: 

"From  the  popularity  of  the  following  songs,  it  was  conceived  that  they  might  be 
brought  on  the  stage  mth  effect.  Mr.  Harris  adopted  the  suggestion,  and  procured 
a  vehicle  to  be  prepared  for  their  introduction : — not  however  before  he  had  consulted 
their  author  and  composer  ..." 

The  [2]  contain  "songs- and  other  publications,"  to  be  had  at  "Mr.  Dibdin's  ware- 
house*," "songs  in  the  Oddities,"  etc. 

Must  have  been  published  1789  or  later.  Longb  214 

La  fede  in  cimento.  L.  T.  of  M.  A.  Bononcini's  II  trionfo  di 
Camilla,  regina  de'  Volsci. 

La  fede  in  cimento.     L.  T.  of  Gasparini's  L'amor  generoso. 

La  fede  ne'  tradimenti.  Drama  per  musica  che  si  rappresenta  nel 
Teatro  dell'  lUma  Accademia  de'  Remoti  in  Faenza  Testate  dell'  aflo 
1723  .  .  . 

Faenza,  Stamperia  deW  archi  impressor  camerale,  n.  d.     61,  [1]  p. 

Three  acts.  Impresario's  dedication,  dated  Faenza,  June  10,  1723,  scenario,  argu- 
ment, protesta,  with  name  of  Girolamo  Gigli  as  author,  cast,  and  name  of  Giuseppe 
Maria  Bviim  as  composer.  ML  48.A5    v.  4 

La  fede  ne'  tradimenti.  Dramma  per  musica  .  .  .  fatto  cantare 
da  SS.  convittori  del  nobil  coUegio  Tolomei  di  Siena.  Per  il  camo- 
vale  di  quest'  anno. 

Siena,  nella  Stamper,  del  puhl,  1689.    5  p.  I.,  49  p.     IS^"^. 

Three  acts.  The  dedication  to  prince  Domenico  Rospigliosi is  dated  "Siena  li  12. 
febbraio  1889  "  and  signed  by  Girolamo  Gigli  aa  author.  Then  comes  notice,  ' '  Lettore 
amico,"  "Ristretto  dell'  opera,"  characters,  scenario,  cast  of  the  dances  fmostly 
noblemen),  and  name  of  the  composer,  Giuseppe  Fabbrtni,  "maestro  di  capella  della 
Metropolitana  e  del  Collegio."  Schatz  2962 

*^  Second  copy.    ML  48. A5    v.  46 


OPERA    LIBRETTOS  485 

La  fede  ne'  tradimenti — Continued. 

—  La  fede  ne'  tradimenti.  Dramma  per  musica  fatto  cantare  da' 
SS.  Convittori  del  nobil  Collegio  Tolomei  di  Siena.  Per  il  carnivale 
di  quest'  anno  1689. 

Sieiia,  Stamper,  del  Puhl,  1689.     Sp.l,  48  p.     i-^<='». 

Three  acts.  The  same  text  as  in  the  preceding  entry.  Neither  Gigli  nor  Fab- 
brini  mentioned.    Argument  and  note: 

"Quest'  operetta  medesima  si  trova  con  Taggionta  di  due  ridicoli  fatta,  dal  Sig. 
Franco  de  Lemene."  ML  50.2.F24F2 

La  fede  ne'  tradimenti.     Drama  per  musica  da  recitarsi  nel  Teatro 
di  S.  Angelo  Fautunno  dell'  anno  1721  ... 
Venezia,  Marino  Rossetti,  1721.     48  p.     l^Y^. 

Three  acts.  Argument,  cast,  and  dedication,  with  name  of  Girolamo  Gigli,  the 
author.     Carlo  I^uigi  Pietragrua,  the  composer,  is  not  mentioned.       Schatz  8165 

La  fede  ne  tradimenti.  Drama  per  musica  da  recitarsi  nel  Teatro 
di  San  Fantino  I'anno  1705  '.  .  . 

Venezia,  Marino  Rossetti,  1705.     60  p.     15'^'^. 

Three  acts.  By  Girolamo  Gigli,  with  alterations  by  Giuseppe  Beretta.  Neither 
they  nor  the  composer.  Carlo  Francesco  Pollaroli,  are  menuoued.  Impresario's 
dedication,  dated  "\'enice,  October  30,  1705,  and  argument.  Schatz  8288 

La  fede  ne'  tradimenti.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Bartolomeo  nella  state  dell'  anno  1718  .  .  . 
.  Napoli,  MicheleLuigi  Muzio,  1718.     58  p.     13^'='". 
Three  acts.     By  Girolamo  Gigli,  who  is  not  mentioned.     Impresario's  dedication, 
dated  Naples,  May  15,  1718,  argument,  scenario,  cast,  and  name  of  Domenico  Sarro 
as  the  composer.  Schatz  9415 

La  fede  tra  gl'inganni.     Drama  per  musica.     Da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo.     II  carnovale  MDCCVII  .  .  . 
Venezia,  Marino  Rossetti,  1707.     48  p.     UY"^. 

Three  acts.  Publisher's  dedication,  argument,  scenario,  and  Rossetti's  notice  to 
the  reader,  in  which  he  eays  that  this  text  was  written  by  the  author  "ne'  primi  anni 
della  sua  applicazione  al  teatro,*'  and  that  "tr^  anni  eono  lo  concesse  a  chi  desider6 
esporlo  sovra  le  scene  in  Rovigo."  Neither  the  author,  Francesco  Silvani,  is  men- 
tioned, nor  the  composer,  Tommaso  Albinoni.  Schatz  119 

La  fede  tradita  e  vendicata.     O.  T.  of  Silvani's  text  Kicimero. 

La  fede  tradita  e  vendicata.     See  Galuppi's  Emelinda. 

La  fede  tradita  e  vendicata.  Drama  per  musica  da  rappresen- 
tarsi nel  Teatro  Tron  di  S.  Casciano  I'anno  1704.  Poesia  di  Francesco 
Silvani  ... 

Venezia,  Gio.  Battista  Zuccato,  I704.     72  p.  14^"^. 

Three  acts.  Author's  dedication,  dated  Venice,  January  5,  1704,  argument,  notice 
to  the  reader,  in  which  the  author  calls  this  his  second  drama,  cast,  anof  name  of  Carlo 
Francesco  Gasparini  as  the  composer.  Schatz  3566 

—  La  fede  tradita  e  vendicata.  Drama  per  musica  da  rappresen- 
tarsi nel  famoso  Teatro  di  S.  Bartolomeo  in  questo  presente  anno  .  .  . 

Napoli,  Salvatore  Votto,  1707.     70  p.     14'"^. 

Three  acts.  De<lication,  notice  to  the  reader,  argument,  cast,  and  scenario.  The 
"amico  lettore"  is  informed  by  Carlo  de  Pretis  that  the  drama  being  "sempre  lontano 
dal  costume  Napoletano;  stato  h  d'uopo  a  me  (^arlo  de  Petris  di  ridurlo  all"  uso  di 
questa  cit^  ...    La  musica  e  dell'  ammirabilissimo  Signor  Francesco  Gasparini, 


486  LIBRARY   OF   COXGRESS 

La  fede  tradita  e  vendicata — Continued. 

cou  qualche  cosa  di  pill  de  Signer  Gioseppe  Vimola  ..."  The  alterations  are  con- 
siderable, but  more  in  the  arias  than  in  the  dialogue.  For  instance,  the  very  first 
aria  is  now  "Sovvengati  che  sei,"  instead  of  "Se  I'amor  mio  t'e  caro;"  scene  sixth, 
act  III,  now  begins,  "Ah  che  disgratia,  udite,"  instead  of  "L'infelice  Emelinda,  o 
principessa,"  etc.,  etc.  Schatz  3567 

La  fede  tradita  e  vendicata.  Dramma  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Sant'  Angelo  il  camovale  dell'  anno  1726  .  .  . 

Venezia,  Marino  Kossetti,  1726.     48  p.     l^""^. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  composer. 

Schatz  10767 

La  fedelta  coronata,  oder  Die  gekroente  treue,  in  einem  singspiel 
auff  dem  grossen  Hamburgischen  Schau-platz  vorgestellet.  Im  jahr 
1706. 

n.  i.,  n.  d.     Unpaged.     75^*="*. 

Three  acts.  Argument  by  the  author,  Hinsch  (not  mentioned),  and  "avertisse- 
ment "  signed  by  the  composer,  Reinhard  Keiser,  in  which  he  says  in  part : 

"Soweit  erstrecket  sich  der  inhalt,  so  der  herr  autor  zum  vorbencht  gesetzet: 
wobey  ich  dieses  hinzu  zu  fuegen,  dass  mein  wunsch  dahin  ziele,  dieser  opera  mit 
eo  lustigem  humeur  zuzusehen,  ale  mein  gemueht  bisher  verdruss  bey  meinem 
zustande  empfimden.  Da  nim  dieses  meine  drey  iind  dreissigste  composition  der 
Bchauspiele^  so  moechten  vielleicht  die  inventiones  zu  vielen  100.  arien  einem  con- 
nosseur  einiges  nachsinnen  erwecken.  Jedoch  kan  ich  nicht  in  abrede  seyn,  dass  zu 
deren  verfertigimg  mich  nichts  als  die  liebe  zu  diesem  theatre,  fumemlich  aber  die 
hoefligkeit  eines  vornehmen  hauses  encouragirt  .  .  .  Und  da  die  meisten  widrige 
raisonnements  von  denen  gefaellet  worden,  welche  etwass  ihre  passiones  verleitet, 
oder  sich  fiattiren,  dass  sie  unter  die  zahl  der  musickenner  gehoeren,  wenn  sie  etwan 
ein  menuet  auff  der  hautbois  oder  violine  epielen,  so  kann  ich  gegentheils  versichem, 
dass  ich  niemals  auff  dergleichen  jugements  reflectirt,  noch  um  den  mauvait  gout  du 
par-terre  mich  bekuemmert,  weil  ich  weiss,  wie  weit  der  menschen  urtheil,  so  oeffters 
so  unzeitig  ala  irraisonnabel  zu  aestimiren.  Einige  arien  aus  meiner  Almira  habe 
desswegen  hinein  geruecket,  weil  die?elbe  vereits  vor  2.  jahren,  ehe  allhier  Almira 
auffgefuehrt,  componirt,  und  damit  sie  nicht  eben  gar  versteckt  blieben,  so  habe 
darinnen  einigen  liebhabem  leicht  favorisiren  koennen,  obgleich  dieselbe  meistens 

fedruckt,  imd  mit  naechsten  zusammt  der  Octavia  zum  vorschein  kommen  werden . 
)ie  itaUaenische,  so  mit  cursiv-lettem  gezeichnet,  sind  mir  von  einem  autore,  dessen 
poesie  mir  bissher  Anel  plaisir  gemacht,  communicirt  .  .  ."  Schatz  5089 

La  fedelta  coronata.     L.  T.  of  Orlandini's  Antigona. 

La  fedelta  nelle  selve.  Dramma  giocoso  per  musica  dell'  ab. 
Michelangelo  Prunetti,  romano,  Accademico  Quirino.  Da  rappre- 
sentarsi  nel  nobilissimo  Teatro  Giustiniani  in  San  Moise  il  camovale 
deir  anno  1793  ..  . 

Venetia,  Modesto  Fenzo,  1792.     56  p.     17 Y"^. 

Two  acts.    Cast  and  name  of  Giacomo  Tritto  as  the  composer.        ScffATz  10484 

—  La  fedelta  tra  le  selve.  Commedia  per  musica  da  rappresen- 
tarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  second'  opera  del 
corrente  anno  1796  .  .  . 

Napoli,  n.  pull.,  1796.     1,8  p.     W"". 

Two  acts.  By  Michelangelo  Prunetti,  who  is  not  mentioned.  Impresario's  dedi- 
cation dated  Naples,  August  2,  1796,  cast,  and  name  of  Giacomo  Tritta  (Tritto)  as 
the  composer.  With  the  opera  was  performed  Lauchelin  Duquesney'a  "Egle,  e 
Cloco  o  siano  I  satiri  puniti,  ballo  favoloso  pantomime  ...  La  musica  e  tutta 
nuova  scritta  dal  sig.  Hayden."     Cast  and  description  of  the  ballet  on  p.  7-11. 

First  performed  at  Venice,  Teatro  di  San  Moise,  carnival  1793  as  "La  fedelta  nelle 
selve."  Schatz  10470 


OPERA.   LIBRETTOS  487 

La  fedelta  riconosciuta.  Dramma  giocoso  posto  in  musica  da  Sua 
Eccellenza  nobil  uomo  Francesco  More  Lin  da  cantarsi  nel  sue  casino. 

Venezia,  Modesto  Fenzo,  1798.     48  p.     17 Y"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  who  says  that  the  text 
is  a  later  version  of  "La  finta  giardiniera."  '  Schatz  6674 

La  fedelta  riconosciuta.     A.  T.  of  P.  v.  Winter's  Belisa. 

La  fedelta  tra  le  selve.     L.  T.  of  Bianchi's  La  villanella  rapita. 

Federico  n  re  di  Prussia,  ballet.     See  Salieri's  Axur  re  d'Ormus. 

Fedra,  ballet.     See  Campobasso's  Antigona. 

Fedra.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro  di 
S.  Carlo  nel  di  I.  gennaro  1788  .  .  . 

Napoli,  Vincenzo  Flauto,  1788.     54  p.     io^*^"". 

Two  acts.  Impresario's  dedication,  cast,  name  of  Paisiello  as  the  composer,  and 
author's  preface  with  this  footnote  by  the  impresario: 

"Non  s'intende  per  qual  ragione  il  Sig.  abate  Salvioni  autore  di  questo  dramma^ 
da  noi  in  qualche  parte  cangiato  per  comodo  delle  nostre  scene,  abbia  tralasciato  di 
rammentare  fra  loro,  che  trattarono  questo  argomento,  I'immortale  [Carlo  Innocente] 
Frugoni." 

As  a  matter  of  fact,  Salvioni  did  not  write  a  new  libretto,  but  simply  modified 
Frugoni's  "Ippolito  ed  Aricia."  Schatz  7668 

La  fee  TJrgele.  Comedie  en  quatre  actes,  meslee  d'ariettes,  repre- 
sentee devant  Leurs  Majestes,  k  Fontainebleau,  le  26  octobre  1765. 

[Paris],  Christophe  BaUard,  1765.  52  p.  20^"^.  {Journal  des 
spectacles,  t.  ii,  Paris,  1766.) 

Cast  and  name  of  Egidio  Romualdo  Duni  as  composer.  The  Journal  on  p.  14,  t.  I, 
attributes  the  text  to  Charles  Simon  "Favart  &  compagnie."  Font  says:  "Voisenon 
a  retouch^  des  details."  '     ML  48.J7 

—  La  fee  TJrgele,  ou  Ce  qui  plait  aux  dames,  comedie  en  quatre 
actes,  meslee  d'ariettes;  representee  devant  Leurs  Majestes,  par  les 
Comediens  italiens  ordinaires  du  roi,  a  Fontainebleau,  le  26  octobre 
1765.     Et  "k  Paris  le  4  decembre  suivant. 

Paris,  la  veuve  Duchesne,  1765.  68,  8  p.  W'^.  {Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  ix.) 

The  8  p.  contain  three  "Airs  de  la  F^  Urgele  " :  "C'est  une  misere "  (II,  4),  "Nous 
allons  ici"  (IV,  2),  "L'avez-vous  vu  mon  bien  aim^"  (III,  5).  Cast.  "Epitre  aux 
dames, ' '  name  of  Duni  as  composer,  and  remark :  ' '  Les  paroles  sont  de  MM .    *    *   *  " 

ML  49.A2F1 

—  La  fee  Urgele,  ou  Ce  qui  plait  aux  dames,  comedie  en  quatre 
actes  melee  d'ariettes.     La  musique  est  de  M.  Duni  .  .  . 

Paris,  Par  la  compagnie  des  libraires,  1768.     48  p.     19*^ . 
Without  "Epitre"  or  music.  Schatz  2843 

—  La  fee  Urgele,  ou  Ce  qui  plait  aux  dames,  comedie  en  quatres 
actes,  meiee  d'ariettes;  representee  sur  le  Theatre  de  la  cour,  par  les 
Comediens  franpois  ordinaires  du  roi,  le  [hlank]  1770. 

Copenhague,  CI.  Philihert,  1770.     68  p.     19"^. 

"Epitre  aux  dames,"  cast,  and  name  of  Duni.    The  authors  are  not  mentioned. 

YUDIN  PQ 


488  LIBRARY   OF   CONGRESS 

La  fee  TJrgele — Continued. 

—  La  fee  XJrgdle,  ou  Ce  qui  plait  aux  dames,  com^die  en  quatre 
actes,  m^l^  d'ariettes;  representee  devant  Leurs  Majestfe,  par  les 
Com6diens  italiens  ordinaires  du  roi,  k  Fontainebleau,  le  26  octobre 
1765  &  k  Paris  le  4  decembre  suivant. 

Paris,  la  veuve  Duchesne,  1781.    56  p.     IQ*^"*. 

Cast.  On  p.  29-31,  the  ariette,  "C'est  une  misfere"  (II,  4^;  41-43,  the  romancej 
"L'avez-vou8  vu,  mon  bien  aim4"  (III,  6);  46-48,  the  anette,  "Nous  allons  ici 
eouper"  (IV,  2).  Schatz  11695 

—  Die  fee  Urgele  oder  Was  den  damen  gefaellt,  ein  singspiel  in  vier 
aufzuegen  aus  dem  franzoesischen  uebersetzt  mit  musik. 

FranJcfurt  am  Mayn,  mit  Andreaischen  schrijten,  [1776].  84  p-,  H 
p.  {folded  dated  music).     16^"^. 

German  version  by  Johann  Heinrich  Faber.  Cast.  The  musical  supplement  con- 
tains the  arias  (voice  and  bass) :  ' '  Recht  schone  blumen  verkauf  ich  "  [  Je  vends  des 
bouquets"],  p.  1-5;  "Wenn  man  liebt,  ist  man  vergniiget"  ["Ahi  que  I'amour  Est 
chose  jolie"],  p.  5-9;  "Unsem  jungen  leuten  fehlt"  ["C'est  une  misfere  Que  noa 
jeunesgens"),  p.  10-14. 

First  performed  at  Mannheim,  Theater  auf  dem  Fruchtmarkt,  1772. 

Schatz  2844 
La  feerie.     Entree  in  Niel's  Les  remans. 

Het  feest  der  Brahminen.  Tr.  T.  of  Wenzel  Mueller's  Das  sonnen- 
fest  der  Braminen. 

Les  feintes  infidelites.     A.  T.  of  Philidor's  Les  femmes  veng6es. 

La  felicita  della  terra.     A.  T.  of  Sarti's  Astrea  placata. 

La  felicita  della  terra.     A.  T.  of  Schiirer's  Astrea  placata. 

La  felicita  di  Partenope.  Componimento  drammatico  da  cantarsi 
in  Roma  per  festeggiare  la  nascita  di  S.  A.  R.  il  Serenissimo  principe 
delle  Due  Sicilie  D.  Filippo  di  Borbone  .  .  . 

Roma,  Ottavio  PuccineUi,  17^7.     20  p.     23^"^. 

Two  parte.  Dedication  signed  by  Gaetano  Pescatori,  and  note:  "La  poesia  h  di 
N.  N.  Pastore  Arcade.  La  musica  h  del  Sig.  Giovanni  Cordicelli."  Not  recorded 
by  Schatz.  ML  48.M2A 

La  felicita  nata  dalle  sventure,  ballet.  See  P.  Guglielmi's  Arsinoe 
e  Breno. 

Felix,  ou  L'enf ant  trouv6,  com^die  en  trois  actes ;  en  prose  &  en  vers 
mis  en  musique.  Reprfeent^e  devant  Leurs  Majesty's  k  Fontaine- 
bleau le  10  novembre,  &  par  les  Com^diens  italiens  ordinaires  du  roi, 
le  24  novembre  1777. 

Paris,  la  veuve  Ballard  <&Jlls,  1777.    2  p.l,  90  p.     20'^'^. 

Cast.  Sedaine,  the  author,  is  mentioned,  but  not  the  composer,  lilonslgny.  On 
p.  85-90  the  ariettas  "Courir  les  bois"  and  "Ah!  qu'une  fillette  est  k  plaindre." 

ML  50.2.F2.5M7 

—  Felix,  OU  L'enfant  trouv6,  com^die  en  trois  actes,  en  prose  et  en 
vers  mis  en  musique.  Repr^entee  devant  Leurs  Majestes,  h,  Fon- 
tainebleau, le  10  novembre  &  par  les  Comediens  italiens  ordinaires 
du  roi,  le  24  novembre  1777.  Le  drame  est  de  M.  Sedaine.  La 
musique  est  de  M    *    *    * 

Paris,  la  veuve  Ballard  &Jils,  1784.     62  p.     18''^. 

Cast.  Schatz  6574 


OPEBA   LIBRETTOS  489 

Felix — Continued . 

—  Gesaenge  aus  Felix,  oder  Der  findling,  ein  schauspiel  mit  gesang, 
in  drey  aurzuegen.  Aus  dem  franzoesischen  von  Sedaine,  uebersetzt 
von  Johann  Andr6.     Die  musik  ist  von  Monsigni. 

Riga,  Julius  Conrad  Daniel  MilUer,  1790.     23  p.     17*'"*. 

First  performed  at  Riga,  Theater  i.  d.  groseen  Koenigstrasee,  3/14  May,  1790. 

ScHATz  6575 
Female  curiosity.     A.  T.  Kelly's  Blue-beard. 

The  female  duellist:   an  after  piece.     With  songs  set  to  music  by 
Mr.  Suett.     As  it  was  performed  at  the  King's  Theatre,  in  the  Hay- 
market,  by  His  Majesty's  company  from  the  Theatre  Royal,  Drury 
Lane. 
Lmidon,  J.  Owen,  1793.    2  p.  I,  62  p.    20^"^. 

Two  acts.    Cast,  and  note  that  the  piece  was  based  partly  on  Beaiunont  and 
Fletcher's  "Love's  cure."    The  author  is  not  recorded  by  Genest. 
Genest  dates  the  first  performance,  Drury  Lane,  May  22,  1793.  Longe  225 

The  female  parson:  or.  Beau  in  the  sudds.     An  opera.     As  it  is 
acted  at  the  New  theatre  in  the  Hay-Market  .  .  .     By  Mr.  Charles 
Coffey  .  .  . 
London,  Lawton  GULiver  and  Fran.  Cogan,  1730.     4p.l.,53p.  19*^^. 

Three  acts  with  prologue.  Dedication.  Ballad  opera.  The  27  airs  (8,  8,  11)  are 
printed  in  the  text  with  their  titles. 

First  performed  1730,  as  indicated.  Lonob  47 

The  female  rake :  or,  Modem  fine  lady.     A  ballad  comedy.     As  it  is 
acted  at  the  New  theatre  in  the  Hay-Market  .... 
London,  J.  Dormer,  1736.     51  p.  (incl.  front.)     ISi^"^. 

Two  acts.  Two  prologues,  epilogue,  and  cast.  The  airs  of  the  16  songs  (8,  8)  are 
indicated  by  title.    Author  not  recorded  by  Clarence,  but  Tufts  gives  Joseph  Dorman. 

Longe  150 
La  femme.     Entree  in  Mouret's  Les  festes  de  Thalie. 

La  fem.me  repudiee.     A.  T.  of  Arlequin  Hulla. 

Les  femmes  et  le  secret;  comedie  en  un  acte,  mfil^e  d'ariettes. 
Par  Monsieur  Qu^tant.  Representee  pour  la  premiere  fois  par  les 
Com^diens  italiens  ordinaires  du  roi.  le  9  novembre  1767. 

Avignon,  Louis  Chamheau,  1768.    89  p.     19^'^'^. 

The  composer,  Pierre  Vachon,  is  not  mentioned.  ML  50.2.F25V22 

—  Les  femm.es  et  le  secret,  comedie  en  un  acte,  mesl^e  d'ariettes, 
representee  pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires 
du  roi,  le  9  novembre  1767.     Par  M.  Qu^tant. 

Paris,  CaiUeau,  1770.     51  p.     18^"^. 

Ariettes  printed  in  the  text:  "Quand  je  reviens  du  cabaret"  (ecene  1),  "Je  voifl 
Lucas  touB  fee  jours"  (scene  11),  "Cher  Lubin,  si  tu  m'aimes  bien*'  (scene  24).  The 
composer,  Pierre  Vachon,  not  mentioned.  Schatz  10570 

—  Les  femmes  et  le  secret,  comedie  en  un  acte,  mdiee  d'ariettes. 
Representee  pour  la  premiere  fois  par  les  Comediens  italiens  ordi- 
naires du  roi,  le  9  novembre  1767.     Par  M.  Quetant. 

Paris,  CaiUeau,  1779.     48  p.     18^"^. 

On  p.  3-5  the  ariette  en  vaudeville,  "Quand  je  reviens  du  cabaret,"  on  p.  46-47 
the  vaudeville,  "Cher  Lubin,  si  tu  m'aimes."  The  composer,  Pierre  Vachon,  is 
not  mentioned.  Schatz  11750 


490  LIBRABY  OF   CONGBESS 

Les  femmes  vengees,  ou  Les  feintes  iiifidelites,  opera-comique  en 
un  acte  et  en  vers;  par  M.  Sedaiiie.     La  musique  de  M.  Philidor. 
Repr^sent^  pour  la  premiere  fois,  le  lundi  20  mars,  par  les  Com^diens 
italiens  ordinaires  du  roi. 
Paris,  MuHer,  177S.    56  p.     18'^. 

Cast.  On  p.  50-56  the  aire  of  the  vavdeville,  "Ne  donnons  jamais  k  noa  femmes," 
the  ariette,  "Quand  Paris,  sur  le  mont  Ida,"  and  the  romance,  "Si  jamais  je  fais  un 
ami."  ScHATZ  8014 

—  Les  femmes  vengees,  ou  Les  feintes  infid^lit^,  op6ra-comique 
en  un  acte  et  en  vers;  par  M.  S^daine.     La  musique  de  M.  Philiaor. 
Repr6sent6  pour  la  premiere  fois,  le  lundi  20  mara  [1775]  par  les 
Comediens  italiens  ordinaires  du  roi. 
Paris,  Musierjih,  1782.     56  y.     W"'. 

Cast.  On  p.  50-51  the  vaudeville,  "Ne  donnons  jamais,"  on  p.  53-55  the  ariette, 
"Quand  Paris  sur  le  mont  Ida,"  and  p.  55-56  the  romance,  "Si  jamais  je  fais." 

ScHATZ  11738 

Le  fenzeune  abbentorate.  Commeddea  pe  mmuseca  de  nota' 
Pietro  Trinchera  da  rappresentarese  a  lo  Teatro  de  la  Pace  nchesta 
correntc  nnvernata  de  lo  1745  .  .  . 

Napoli,  Domenico  Langiano  e  Domenico  Vivenzio  compagni,  n.  d, 
60  p.     U""". 

Three  acts.  Impresario's  dedication,  cast  and  name  of  Pietro  Gomes  as  com- 
poser. ML  50.2.F26G6 

Feraspe.  Dramjna  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  I'autunno  dell  anno  1739  .  .  . 

Venezia,  Marino  Rossetti,  1739.     4B  p.     15*^"^. 

Three  acte.  By  Francesco  Silvani,  partly  rewritten  by  Bartolomeo  Vitturi,  neither 
of  whom  is  mentioned.  Impresario's  dedication,  argument,  cast,  scenario,  and  name 
of  Antonio  Vivaldi  as  the  composer.  Schatz  10768 

Ferdinand  und  Nicolette,  oder  Liebe  erhaelt  den  sieg.  Tr.  of 
Gr^try's  Aucassin  et  Nicolette. 

La  fermiere  de  qualite.     O.  T.  of  Candeille's  Catherine. 

La  fermiere  ecossaise.     A.  T.  of  Vachoh's  Sara. 

Fernando  Cortes  conquistator  del  Messico.  Dramma  per  mu- 
sica da  rappresentarsi  nel  Regio  Teatro  di  via  della  Pergola  il  carne- 
vale  del  MDCCLXXXIX  .  .  . 

Firenze,  Stamp.  Alhizziniana,  1789.     32,  [1]  p.     17""^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Giuseppe  Mugnes  as  the  composer.  On  p.  4-9  introductory  remarks,  cast,  and 
detailed  scenario  of  Onorato  Vigan^'s  "Ennco  IV.  Ballo  semi-comico  pantomimo, 
tratto  dalla  commedia  intitolata;  La  partita  a  caccia  d'Enrico  IV.  di  Monsieur  CoU^." 
The  composer  of  the  music  is  not  mentioned.  Schatz  6864 

Fernando  nel  Messico.  Dramma  per  musica  da  rappresentarsi 
nel  nobil  Teatro  di  Torre  Ai'gentina  nel  camevale  dell'  anno  1787  .  .  . 

RoTna,  Arcangelo  Casaletti,  1787.     60  p.     16''"*. 

Three  acts.     By  Filippo  Tarducci  with  the  interpolation  of 

"versi  di  Metastasio  che  caduti  opportunamente  sotto  la  penna  dell'  autore,  si  fa 
egli  un  pregio  di  servdrsene." 

This  in  naive  contrast  with  his  dedication  in  which  he  deplores  the  stagnation  of 
dramatic  poetry  and  the  uniformity  of  ideas  for  which  the  music  "sembra  gik  stanca." 


OPERA   LIBRETTOS  491 

Fernando  nel  Messico — Continued. 

Hence  his  present  experiment  as  librettist,  etc.  Argument,  scenario,  cast,  and  name 
of  Giuseppe  Giordam  as  the  composer.  With  the  opera  were  performed  Onorato 
Vigano's  ballets,  "Oreste  o  sia  La  morte  di  Clitennestra  "  and  "Gelosia  per  gelosia," 
music  by  Luigi  Marascalchi.  Schatz  3838 

Fernando  nel  Messico.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Venier  in  San  Benedetto  il  camovale  dell'  anno  1798. 
Venezia,  Modesto  Fenzo,  1798.     45  p.     /7<^'». 

Three  acts.  By  Filippo  Tarducci  (not  mentioned),  with  alterations.  Argument, 
cast,  scenario,  and  name  of  Marco  Portogallo  as  the  compMjser.  With  the  opera  were 
performed  Onorato  Vigano's  ballet?,  "Adelaide"  and  "Amore  e  magia."  The  com- 
posers of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  January  16,  1798.  Schatz  8409 

Fernando  und  Yariko,  ein  singspiel  in  drey  aufzuegen  von  dem 
hofrath  v.  Eckhartshausen. 

Mueiichen,  Joseph  von  Cratz,  fQ'84-     95  p.     15Y'^. 

The  composer,  Franz  Christian  Neubauer,  is  not  mentioned.  Schatz  7092 

Das  fest  der  freundschaft.     A.  T.  of  P.  v.  Winter's  Das  lindenfest. 

Arien  aus  dem  vorspiele:  Das  fest  der  Thalie,  bev  eroefFnung  dea 
Herzoglich  Gothaiscnen  Hof-Theaters  den  2ten  October,  1775. 

n.  i.,  n.  d.     7  p.     17^""'. 

Neither  Heinrich  August  Ottokar  Reichard,  the  author,  is  mentioned,  nor  Anton 
Schweitzer,  the  composer.  Schatz  9773 

—  Das  fest  der  Thalie,  ein  vorspiel  von  r  *  *  *^  die  musik 
vom  herrn  Schweizer.  Bev  eroflfnung  des  ehemaligen  Gothaischen 
Hoftheaters  1776. 

p.  353-359.  ISY"".  (Litteratur  wnd  Theater  Zeitung,  Berlin, 
1783.) 

Cast.  Schatz  4772 

Das  fest  der  weiblichen  tugend.  A.  T.  of  Blaise,  Duni,  and 
Philidor's  Das  rosenmaedchen. 

Das  fest  der  winzer.     L.  T.  of  Kunzen's  Die  weinlese. 

Das  fest  G«rmaniens.  Vorspiel  mit  gesang  und  tanz  zur  feier  des 
hohen  beilagers  der  Durchlauclitigsten  prinzessin  von  Mecklenburg- 
Strelitz  Therese  Mathilde  Amalia  mit  des  erbprinzen  von  Thurn  und 
Taxis  Karl  Alexander,  Durchlaucht.  Die  musik  ist  von  dem  herzogl. 
kapell-director  herrn  Zeller  ... 

Neustrelitz,  Hofhuchhandlung ,  1789.     12  p.     16^. 

One  act.    Cast.     By  Christian  Friedrich  von  Bonin,  who  is  not  mentioned. 

First  performed  at  Neustrelitz,  Hoftheater,  May  27, 1789.  Schatz  11165 

La  festa  di  ballo  disturbata  dalla  famiglia  dei  Covielli,  ballet.  See 
Traetta's  Cavaliere  errante. 

La  festa  di  Flora,  ballet.     See  Sacchini's  Lucio  Vero. 


492  UBRARY   OF   CONGRESS 

La  festa  interotta,  o  sia  II  trionfo  della  virtil,  cjimposizione  serio 
comica  tla  rappresentarsi  nel  Teatro  di  Ratisbona  .  .  . 

Regenshurg,  Gedruckt  mit  Zunkelischen  schrijten,  n.  d.     97  p.     16"'*. 

' '  Prologo  contadineeco  "  (p.  14-41)  and  one  act.  Cast,  names  of  Domenico  Friggieri 
as  author  and  of  Theodor  freiherr  von  Schacht  as  composer,  with  exception  of  some 
arias  by  others  in  the  prologue,  and  "avvertimento,"  by  the  author: 

"avendo  io  acconsentito  a  vedere  di  nuovo  compatir  sulla  ecena  quest'  operetta  da 
me  composta  in  occasione  di  un  giomo  di  vera  aliegrezza  .  .  .  mi  fe  convenuto  per 
rendere  la  rapresentazione  di  queeta  convenevole  ad  ogni  tempo  (lasciando  tuttavia 
intatta  la  prima  musica)  cambiare  in  molti  luoghi  il  senso,  le  parole,  i  versi,  e  sostituire 
al  venerate  nome  di  veri  personaggi,  enti  e  nomi  immaginati  ..." 

To  fill  out  the  evening,  the  prologue  was  added  by  him.  German  title-page,  "Das 
unterbrochene  fest  oder  Der  triumph  der  tugend,"  and  text  face  Italian. 

Must  have  been  performed  after  1780,  Schatz  9563 

Una  festa  villereccia,  ballet.     See  Tarchi's  L'Arminio. 

Le  feste  o  Le  gelosie  del  seraglio,  ballet.     See  Borglii's  Ricimero. 

Le  feste  d'Apollo,  celebrate  sul  Teatro  di  Corte  nell'  augosto  del 
MDCCLXIX.  Per  le  auguste  se^uite  nozze  tra  il  reale  infante  Don 
Ferdinand©  e  la  R.  arciduchessa  infanta  Maria  Amalia. 

Parma,  NeUa  Stamperia  reale,  n.  d.  15,  20,  27,  28  p.,  arid  5  pi. 
(incl.  front).     24^"^. 

The  plates  are  by  P.  A.  Martini,  and  therfrst  (dated  "Parigiis  1769")  and  the  fifth 
were  also  engraved  by  him.  The  others  were  engraved  by  Helman  and  C.  Bagnoy. 
The  artist  of  the  exquisite  vignettes,  etc.,  is  not  mentioned. 

Prolc^e  and  three  acts,  respectively  entitled  "Bauci  e  Filemone,"  "Aristeo," 
and  "Orfeo."  Each  is  preceded  by  the  argument  and  cast,  Avvertimento,  scenario, 
and  name  of  Oluck  as  tne  composer  ("Tutta  la  musica").  The  avvertimento  reads, 
in  part: 

Al  prologo  succedono  pertanto  tre  atti  diversi,  due  de'  quali  nuovamente  composti. 
Altri  ne  erano  gi^  in  pronto,  che,  altemati  coi  primi,  potevano  contribuire  alia  desid- 
erata varieta.  Si  seppe  appena  che  I'atto  d'Orfeo,  applaudito,  anni  sono  sul  Teatro 
Imperiale  di  Vienna,  avrebbe  incontrato  sul  nostro  I'aggradimento  dell'  Augusta 
Persona,  a  cui  queste  feste  sono  sacre  in  gran  parte,  che  si  determin6  di  preferirlo." 

"Orfeo"  waa  Ranieri  de'  Calsabigi's  complete  text  compressed  into  one  act  of  seven 
scenes;  the  two  othersj  and  probably  the  prologue,  by  Carlo  Innocente  Fnigoni, 
though  neither  of  them  is  mentioned. 

Performed,  as  indicated,  August  24,  1769.  Schatz  3897 

Second  copy.    ML  48.M2B 

Le  feste  d'lmeneo  nell'  au^ustissimo  sposalizio  delle  Altezze  Reali 
di  Giuseppe,  arciduca  d'Austna,  ec.  ec.  ec.  e  della  Reale  infanta  Donna 
Isabella  di  Borbone,  ec.  ec.  ec.  celebrate  sul  Reale  Teatro  di  Parma  nel 
settembre  dell'  anno  MDCCLX.  Composizione  del  Signor  abate 
Frugoni. 

n.  i.,  n.  d.    jront,  p.  [99]-176.     16^"^. 

Evidently  a  detached  copy.  In  his  esthetic  preface,  "Ai  leggitori,"  Carlo  Inno- 
cente Frugoni  says: 

"Questo  spettacolo  teatrale  e  compoeto  di  tre  suggetti  disgiunti,  ciascun  de'  quali 
si  rinchiude  in  un'  attoj  ed  e  preceduto  da  un  prologo." 

The  prologue  is  entitled  "II  trionfo  d'amore,"  the  single  acts  "Atto  d'Iride," 
"Atto  di  Sano,"  and  "Atto  di  Egle."  Each  act  is  preceded  by  the  characters  (not 
the  cast)  and  by  the  argument.  The  opera  is  followed  by  "Aci  e  Galatea,  balletto 
pantomime,"  with  argument  and  description  of  the  twelve  scenes.  Tommaeo  Tra- 
etta  is  not  mentioned  in  the  libretto  either  as  composer  of  the  ballet  or  of  the  opera. 
The  ballet,  according  to  the  preface,  was  already  "conosciuto  sulle'  nostre  scene,  ma 
universalmente  desiderato"  and  the  act  "Egle"  was  " eepresamente  addottato"  for 
its  introduction.  Schatz  10392 


OPERA   LIBRETTOS  493 

Le  feste  d'lside.  Dramma  per  musica  da  rappresentarsi  nel  nobi- 
lissimo  Teatro  La  Fenice  Tautunno  1799. 

Venezia,  Stamperia  Valvasense,  1799.     61  p.     16^'^^. 

Two  acts.  Gaetano  Rossi's  retouched  version  of  Zeno  and  Pariati'a  "Seeostri  r6 
d'Egitto,"  who  are  not  mentioned.  Ailment,  cast,  and  name  of  Sebastiano  Naso- 
lini  also  as  composer  of  the  "pezzi  poetillati  .  .  .  di  nuova  poesia  del  Sig.  Gaetano 
Roesi."  On  p.  [31J-37  preface,  ai^ument,  cast,  and  description  of  Lorenzo  Panzieri's 
"II  sotteraneo  ossia  Catterina  di  Coluga,  ballo  eroicomico,  in  quattro  atti,"  music  by 
Catterino  Cavos. 

First  performed  at  Florence,  Teatro  di  \i&  della  Pergola,  carnival,  1794. 

SCHATZ  7002 

Feste  de  buveurs.     Entr^  in  Bourgeois'  Les  plaisirs  de  la  paix. 

La  feste  des  barqueroles.  Entree  in  Campra's  Les  festes  veni- 
tiennes. 

La  feste  des  Druides.     A.  T.  of  Laruette's  Le  Guy  de  Chesne. 

Le  feste  di  Flora,  ballet.     See  Cherubini's  Ifigenia  in  Aulide. 

Le  feste  di  Flora,  ballet.     See  Jonunelli's  Bajazet. 

Le  feste  galanti.  Festa  teatrale  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Berlino  per  il  giorno  natalizio  della  Sacra  Real  Maestk 
di  Sofia  Dorotea,  regina  madre  ,  .  . 

Berlino,  A.  Haude,  1747.     77,  {3\  p.     W^. 

Three  acts.  Leopoldo  de  Villati  is  mentioned  aa  the  author  ("L'invenzione  .  .  . 
b  trata  dal  francese  [Duche's  "Les  festes  galantes"]  e  composta  ad  uso  di  musica") 
and  Carl  Heinrich  Graiux  as  the  composer.  Argument  and  scenario.  German  title- 
page,  "Die  galanten  feste,"  and  text  face  Italian. 

First  performed  at  Berlin,  Kgl.  Opemtheater,  March  27,  1747  (Schatz);  April  6, 
1747  (Mennicke).  Schatz  4114 

—  Le  feste  galanti.  Festa  teatrale  per  musica  da  rappresentarsi 
nel  Regio  Teatro  di  Berlino  ... 

Berlino,  Hande  et  Spener,  1767.     67,  {4\  p.     W"". 

Three  acts.    Leopoldo  de  Villati  is  mentioned  as  author  and  Carl  Heinrich  Graxin 
as  the  composer.    German  title-page,  "Die  galanten  feste,"  and  text  face  Italian. 
Performed,  as  indicated,  April  6,  1767.  Schatz  4097 

La  feste  marine.     Entr^  in  Campra's  Les  festes  venitiennes. 

Le  feste  persiane,  ballet.     See  Jommelli's  Semiramide. 

Les  festes  de  I'Aniour  et  de  Bacchus.  Pastorale  representee  par 
I'Academie  royale  de  musique.     Suivant  la  copie  imprim^e  h  Pans. 

[Amsterdam,  Antoine  Schelte],  1686.     4^  p.  {inch  iront.)     ISY"^. 

Prologue  and  three  acts.  Neither  the  author,  Quinault  {see  next  entry),  is  men- 
tioned nor  Lully,  the  composer.  ML50.2.F3L9 

—  Les  festes  de  I'Aniour  et  de  Bacchus,  pastorale  representee 

Sar  I'Academie  royale  de  musique  I'an  1672.     Les  paroles  sont  de 
[.  Quinault,  &  la  musique  de  M.  de  Lully.     III.  opera. 
71.  %.,  n.  d.     pi.,  101-14^  p.     14'^^-     {Recueil  geniral  des  opera,  t.  I, 
17 OS.)  ' 

Detached  copy.  Three  acts  and  prologue.  The  text  is  said  to  have  been  really 
a  joint-product  of  Moli^re,  Benserade,  and  Quinault. 

First  performed,  aa  indicated,  November  15,  1672  (Schatz);  December,  1672  (Pru- 
ni^res).  Schatz  5766 

Second  copy.    ML  48. R4 


494  LIBRARY  OF  CONGRESS 

Les  festes  de  I'Amour  et  de  Bacchus — Continued. 
.  —  Les  festes  de  1' Amour  et  de  Bacchus.     Pastorale  representee 
par  PAcademie  royale  de  musique,  au  Jeu  de  Paulme  del  Bel- Air,  en 
1672. 
QuinauU,  Theatre,  Paris,  1739,  t  iv,  pi.,  51  p.     17''"'. 
Prologue  and  three  acta.    Lully  ie  not  mentioned.  PQ  1881. Al    1739 

Les  festes  de  I'ete,  ballet,  represents  par  I'Academie  royale  ae 
musique,  I'an  1716.  Paroles  ae  M.  Pellegrin.  Musique  "de  M. 
Monteclair.     XC.  opera. 

n.  i.,  n.  d.  pi.,  p.  1-75.  i^*""-  (Recueil  general  des  opera,  Paris, 
1734,  t.  xii.) 

Detached  copy.  Prologue  and  four  entries.  By  Simon  Joseph  de  Pellegrin  and 
Marie  Anne  Barbier. 

First  performed,  as  indicated,  Jime  12, 1716.  Schatz  6589 

Second  copy.    ML  48. R4 

Les  festes  de  rHymen.     A.  T.  of  La  roze. 

Les  festes  de  Paphos.  Ballet  heroique  mis  en  musique  par  Mon- 
sieur Mondonville  .  .  .  Represents  pour  I'AcadSmie  royale  de  mu- 
sique le  9®  may  1758. 

This  is  the  title  of  the  full  score  published  "chez  I'auteur,"  etc.  It  consists  of 
an  overture  and  three  acts,  called:  Venus  et  Adonis,"  "Bacchus  et  Erigone"  and 
"L' Amour  et  Psyche." 

This  work,  of  which  the  L.  of  C.  does  not  possess  the  libretto,  was  but  the  com- 
bination of  three  one  act  ballets  of  the  above  titles  into  one.  "Venus  et  Adonis," 
text  by  Coll6,  had  first  been  performed  at  Verseilles,  ThMtre  des  Petit-Cabinets, 
April  27,  1752,  and  "Bacchus  et  Erigone"  was  first  performed — Schatz  claims  under 
the  title  of  "Erigone" — as  after-piece  to  Dancourt's  comedy  "Les  trois  cousines" 
at  Versailles,  March  13,  1747.  As  to  "L' Amour  et  Psyche,"  Hellouin  does  not  know 
the  circumstances  under  which  it  was  written  and  performed,  but  "Je  sais  settle- 
ment"— he  says — "que  le  sempitemel  abb6  de  Voisenon  en  avait  fait  les  paroles, 
que  son  collaborateur  pr^tendit  toujours  etre  de  lui  .  .  .  En  1769,  il  servit  de  ren- 
tr^e  k  Sophie  Amould  qui  fut  regue  avec  transport." 

Chouquet  and  Schatz  date  this  performance  December  1,  1769,  and  enter  it  under 
"Psyche,"  under  which  title  this  ballet  had  already  figiired  separately  in  1762  and 
1766,  it  would  seem.  Lajarte  says:  "Mondonville  et  Voisenon  reprirent  le  sujet  de 
la  3®  entree  [exactly  this  "L'Amotir  et  Psyche  "],  pour  en  faire  un  acte  s^par6"  and 
Chouquet  says  under  "Psyche  "  (1769):  "C'est  le  sujet  du  3*  acte  des  FStes  dePaphoa 
remani^."  The  impression  seems  to  be  that  the  text  and  incidentally  the  music  of 
"L' Amour  et  Psyche  "  were  changed  after  1758.  I  doubt  this,  since  the  text  of  the 
score  and  the  text  in  the  following  publication  agree  absolutely. 

—  Bacchus  et  Erigone,  ballet-heroique  en  un  acte.  Le  poeme  est 
de  de  la  Bruere.     La  musique  est  de  M.  de  Mondonville. 

n.  i.,  n.  d.     I4  p.     22\'''^. 
This  is  followed  on  p.  [15-33]  by: 

—  L' Amour  et  Psyche,  ballet-h6roique  en  im  acte.  Le  poeme  & 
la  musique  sont  de  M.  de  Mondonville. 

Caste.  On  p.  33  the  Approbation  of  date:  Paris,  September  26,  1769!  In  the  cast 
of  "L' Amour  et  Psyche  "  M"°  Amould  appears  as  "Psych6."  Hence,  if  Chouquet's 
date  of  December  1,  1769,  for  the  reappearance  of  Sophie  Amould  in  a  revival  of 
Mondonville's  act  is  correct,  the  actual  publication  of  the  two  librettos  in  this  edition 
probably  occurred  about  that  time.  As  was  stated  above,  the  text  of  "L' Amour  et 
Psyche"  agrees  absolutely  with  that  of  the  third  act  in  the  score  of  "Les  festes  de 
Paphos"  (1758).  That  of  "Bacchus  et  Erigone"  is  only  slightly  different,  Comus' 
air  "Cher  Bacchus,  c'est  assez"  (I,  3)  and  Bacchus'  air  "Mon  sort  rendoit"  (I,  5) 
not  being  in  the  libretto  of  1769.  ML  52.2.B105M6 


OPEHA   LIBRETTOS  495 

Les  festes  de  la  paix,  divertissement  en  un  act«;  a  I'occasion  de 
I'inauguration  de  la  statue  du  roi,  &  de  la  publication  de  la  paix; 
repr^ente  pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires 
du  roi  le  4  juillet  1763.  Nouvelle  Edition,  augment^e  de  plusieurs 
scenes  nouvelles. 

Paris,  Duchesne,  1 763.  72  p.  i 5*=™.  ( Theatre  de  M.  FavaH,  Paris , 
Duchesne,  1763-77,  t.  ix.) 

Caet  and  names  of  Favart  as  author  and  of  Philidor  as  composer.  Many  of  his 
ariettes  printed  in  the  text.  ML  49.A2F1 

Les  festes  de  Thalie,  balet  represents  pour  la  premiere  fois,  par 
I'AcadSmie  royale  de  musique,  le  dimanche  19  aoftt  1714.  Les 
paroles  de  M.  de  la  Font  &  la  musique  de  M.  Mouret.  LXXXV. 
opera. 

n.  i.,  n.  d.  pi.,  p.  [177]-232.  (Recueil  general  des  opera,  t.  xi,  Paris, 
1720.)     W"^. 

Detached  copy.  Three  acts,  with  prologue.  The  single  acts  are  called  "La  fille," 
"La  veuve,"  "La  femme."  This  was  followed  by  a  kind  of  epilogue,  called  "La 
critique  des  Festes  de  Thalie,"  by  the  same  author  and  composer.  The  "Avertisse- 
ment "  is  so  interesting  as  to  deserve  a  quotation  in  full : 

"  Voila  je  croi,  le  premier  opera  oil  Ton  ait  v^i  des  femmes  habill^es  k  la  frangoise,  & 
dee  confidentes  du  ton  des  eoubrettes  de  la  com^die;  c'est  ausei  la  premiere  fois  que 
Ton  a  hazard^  de'certaines  expressions  convenables  au  comique,  mais  nouvelles  jus- 
qu'alors  &  m@me  inconnues  sur  la  scfene  lyrique;  le  public  en  fut  d'abord  allarmd,  ce- 
pendant  le  theatre  qui  rfegne  du  commencement  jusqu'i  la  fin  de  ce  Balet  se  trouva  el 
amusant  &  si  enjoiie,  <5^u'on  y  venoit  en  foule  presque  ^  contre-coeur.  Je  me  fis  con- 
science de  divertir  ainsi  le  public  malgr^  lui,  &  pour  rendre  son  plaisir  pur  &  tranquile 
je  me  d^pechai  de  faire  moi-meme  la  Critique  de  mon  ouvrage  oil  je  donnai  tout  le 
merite  du  succ^  k  la  musique  &  k  la  danse.  Le  public  me  6?ut  si  bon  gr6  d'avoir  eu 
cette  attention  pour  lui,  &  devint  si  fort  de  mes  amis  que  pendant  quatre-vingt  repre- 
sentations il  ne  pouvoit  ee  resoudre  k  me  quitter,  &  m^me  encore  aujourd'  hui  il  parle 
de  ce  Balet  avec  plaisir." 

The  score  of  1714  has  the  title,  "Les  festes  ou  Le  triomphe  de  Thalie."  "La 
critique  des  Festes  de  Thalie"  was  first  performed  on  October  9,  1714,  and  the  score 
was  publisj^ed  in  the  same  year.  The  entree,  "La  veuve,"  was  replaced  on  March 
12,,  1715,  by  "La  veuve  coquette,"  and  the  entree,  "La  Provenfale,"  was  added  on 
September  17,  1722.  This  was  parodied  by  Duni  at  the  Th^tre-Italien  on  March  4, 
1758,  as  "La  fille  mal  gard^e;"  La  veuve  coquette,"  at  the  Op^ra-comique  k  la  Foire 
Saint-Laurent,  on  September  22,  1759,  as  La  veuve  ind^cise;"  and  Laujon  and 
Parvi  gave  a  parody  of  "Les  festes  de  Thalie"  at  the  Th64tre-Italien  on  August  21, 
1745,  as  "La  fille,  la  femme  et  la  veuve."  Schatz  6741-6742 

Second  copy.    ML  48. R4 

—  La  ProvenQale,  entree,  remise  au  Theatre  le  mardi  31  Janvier  1758. 
n.  i.,  n.  d.     16  p.     22Y'^- 

In  the  "Approbation"  at  end  (dated  January  29,  1755  [!])  this  is  called,  "Acte 
d^tache  du  Ballet  des  Fetes  de  Thalie."  Cast  and  names  of  De  Lafonds  as  author,  of 
"feu  M.  Mouret"  as  composer.  ML  52.2. F3 

Second  copy.    ML  48. R4 

—  La  fllle  mal  gardee,  ou  Le  pedant  amoureux,  parodie  de  la  Pro- 
venpale.  Representee  pour  la  premiere  fois  par  les  ComSdiens 
italiens  ordinaires  du  roi  le  4  mars  1758. 

Paris,  N.  B.  Duchesne,  1758.  U,  [46-48],  49-80  p.  19^"^. 
{Theatre  de  M.  FavaH,  Paris,  Duchesne,  1763-77,  t.  v.) 

One  act.  Cast.  The  [45-481  p.  contain  catal<^ues  of  plays;  p.  49-80,  twelve 
"Ariettes  du  Pedant  amoureux,  ou  La  fille  mal  gardee.  Par  M.  Duny."  None  of 
the  vaudeville  airs  printed  in  the  text,  which  was  written  by  Madame  Favart  in  col- 
laboration with  her  husband  and  Lourdet  de  Santerre.  ML  49.A2F1 


496  LIBRARY   OF   CONGRESS 

Les  festes  de  Thalie— Continued. 

—  La  fille  mal  gardee,  ou  Le  p6dant  amourenx,  parodie  de  La 
Proven^ale,  representee,  pour  la  premiere  fois,  par  les  Com6diens 
italiens  ordinaires  du  roi,  le  4  mars  1758. 

Paris,  N.  B.  Duchesne,  1759.    28  p.     W"^. 

No  music  iu  the  text.  Schatz  2845 

—  La  veuve  indecise,  op6ra-comique,  parodie  de  La  veuve  coquette. 
Representee  pour  la  premiere  fois  sur  le  Theatre  de  I'Opera-comique, 
h,  la  Foire  S.  Laurent,  le  lundi  24  septembre  1759. 

Paris,  la  veuve  Duchesne,  1767.     Jfi  p.     19'^'^. 

Neither  Vad6,  the  author,  nor  Duni,  the  composer,  mentioned  in  the  libretto.    On 

&,  31-40,  the  melodies  of  the  "Airs  de  la  Veuve  mdedse."  No.  1,  "Dans  le  mariage;" 
o.  2,  "Eh!  pour-quoi  tantattendre;"  No.  3,  "Un  aveu  m6rit6;"  No.  4,  "Non  pas, 
ma  Mie"  and  the  "  Vaudeville,"  "Une  fille  k  dix-huit."  "La  veuve  coquette"  is  the 
title  of  the  "nouvelle  entree"  of  1715  for  Mouret's  ballet,  "Lee  feetes  de  Thalie." 

Schatz  2858 

—  La  veuve  indecise,  op^ra  comique;  parodie  de  La  veuve  coquette; 
representee  pour  la  premiere  fois,  sur  le  Theatre  de  I'Opera  comique, 
k  la  Foire  Saint  Laurent,  le  24  septembre  1759. 

[106]~136p.  15^"^.  {Jean  Joseph  Vade,  Oeuvres  complettes,  t.  iv, 
Nouv.  ed.,  Troyes,  an  VI,  [1798]) 

One  act.    Duni  is  not  mentioned.  PQ  2068.V2 

Les  festes  galantes,  ballet.  Represente  par  I'Academie  royale  de 
musique  Fan  1698.  Les  paroles  sont  de  M.  Duche,  &  la  musique  de 
M.  Desmarets.     XLV.  opera. 

n.  i.,  n.  d.  front.,  p.  229-290  {Recueil  general  des  opera,  t.  vi, 
Paris,  1703).     14<^'". 

Detached  copy.     Prologue  and  three  acts  with  "Avis,"  in  which  we  read: 
"J'ay  balance  long-temps,  si  je  laisserois  h  ce  ballet,  le  titre,  que  Ton  sgait  qu'il 
avoit  deux  ans,  avant  que  Ton  efit  pens^  k  faire  I'Europe  Galante." 

First  performed,  as  indicated,  May  10,  1698.  Schatz  2532 

Second  copy.    ML  48. R4 

Les  festes  greques  et  romaines,  ballet  heroiaue,  represent e  par 
I'Academie  royale  de  musique,  Fan  1723.  Paroles  de  M.  Fuseber. 
Musique  de  M.  Colin  de  Blamont.     CII.  opera. 

n.  i.,  n.  d.  j^l.,  263-318  p.  14'''^.  (Recueil  gensral  des  opera, 
Paris,  1734,  t.  xiii.) 

Detached  copy.  Prologue  and  three  entries  called  "Les  jeux  olympiquee,"  "Les 
bacchanales,"  "Les  satumales."    The  long  preface  (p.  265-270)  reads  in  part: 

"Les  Festes  grecques  et  romaines  ferment  un  ballet  d'une  espece  toute  nouvelle. 
La  Muse  lyrique  n'avoit  jusqu'^,  pr6sent  tir6  ses  poemes  que  de  la  chroniques  des 
Amadis,  de  I'Ariosto,  dee  Metamorphoses  d'Ovide,  du  Tasse  &  d'autres  semblablea 
auteurs.  La  France  n'a  encore  eofimis  que  la  fable  h  la  musique;  I'ltalie  plus  hazar- 
deuse  a  plac6  dans  ses  opera  les  6v6nemens  de  I'histoire.  Les  Scarlatti  &  les  Buonon- 
cini  ont  fait  chanter  des  Heros  que  Comeille  &  Racine  auroient  fait  parler.  Enhardy 
par  ces  examples,  on  s'est  dispense  de  glaner  dans  les  champs  trop  eouvent  moiseonnez 
de  la  mythologie  &  du  romain :  Heureux  si  on  est  aprouve  en  ouvrant  aux  pontes  du 
theMre  chantant,  une  carriere  digne  d'occuper  les  Genies  amateurs  du  vray-semblable. 

"On  a  rassembl6  dans  ce  ballet,  les  f§tes  de  I'antiquit^  les  plus  connues,  &  qui  ont 
sembie  les  plus  favorables  au  th^Mre  &  ^  la  musique.  On  les  confond  toutes  soiis  le 
nom  de  Festes  grecques  &  romaines,  parce  qu'enectivement  Rome  adopta  tons  les 
Dieux  d'Athenes.  On  a  pris  soin  d'assortir  h  ces  Ffetes  c^lebres  des  avantures  &  des 
noms  illustres  ..." 

First  performed,  as  indicated,  July  13, 1723.  Schatz  1067 

Second  copy.    ML  48. R4 


OPERA   LIBRETTOS  497 

Les  festes  nouvelles,  ballet.  Represente  par  TAcademie  royale  de 
musique,  Fan  1734.  Paroles  de  M.  Massip,  Musique  de  M.  Plessis-C. 
CXX.  opera. 

n.  i.,  n.  d.  front,  p.  381-430  (Reeueil general  des  opera,  Paris,  1739, 
t.  xv).   14^"" 

Detached  copy.  Prologue  and  three  entrees,  composed  by  Duplessis,  Le  jeune, 
and  called  "Ulysee  et  Circe,"  "Le  bal  champgtre,"  "Le  triomphe  de  I'Amour  eur 
Bacchus." 

First  performed,  as  indicated,  July  22,  1734.  Schatz  2861 

Second  copy.    ML  48. R4 

Les  festes  venitiennes,  ballet,  represents  par  TAcademie  royale 
de  musique  Fan  1710.  Les  paroles  de  M.  Danchet  &  la  musique  de 
M.  Campra.     LXXV.  opera. 

n.  i.,  n.  d.  front,  129-180  p.  14*^^-  (Reeueil  general  des  opera, 
Paris,  1714j  t.  x.) 

Detached  copy.  Three  entries  with  prologue  and  avertissement  with  statement 
that  the  libretto  is  printed  according  to  the  original  version  of  June  17,  1710,  not 
with  the  additions  introduced  later  on.    On  p.  131  then  follows  this: 

"Ordre  des  Festes  Venitiennes.  Premiere  representation  le  17  Juin  1710. 
Prologue,  sous  le  titre  du  Triomphe  de  la  folie  sur  la  raison,  dans  le  temps  du  camaval. 
Premiere  entree.  La  feste  des  barqueroles.  Deuxilme  entrie.  Lee  serenades  &  lea 
jotieurs.     Troisihne  entree.    L'amour  ealtinbanque. 

"Dixieme  representation  le  8.  juillet.  Premihre  entree,  substituee  a  celle  dea 
Barqueroles,  ha.  feste  marine. 

"XXIII™*  representation  le  8.  aoust.  Le  prologue  a  6t6  eupprime  &  Ton  a  ajout^ 
le  Bal,  nouvelle  entree,  que  Ton  a  placee  entre  la  premiere  &  la  deuxieme. 

"XXXIV?*  representation  le  5  septembre.  L'on  a  substitu^  k  la  place  de  la 
Serenade,  une  nouvelle  entree  sous  le  titre  des  Devins  de  la  Place  Saint  Marc. 

"LI?®  representation  le  14.  octobre.  L'on  a  eupprime  La  feste  viarine,  &  l'on  a 
donne  une  nouvelle  entree  sous  le  titre  de  V Opera.  En  meme  tempw  on  a  donne  un 
nouvel  ordre  aux  Entrees,  en  remettant  le  Prologue.  Les  Devins  pour  premiere 
entree.  L'amour  saltinbanque,  seconde.  L'Opera,  troisi^me.  Le  bal,  quatrieme. 
On  a  depuis  ajoutee  La  Cornedie,  qui  se  trouve  a  la  suite  de  toutes  ces  entrees." 

Schatz  1549 

These  additions,  etc.,  follow:  Second  copy.    ML  48. R4 

—  Premiere  entree  ajoutee.     Feste  marine.     {181-192  p.) 

Schatz  1550 

—  Deuxiteie  entree  ajoutee.     Le  Bal.     {193-208  p.) 

Schatz  1551 

—  Troisi^me  entree  ajoutee  Les  Devins  de  la  place  Saint  Marc.     {209-220  p.) 

Schatz  1552 

—  Quatrieme  entree  ajoutee  L'Opera  {221-236  p.) 

Schatz  1553 

—  Cinqui&me  entree  ajoutee  Le  triomphe  de  la  folie,  cornedie  {237-252  p.) 

Schatz  1554 

—  Les  fetes  venitiennes :  Le  triomphe  de  la  folie  sur  la  raison — La 

f  6te  des  barqueroles — Les  serenades  et  les  joueurs — Les  saltinbanques 

de  la  place  Saint  Marc. 

50  p.     IJY"^.     (Antoine  Danchet,  TJiedtre,  Paris,  1751,  t  Hi.) 
"Lee  saltinbanques"  ("la  troisi^me  et  demi^re  entree")   is  called   in   caption 

"L'amour  saltinbanque.'^    These  entrees  are  followed  by:  PQ  1972.D2 

F§te  marine — Les  devins  de  la  Place  Saint  Marc — L'opera 

[incl.  "  Le  ballet  de  Flore  "]. 
[51\-90  p.     ibidem. 
These  three  are  called  Premifere-troisi^me  entree.    They  are  followed  by: 

72251°— VOL  1—14 32 


498  LIBRARY   OF   CONGRESS 

Les  festes  venitiennes — Continued. 

Le  triomphe  de  la  folic,  comedie — Le  bal.  , 

[91]-120  p.     ibidem. 

At  the  end  of  "Le  bal":  "Fin  des  Festes  venitiennes"!  For  an  explanation  of 
this  otherwise  unintelligible  matter,  see  main  entry  for  "Les  festes  venitiennes." 

Das  festin  oder  Die  eifersucht  der  frauenzimmer  des  tuerkischen 
kaisers.     Tr.  T.  of  the  ballet  Les  f^tes  ou  Jalousies  du  s^rail. 

II  festino.  Dramma  di  tre  atti  per  musica.  Rappresentato  per  la 
prima  volta  in  Parma  nel  Teatro  Regio-ducale  il  camovale  dell  anno 
MDCCLVII  [Dec.  26,  1756]  con  musica  del  Ferradini. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejlgli,  1788-95,  v.  38, 
[5]-66  p.     i^i<='». 

PQ 
The  festival]  of  light.     A.  T.  of  the  masque  Luminalia. 

La  f§te  d'amour,  ou  Lucas  et  Colonette,  piece  en  vers  et  en  im  acte. 
Par  Madame  Favart.  Reprfeent^e  pour  la  premiere  fois  par  les 
Com^diens  italiens  ordinaires  du  roi,  le  5  d^cembre  1754.  Nouvelle 
Edition,  augments  de  la  musique. 

n.  i.,  n.  d.  64  p-  {.Theatre  de  M.  Favart,  Paris,  Duchesne,  1763-77, 
tv.) 

Prologue  (with  cast)  and  one  act  (without  cast).  The  ariettes  are  printed  in  the 
text.  Their  composer  is  unknown  to  Font,  who  mentions  as  authors  of  the  text, 
besides  Mad.  Favart,  her  husband  and  Chevalier.  ML  49.A2F1 

La  fete  de  I'egalite.  Comedie  en  un  acte,  par  J.  B.  Radet  et  F.  G. 
Desfontaines ;  reprfeent^  pour  la  premiere  fois  h  Paris  sur  le  Thefi,tre 
du  Vaudeville,  le  7  ventose  de  I'an  deux  de  la  R^publique  fran^aise. 
NouveUe  edition. 

Paris,  Au  Thedtre  du  Vaudeville,  Prairial,  an  IIP-  [May- June  179S\. 
44  p.    20^"^. 

Oast.  Interspersed  with  airs  and  vaudevilles,  a  few  of  which  are  printed  in  the 
text.    Not  recorded  by  CI.  &  L.  or  Schatz. 

First  performed,  as  indicated,  February  25,  1794.  ML  48.M2L 

La  f§te  de  La  cinquantaine,  op^ra  en  deux  actes.     Paroles  du 
C.  Faur,  musique  du  C.  Dezede. 
Paris,  Huet,  1796.     61  p.     20^^. 

With  cast  and  "Avertissement  de  Tauteur."  In  this  he  says  that  "cette  bagatelle 
y  [at  the  'Theatre  ci-devant  Italien']  fut  recue  en  1781.  Lue  une  seconde  fois  en 
1784,"  but  not  performed.  After  fifteen  years  of  waiting,  further  promises  of  per- 
formance, which  does  not  materialize.  At  end ,  compliments  to  the ' '  artistes  du  Theatre 
de  la  rue  de  Louvois,"  who  first  performed  the  opera  January  9, 1796.    Schatz  2527 

La  fete  de  Saint  Cloud.     O.  T.  of  Les  bateliers  de  Saint  Cloud. 

La  fete  de  Salency.     A.  T.  of  La  couronne  de  roses. 

La  fete  du  chateau,  divertissement  m^l4  de  vaudevilles  &  de  petits 
airs;    par  M.     *     *     *     Represents  pour  la  premiere  fois  par  les 
ComSdiens  italiens  ordinaires  du  roi,  le  25  septembre  1766. 
Paris,  la  veuve  Duchesne,  1766.     76,  [5]  p.     W^"^. 

One  act.  By  Charles  Simon  Favart,  who  is  not  mentioned.  On  p.  74-76,  the  aire, 
"Belle  rose,  que  j'arrose "  and  "Pour  Colette,  que  j'adore."  The  first  of  the  couplets, 
"Oui,  je  I'ai  dit,"  was  to  be  sung  to  "Air  de  Rameau:  Dans  ce  convent. ^^    Favart's 


OPEBA   LIBRETTOS  499 

La  fete  du  chateau — Continued. 

musical  collaborator  unknown  to  Schatz  and  Font,  who  eaye  that  the  play  was  "d'abord 
joue  chez  la  marquise  de  Mauconseil."  The  [3]  p.  contain  the  approbation  and 
priviledge  du  roi.  Towers  has  an  opera  of  the  above  title  under  Duni,  but  Fetis, 
Eituer,  Schatz  have  not.  Eitner  and  Towers  also  have  an  opera  of  the  same  title 
under  de  Saint-Pierre.  ML50.2.F33. 

—  Second  copy  (forms  part  of  "Theatre  de  M.  Favart,"  Parip,  Duchesne,  1763-77, 
t.  ix.)  ML  49.A2.F1 

—  La  fete  du  chateau,  divertissement  m616  de  vaudevilles  &  de 

f)etits  airs,  par  M     *     *     *.     Represents  pour  la  premiere  fois  par 
es  Comediens  italiens  ordinaires  du  roi,  le  25  septembre  1766. 
Paris,  la  veuve  Duchesne,  1766.     52  p.     W"*. 
Text  the  same  (incl.  music  of  the  two  airs)  as  in  the  76  p.  ed.  of  1766. 

ML  50.2.F331 

— La  fete  du  chateau,  divertissement  m^le  de  vaudevilles  &  de 
petits  airs;  par  M.     *     *     *     Represents  pour  la  premiere  fois  par 
les  Comediens  italiens  ordinaires  du  roi,  le  25  septembre,  1766. 
Paris,  la  veuve  Duchesne,  1767.     60  p.     19  """. 

Schatz  11491 

La  f§te  du  serail,  pantomime-ballet;  donne  au  PanthSon,  pour  la 
premiere  fois,  le  dimanche  9  mars  1788. 

Paris,  P.  de  Lormel,  17S8.     I4  p.     18^"'- 

One  act.  Cast  and  scene  by  scene  description  of  the  action.  The  imprimatur  is 
dated  March  8,  1788.     Neither  the  author  nor  the  composer  is  known  to  Schatz. 

ML  48. B2 

Les  fetes  ou  Jalousies  du  serail — Das  festin  oder  Die  eifersuclit  der 
frauenzimmer  des  tuerkischen  kaisers,  ballet.  See  Bemasconi's  De- 
metrio. 

Les  fetes  d'Hebe,  ou  Les  talens  lyriques.  Ballet  represents  pour 
la  premiere  fois,  par  I'Academie  royale  de  musique,  le  jeudy  ^antjt-un 
may  1739. 

[Paris],  Jean  Baptiste  Christophe  Ballard,  1739.     57,  [1]  p.     24^"". 

Prologue  and  three  entr^s:  "La  poesie,"  "La  musique,"  "La  danse."  Cast, 
and  on  p.  [3]:  "Extrait  d'une  lettre,  ecrite  k  M.  Bameau,"  the  composer,  by  the 
author,  Gaultier  de  Mondorge,  who  is  not  mentioned .     He  says : 

"Vous  me  faches  beaucoup,  monsieur,  quoi?  il  faut  absolument  que  le  poeme 
d'un  ballet  soit  imprim6  avant  la  repr^ntation ;  je  me  flattois  qu'on  pourroit  se 
pouHtraire  a  I'usage,  &  qu'il  nous  suffiroit  d'exposer  simplement  le  eujet  de  chaque 
entree.  Song<5s  done  que  je  n'ai  jamais  compte  vous  envoyer  c^u'un  enchainoment 
de  scenes  qui  pretassent  h,  la  musique  &  au  spectacle;  &  en  vente,  dee  scenes  ainsi 
sacrifi^  ne  pr6tendent  point  h  la  lectiu-e."  ML  52.2.F4R1 

—  I^s  fetes  d'Hebe,  ou  Les  talens  Ivriques,  ballet,  reprSsente  pour 
la  premiere  fois  par  I'AcadSmie  royale  de  musique,  le  jeudi  21  may 
1739.  Repris  le  mardi  25  juillet  1747.  Et  remis  au  ThMtre  le 
mardi  18  may  1756. 

Paris,  Aux  depens  de  I'Academie,  chez  la  V.  Delonnel  db  jih,  1756. 
52  p.     23'="'. 

Prolc^e  and  three  entr^  called:  "La  po<^ie,"  "La  musique,"  "La  danse." 
Cast  and  name  of  Jean  Philippe  Rameau  as  compot^er.  The  author.  (Jaultier  de 
Mondorge,  in  not  mentioned.  Ml.  52.2. K1R2 


500  LIBRARY   OF   CONGRESS 

Les  fetes  d'Hebe — Continued. 

—  L'amour  impromptu,  parodie  de  I'acte  d'Egl6  dans  les  Talens 
Ijrriques.  Repr^ent^e  sur  le  Th^itre  de  I'Opera-comique,  le  10. 
juillet  1756. 

Paris,  Duchesne,  1756.  Sl,[l\  p.  19^"".  (.Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  viii.) 

Cast.  One  act.  En  vaudevilles.  On  p.  26-31  four  of  the  airs.  Compare  next 
entry.  ML  49.A2F1 

—  L'amour  uupromptu,  parodie  de  I'acte  d'Egle  dans  les  Talens 
lyriques.  Representee  sur  le  Theatre  de  I'Opera-comique  le  10  juillet 
1756. 

Paris,  Veuve  Duchesne,  1767.     32  p.     18^"^. 

One  act.  On  p.  23-32  the  "Airs  de  L'amour  impromptu";  "O  Dieux!  qu'elle 
est  belle."  "Quitte  la  plaine,"  "Repondez,  Je  respire,"  "Chantez,  eautez,  jeunes 
beautez,  "Prenez  au  village  une  maitresse."  The  "acte  d'Egl6"  is  the  same  as  the 
third  entree,  "La  dause,"  though  none  of  the  entries  of  Rameau's  "Les  f^tea  d'H^be 
ou  Les  talens  lyriques  "  are  called  * '  Egle . "  ( ' '  Egle,  bergere ' '  is  one  of  the  characters 
in  "La  danse.)  The  text  of  the  parody  was  by  Favart.  According  to  Font  it  is  the 
same  as  his  unpublinhed  parody,  "Sansonnet  et  Tontoii"  of  1739,  which  had  been 
forbidden  by  tne  police.  This,  however,  he  mentions  (p.  339)  as  a  parody  of  the 
second  entree,  "La  musique"!  Malherbe's  preface  to  the  reprint  of  Rameau's  "Les 
fMes  d'H^bd"  score  does  not  face  this  contradiction  and  his  remarks  on  the  parody 
are  not  felicitous.  Schatz  11479 

Les  fetes  de  Tautomne.     See  Floquet's  Le  seigneur  bienfaisant. 

Les  fetes  de  rHimen  et  de  F Amour;  ou  Les  dieux  d'Egipte,  ballet- 
h^roique,  donne  a  Versailles  le  quinze  mars  1747,  represents,  pour 
la  premiere  fois,  par  FAcademie-royale  de  musique,  le  mardi  5  novem- 
bre  1748,  remis  au  theatre  en  juillet  1754,  &  le  mardi  4  juin  1765. 
Paris,  Aux  depens  de  V Academic,  ches  de  Lormel,   1765.     J^6  p. 

Three  entries  called  "Osiris,"  "Canope,"  "Ameris  ou  Les  Isies,"  and  each  pre- 
ceded by  prefatory  remarks.  Cast  and  names  of  de  Cahueac  as  author,  of  Jean 
Philippe  Rameau  as  composer.  ML  52.2.F42R2 

—  Les  fetes  de  THymen  et  de  rAmour,  ballet  heroique,  en  trois 
actes  et  en  vers.  Represente  par  I'Academie  royale  de  musique  de 
Bordeaux.     Nouvelle  Edition. 

Pans,  Ruault,  1778.     16  p.     21<'"*. 

Cast.  Neither  Cahusac  nor  Bameau  is  mentioned.  The  prologue  has  been 
dropped.  ML  52.2.F42R3 

Les  fetes  liriques.     Nouveau  ballet-heroique,  en  trois  entries,  de 
diff brents  auteurs:  representees,  par  rAcadSmie-royale  de  musique, 
le  vendredi  29  aotlt  1766. 
Paris,  Aux  depens  de  I'Academie,  ches  de  Lormel,  1 766.     56  p.     23"'"'. 

Cast.  Written  by  different  authors,  the  three  entrees  were  also  set  to  music  by 
different  composers.  The  libretto  mentions  "Francoeur  neveu"  (Louis  Joseph)  as 
composer  of  the  first  "Lindor  et  Ismene;"  Jean  Philippe  Baiueau  as  comix).ser  of 
the  second  "Anacreon;"  de  Moncrif  as  author  and  Pierre  Barton  as  composer  of 
the  third  "Erosine,  pastorale-heroique,  en  un  acte,  repr^entee,  devant  Leurs 
Majest^s,  h  Fontainebleau,  le  9  novembre  1765."  (See  also  Erosine.)  "Lindor  et 
Ismene"  was  written  by  Michel  de  Bonneval  and,  according  to  Schatz,  the  text  is 
the  same  as  that  of  "Le  Roman  merveilleux,"  fourth  entree  in  his  ballet  "Les 
Romans "(1736).  The  text  of  "Anacreon"  was  by  Louie  de  Cahusac,  and  this  one- 
act  op6ra-ballet  had  first  been  performed  on  October  23,  1754.  It  is  not  to  be  con- 
fused mth  Rameau's  Anacreon,  text  by  Gentil-Bemard,  first  performed  May  31, 1757, 
as  third  act  in  his  "Les  surpriaea  de  Famour."  ML  52.2.F46 


OPERA   LIBRETTOS  501 

Les  fetes  venitiennes.     See  Campra's  Les  festes  venitiennes. 
II  Petonte.     See  M.  Curzio. 

Fetonte. 

p.  71-103.  16\'^^.  {Ottavio  Tronsarelli,  Drammi  musicali,  Roma, 
Francesco  Corhelletti,  1632.) 

Five  acts.    Argument.     No  composer  mentioned.  ML  49.A2T7 

Fetonte.     Dramma  per  musica  da  rappresentarsi  nel  Regie  Teatro 
cli  Berlino  .  .  . 
Berlino,  Haude  e  Spener,  1770.     83,  [3]  p.     16^"'. 

Three  acts.  Leopoldo  de  Villati  is  mentioned  as  the  author  ("La  poesia  tratta 
dair  originate  francese"  [Quinault's  Phaeton]  .  .  .  Vi  eono  stati  fatti  diversi  can- 
gialnenti)  and  Carl  Heinrich  Graun  as  composer.  Count  Algarotti  is  known  to 
have  assisted  Villati  and  possibly  Frederick  the  Great  collaborated.  Argument  and 
scenario.    German  title-page,  "rhaeton, "  and  text  face  Italian. 

Performed,  as  indicated,  January,  1770;  originally  March  29, 1750.    Schatz  4098 

Fetonte.  Dramma  per  musica  da  rappresentarsi  nel  Gran  Teatro 
Ducale  di  Luisburgo  resteggiand  osi  il  felicissimo  giorno  natalizio  di 
Sua  Altezza  Serenissima  Carlo  duca  regnante  di  Wu*temberg  et  Teck, 
etc.  La  musica  e  nuova  composizione  del  Signer  Niceld  Jommelli  .  .  . 
I  balli  nascen  tutti  dal  tronco  del  soggetto  e  sono  stati  imxaaginati 
dair  autere  del  drama  .  .  . 

[Stutgart],  Cotta,  1768.     159  p.     17""^. 

Three  acts.  By  MattiaVerazi,  who  is  not  mentioned.  Scenario  and  cast.  French 
title-page,  "Phaeton,'!  and  text  face  Italian. 

First  performed,  as  indicated,  February  11,  1768.  Not  to  be  confused  with  his 
"Fetonte,"  text  by  Leopoldo  de  Villati,  with  alterations  and  interpolations,  first  per- 
formed at  Stuttgart,  Schauplatz  im  Lusthause,  February  11,  1753.         Schatz  4860 

—  Fetonte.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
dell'  Ajuda  nel  felicissimo  gieme  natalizio  del  fedelissimo  monarca  D. 
Giuseppe  I  .  .  .  nel  di  6  giugno  1769. 

Lishona,  Stamperia  reale,  n.  d.     72  p.     16*^^. 

Three  acts.  Scenario,  cast,  and  names  of  Mattia  Verazi  as  author,  of  Niccol6  Jom- 
melli as  composer  ("nuova  composizione  ").  The  text  seems  to  follow  the  1768  edition 
closely,  though,  for  instance,  the  chorus  "Delia  gran  buccina,"  at  end  of  I,  5  has 
been  dropped.  Schatz  4859 

Fetonte  sulle  rive  del  Po.  Cemponimento  drammatice  per  le 
nozze  delle  A.  A.  R.  R.  di  Vitterio  Amedeo  duca  di  Saveja,  e  di 
Maria  Antonia  Ferdinanda  infanta  di  Spagna,  da  cantarsi  nel  palazzo 
di  Sua  Eccellenza  Fra'  D.  Emanuello  De  Sada  e  Antillon  .  .  . 

[^t  end]  Torino,  Pietro  Giuseppe  Zappata,  e  Jiglio,  1750.  4  V-  ^v 
27  p.    23''^. 

One  act.  Argument,  caet,  and  names  of  Giuseppe  Baretti  as  author,  and  of  Giovanni 
Antonio  Giai  as  the  composer. 

First  performed,  as  indicated,  Jime,  1750.  Schatz  3818 

Feudal  times;    or,  The  banquet-gallery:    a  drama,  in  two  acts. 
First  represented  at  the  Theatre-Royal,  Drury-Lane,  on  Saturday, 
Jan.  19tn,  1799.     Written  by  George  Colman,  the  younger  .  .  . 
London,  Cadell  and  Davies,  n.  d.     vi,  [2],  55  p.     21*'"*. 

Cast,  preface  dated  Piccadilly,  February  13,  1799,  and  name  of  Michael  Kelly  ae 
composer.  In  Corn,  Dussek  &  co'b  vocal  score  the  overture  is  headed  as  composed 
by  Dussek.  Lonoe  249 


502  LIBRARY   OF   CONGRESS 

II  feudatorio,  ballet.    See  Monza's  Ifigenia  in  Tauride. 

II  feudatorio  ingannato,  ballet.  See  Ferrero's  La  disfatta  di 
Dario. 

11  feudatorio  pentito,  ballet.    See  Zingarelli's  Artaserse. 

La  Fiammetta.  Opera  bemesca  in  musica  da  rappresentarsi  in 
Venezia  nel  Teatro  Gmstiniano  di  San  Mois^  nel  camevale  nell'  anno 
1743.     M.  V. 

Venezia,  Girolamo  Bortoli,  1744'     58  f.     15'^"K 

Three  ac  8.  Cast  and  scenario.  Author  and  compoeer  not  mentioned,  and  unknown 
to  Schatz.  ScHATz  11330 

La  fida  ninfa.     Dramrna  per  musica  da  rappresentarsi  in  Verdna 
nella  dedicazione  del  nuovo  Teatro  Filarmonico.     [vignette] 
n.  i.,  n.  d.     [191]-2o6  p.     18<=''\ 

Evidently  detached  copy.  Three  acts.  The  text  is  preceded  by  Giulio  Cesare 
Becelli's  very  interesting  preface  on  p.  [193]-202,  in  which  he  says  that  the  text 
was  written  by  the  author  [marchese  Scipione  Maffei]  when  eighteen  years  of  age. 
Later  on  he  altered  and  used  the  text  for  a  special  musical  purpose  and  forgot  all  about 
it,  until  the  refusal  of  "alcuni  valenti  poeti  to  furnish  a  new  drama  for  the  opening 
festivities  of  the  new  Teatro  Filarmonico  in  Verona,  in  1730  induced  him  to  use  his 
own  text  instead.  Becelli  then  tells  us  how  Giuseppe  Maria  Orlandini,  the  com- 
poser, came  from  Bologna  to  Verona  to  confer  with  Maffei  on  further  changes  in  the 
text  and  how  he  came  as  Maffei's  guest  "per  levar  arie,  o  aggiungere,  e  per  adattarle 
al  di  lui  piacere  nel  modo,  e  nel  site,  e  in  altre  circostanze  della  ecena,  secondando 
ancheilgeniodei  cantanti:  anzi  in  alcuni  luoghl  vi  erano  due  arie  invece  di  una, 
perche  il  maestro  prendesse  la  piii  geniale,  di  qualcuna  ancora  essendosi  eervito,  che 
avea  con  applauso  usata  in  cantate  ..."  Hence  Maffei's  hostile  views  on  this 
kind  of  cooperation  between  dramatist  and  composer.  Finally,  Becelli  makes  some 
noteworthy  remarks  on  the  same  subject.  Schatz  records,  but  evidently  incorrectly, 
Antonio  Vivaldi  as  the  composer.  ML50.2.F4O7 

—  La  fida  ninfa.     Drama  per  musica. 

'     [241]-293  J).     17h''"\  {Marchese  Scipione   Maffei,  Poesie,   Verona, 
1752,  t.  ii). 

Three  acts.    Orlandini  is  not  mentioned.  PQ 

Fidarsi  e  bene,  ma  non  fidarsi  e  meglio.     Divertimento  comico 
per  musica  da  rappresentarsi  nel  Teatro  Giustiniani  a  San  Mois^.     In 
occasione  della  fiera  dell'  Ascensione.     L'anno  MDCCXXXI. 
Venezia,  Carlo  Buonarrigo,  n.  d.     4'^i  [^1  V-     ^^'^'"• 
Three  acts.    Attributed  by  Schatz  and  Wiel  to  the  composer  Giuseppe  Maria 
Bxiini,  who  is  not  mentioned.  Schatz  1396 

II  fido  amante,  ballet.     See  Sarti's  Medonte. 

II  fldo  amico,  oder:  Der  getreue  freund  Hercules  und  Theseus. 
Auf  dem  grossen  Hamburgischen  Schau-platz  in  einem  singe-spiel 
auffgefuehret  im  jalir  1708. 

n.  i.,  n.  d.     Unpaged.     ISY"^. 

Three  acts.  Neither  the  author,  Breymann  (who  based  his  text  on  Moniglia's 
"Ercole  in  Tebe  "),  nor  the  composer,  Christoph  Graupner,  is  mentioned  in  the  notice 
to  the  "  Geehrter  leser."  Some  arias  have  Italian  and  German  text,  which  is  on  the 
whole  German.  Schatz  4123 

La  fiera  di  Batavia,  ballet.    See  Curcio's  Solimano. 


OPERA   LIBRETTOS  503 

La  fiera  di  Sinigaglia,  ballet.     See  Andreozzi's  Teodelinda. 

La  fiera  di  Sinigaglia.     Dramina  di  tre  atti  per  musica.     Rappre- 

sentato  per  la  prima  volta  in  Bologna  Testate  delT  anno  IVIDCCLXI. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  jigli,  1788^95,  t.  Al, 
{115]-180f.     18'=^. 

For  correct  date  of  first  performance  see  next  entry.  PQ 

La  fiera  di  Sinigaglia.     Dranuna  giocoso  per  musica  di  Polisseno 
Fegejo  Pastore  Arcade  [Goldoni]     Da  rappresentarsi  nel  Teatro  delle 
Dame  per  le  prime  recite  del  came  vale  1760  .  .  . 
Roma,  Giuseppe  e  Nicolo  Grossi,  1760.     72  p.     15'^'^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  the  composer, 
Domenico  Fischietti.  Schatz  3239 

La  fiera  di  Venezia.     Dramma  giocoso  per  musica  di  Giov.  Gas  tone 
Bocherini  da  rappresentarsi  nel  Piccolo  Teatro  di  S,  A.  E.  di  Sassonia. 
Dresda,  n.  puhl.,  1775.     167  p.     16'"^. 

Three  acts.  Antonio  Salieri  is  mentioned  as  the  composer.  German  title-page, 
"Der  markt  von  Venedig,"  and  text  face  Italian. 

First  performed  at  Dresden,  1775,  as  indicated;  at  Vienna,  Bnrgtheater,  Januasrj' 
29,  1772.  Schatz  9293 

—  La  fiera  di  Venezia,  comedia  per  musica  in  tre  atti,  di  Gio. 
Gastone  Boccherini,  Lucchese,  poeta  Arcade;  da  rappresentarsi  nel 
Regio  Teatro. — ^Markedet  i  Venedig  .  .  .     Oversat  paa  dansk  af  R. 

Soelberg. 

Ki0henhavn,  H.  J.  Graae,  n.  d.     127  p.     16^*^. 

Cast  and  name  of  Antonio  Salieri  as  the  composer. 

First  performed,  as  indicated,  April  10,  1777.  Schatz  9295 

—  La  fiera  di  Venezia.  Commedia  per  musica  da  rappresentarsi  in. 
MUano  per  la  solenne  occasione  deUa  sua  prima  apertura  in  agosto 
deir  anno  1779  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     84  p.     16""^. 

Three  acts.  Dedication,  cast,  scenario,  and  names  of  Boccherini  as  the  author, 
of  Antonio  Salieri  as  the  composer.  _With  the  opera  were  performed,  music  by 
Mattia  Staubingher,  Antonio  Muzzarelli's  ballets  "La  sconfifla  delle  Amazoni"  and 
' '  Le  a  vventure  d '  I  rcana . " 

First  performed  August  21,  1779,  as  indicated.  Schatz  9291 

—  Die  messe  zu  Venedig,  eine  operette  aufgefuehret  am  Churpfael- 
zischen  hofe  1772. 

Mannheim,  Hofu.  Akademie  huchdruckerei,  n.  d.     82  p.     16"^. 

Three  acts.  Cast  and  name  of  Antonio  Salieri  as  the  composer.  A  separate  edi- 
tion of  the  German  translation  for  the  Italian  performances  at  Mannheim,  Hoftheater, 
November  22,  1772.  On  p.  76-82,  cast  and  description  of  Lauchery's  ballet  "Der 
tod  des  Hercules,"  "die  musick  bestehet  aus  verschiedenen  schoenen  stuecken 
mehrem  beruehmten  meistem."  Schatz  9292 

—  Arien  und  gesaenge  aus  dem  singspiele  Der  jahrmarkt  zu  Vene- 
dig, in  drey  akten.     Die  musik  ist  vom  herrn  Salieri. 

Berlin,  n.  puhl,  1799.     5 4  p.     W"^. 

Three  acta.    The  translator,  Heinrich  Christian  Pleisener,  is  not  mentioned.    Cast. 

First  performed  at  Berlin,  Kgl.  National  Theater,  February  25,  1799. 

Schatz  9294 

A  fig  for  invasion.     A.  T.  of  The  times. 


504  LIBBARY   OF   CONGRESS 

Figaro  als  barbier  zu  Sevilla.     Tr.  of  Paisiello's  II  barbiere  di 

Seviglia. 

Figaro's  heyrath.     Tr.  of  Mozart's  Le  nozze  di  Figaro. 

Figaros  hochzeit.     Tr.  of  Mozart's  Le  nozze  di  Figaro. 

Figaros  hochzeit  oder  List  uber  list.  Tr.  of  Mozart's  Le  nozze  di 
Figaro, 

Figfaro's  hochzeit  oder  Der  tolle  tag.  Tr.  of  Mozart's  Le  nozze  di 
Figaro. 

La"  figlia  dell'  aria  o  sia  L'irmalzamento  di  Semiramide,  ballet.  See 
Righini's  Armida. 

La  figlia  obbediente.  Dranuna  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Monza  I'autunno  dell'  anno  1780  .  .  . 

Milano,  Giovanni  Battista  Bianchi,  n.  d.     60  p.     W^^. 

Two  acts.  By  unknown  author.  Dedication,  caet,  scenario,  and  name  of  the 
composer.  Carlo  Bosi.  With  the  opera  were  performed  Innocente  Parodi's  ballets 
"Le  gelosie  d'Annetta  e  Fiorillo"  and  "Accamparoento  di  Micheletti."  The  com- 
posers of  the  music  are  not  mentioned.  Schatz  1256 

Le  flglie  astute,  ballet.    See  Brunetti's  Bertoldo. 

Le  figlie  astute,  ballet.    See  P.  Gnglielmi's  Enea  e  Lavinia. 

n  figlio  delle  solve.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Fontanelli  in  Modona  [!]  I'anno  MDCCI  .  .  . 

Modona  [!],  Antonio  Capponi,  n.  d.     1  p.  I.,  60  p.     13^^. 

Three  acts.  Impresario's  dedication  ("La  prima  opera,  ch'io  pongo  eu'l  mio 
teatro  " ),  argument,  and  cast.  Neither  the  composer,  Gaetano  Boni,  nor  the  librettist, 
Carlo  Sigismondo  Capece,  is  mentioned. 

First  performed,  as  indicated,  December  27,  1700.  ScHAirz  1181 

II  figlio  delle  solve.  Favola  pastorale  per  musica  da  rappresen- 
tarsi per  comando  del  Serenissimo  Elettore  Palatino.  L'anno 
MDCCLIII. 

Mannheim,  Nicola  Pierron,  n.  d.    3  p.  Z.,  77  p.     W^. 

Three  acts.  By  Carlo  Sigismondo  Capece,  and  partly  rewritten  by  Francesco 
Bardella,  who  are  not  mentioned.  Argument,  caet,  and  name  of  Ignaz  Holzbauer 
as  the  composer-. 

Firet  performed  at  Schwetzingen,  Neues  Churfueretl.  Theater,  1753. 

Schatz  4781   , 

II  figlio  delle  solve.  Dramma  pastorale  per  musica  da  rappresen- 
tarsi nel  Teatro  del  Falcone  la  prmiavera  dell'  anno  1755  .  .  . 

Geneva,  FrancheUi,  n.  d.    5  p.  I.,  J^S  p.     IJ^V™. 

Three  acts.  Dedication  signed  by  Francesco  Bardella  (who,  according  to  Schatz, 
based  this  text  on  that  of  Carlo  Sigismondo  Capece),  argument,  and  remark: 

"La  musica  de'  recitativi,  e  dell'  arie  segnate  con  ima  stella  h  del  Signor  Felice 
Mazzinghi,  &  I'altre  arie  sono  di  van  autori."  Schatz  6217 


OPEBA   LIBBETTOS  505 

XI  flglio  delle  selve.  Dramma  per  musica  da  recitarsi  nel  Reggio 
Teatro  di  Torino  .  .  . 

Torino^  Gio.  Battista  Fontana,  1699.     94  p.     14^"^. 

Three  acts.  On  p.  91-92,  "Scena  agginnta.  O  FruUa  ee  m'ami;"  on  p.  93-94, 
additions  for  I,  11,  "Col  nome  di  Sergesto — Mentre  mi  fingo  amante"  and,  at  end  of 
I,  11,  "Doppo  rigide  tempeste."  Neither  Carlo  Sigiemondo  Capece,  the  author,  ia 
mentioned,  nor  Alessandro  Scarlatti,  the  compoeer. 

First  performed,  as  indicated,  1699;  at  Rome,  at  the  poet's  home,  1687,  the  dedi- 
cation of  the  original  ed.  of  the  libretto  being  dated  January  18, 1687.    Schatz  9530 

Li  figliuoli  rivali  del  padre.  A.  T  of  Caldara's  Camaide,  impera- 
tore  della  China. 

Filandro.     L.  T.  of  Albinoni's  L'incostanza  schemita. 

Filandro,  dramma  cornice  pastorale  per  musica  rappresentato  alia 
corte  di  Dresda,  il  giorno  natalizio  di  Sua  Altezza  Reale  ed  Elettorale 
la  principessa  Maria  Antonia  Valpurga  .  .  .  il  di  18.  luglio  1747. 
n.  i.,  n.  d.     143  p.     16^"^. 

Three  acts.  By  Vincenzo  Cassani,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Nicole  Antonio  Porpora  as  the  composer.  German  title-page, 
"Philander,"  and  text  face  Italian.  The  text  is  the  same  as  Cassani'e  "L'incostanza 
schemita."  Schatz  8357 

La  fileuse ;  Parody  of  Destouches'  Omphale. 

II  Filindo.     Pastorale  eroica  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniano  di  S.  Mois^.     L'autunno  dell'  anno  MDCCXX  .  .  . 
Venezia,  Marino  Rossetti,  1720.     48  p.     14^"^. 

Three  acts.  By  Pietro  d'Averara.  Impresario's  dedication,  notice  to  the  reader, 
cast,  scenario,  and  name  of  the  composer,  Giuseppe  Maria  Buini,  but  not  of  the 
author.  Schatz  1382 

Pilippo  re  della  Grecia.  Drama  per  musica  da  recitarsi  nell' 
impareggiabile  Teatro  Grimani  di  S.  Gio.  Grisostomo  I'anno 
MDCXVI  ... 

Vmezia,  Marino  Rossetti,  1706.     76  p.     15*™. 

Five  acts.  Impresario's  dedication,  argument,  notice  to  the  reader,  with  name 
of  Carlo  Francesco  PollaroU  as  the  composer,  cast,  and  scenario.  The  author,  conte 
Pietro  Giorgio  Barziza,  is  not  mentioned.  Schatz  8289 

Filippo  re  di  Macedonia.  Drama  per  musica  di  Domenico  Lalli. 
Da  recitarsi  nel  Teatro  di  S.  Angelo  il  camevale  dell'  anno  1721  .  .  . 

Venezia,  Marino  Rossetti,  1721.    4^  V-     H'^^- 

Three  acts.  Dedication  by  Lalli,  argument,  cast,  scenario,  and  names  of  Giuseppe 
Boniventi  ae  composer  of  the  first  and  second  acts,  of  Antonio  Vivaldi  of  the  third. 

Schatz  1196 

La  fille.     Entree  in  Mouret's  Les  festes  de  Thalie. 

La  fille  mal  gardee.     See  Mouret's  Les  festes  de  Thalie. 

La  filli  di  Tracia.  Drama  da  rappresentarsi  in  musica  nel  Teatro 
k  S.  Stefano  in  Ferrara  I'anno  1664.  Con  la  musica  del  Sig.D.  Andrea 
Matioli  mastro  di  capella  del  Sereniss.  di  Mantoua  .  .  . 

Ferrara,  gVheredi  dei  Suzzi,  n.  d.     IS4  p.,  [3]  I     13^<"^. 

Three  acts  with  prologue.    Conte  Ercole  Pinamonte  Bonacosai  is  mentioned  as 
author  in  the  impresario  s  dedication,  which  is  dated  Ferrara,  February  17,  1664.  . 
Argument.    The  three  additional  leaves  contain  a  list  of  errata  and  the  imprimatur. 

Schatz  6105 


506  LIBRARY  OF   CONGRESS 

La  File  overo  Giunone  repacificata  con  Ercole  per  le  nozze  de'  Sere- 
nissimi  Ranuccio  II  duca  di  Parma,  e  Margarita,  principessa  di  Savoia: 
da  cantarsi  nel  Teatro  maggiore  di  S.  A.  col  motivo  ad  un  toroeo,  che 
dovrk  seguire  un'  altra  sera.     Drama  del  conte  Francesco  Bemi. 

Parma,  Erasmo  Viotti,  n.  d.     4  V-  ^•>  ^^^i  [^]  V-     H"^- 
On  last  page  repetition  of  the  imprint  with  date  1660. 

Three  acts,  prologue,  three  intramezzi  and  congratulatory  epilogue.  In  a  pre- 
fcitory  note  Franceeco  Manelli  is  mentioned  as  composer. 

First  performed  1660,  as  indicated.  Schatz  5889 

—  I  sei  gigli.  Tomeo  per  le  nozze  de'  Serenissimi  Ranuccio  II,  duca 
di  Parma,  e  Margarita,  principessa  di  Savoia:  intimato  nella  Filo,  e 
da  combattersi  nel  Teatro  maggiore  di  S.  A.  Componimento  del 
conte  Francesco  Bemi. 

Parma,  Marco  Vigna,  1660.     31  f.     IJ^Y"^. 

Prologue  and  five  comparse.    Francesco  Maoielli  is  mentioned  as  the  composer. 

Schatz  5891 

La  filosofa  olandese,  ballet.     See  Anfossi's  La  maga  Circe. 

I  filosofi  immaginarj .     L.  T.  of  Astaritta's  I  visionari. 

I  filosofi  iinmaginari.  Dramma  per  musica  (^  rappresentarsi  n'il 
nuovo  Teatro  dfe'  Fiorentini. 

Na'poli,  n.  pull,  1784.     84  p.     W"^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Cast  and  name  of  Paisi- 
eUo  as  the  composer. 

First  performed  at  St.  Petersburg,  Eremitage,  February  7/18,  1779,  as  "Gli  astro- 
logi  imaginarj,"  and  this  in  turn  was  an  alteration  of  Bertati's  original  title,  "I  visio- 
narj."  Schatz  7616 

—  I  filosofi  immaginarii.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  de  la  rua  dos  Condes  nel  anno  de  1790.— Os 
filosofos  imaginarios  .  .  .  Traduzido  do  idioma  italiano  para  o 
portuguez. 

Lishoa,  Simao  Thaddeo  Ferreira,  1790.     95  p.     15'^'^. 

Two  acts.  Dedication,  cast,  and  name  of  Giov.  Paisiello  as  composer.  Bertati 
is  not  mentioned.  ML  48.C6II 

—  I  visionari.  Dramma  giocoso  per  musica,  da  rappresentarsi  nel 
Teatro  Elettorale. 

Dresda,  n.  pull.,  1793.     93  p.     15^"^. 

Two  acts.  Paisiello  is  mentioned  as  the  composer.  German  title-page,  "Die 
phantasten,"  and  text  face  Italian. 

First  performed  1793,  as  indicated.  Schatz  7619 

—  Die  eingebildeten  philosophen.  Ein  singspiel  in  zwey  auf- 
zuegen,  aus  dem  italiaenischen  auf  die  musik  des  herm  Paesello 
uebersetzt.  Von  Stephanie  dem  juengem.  Aufgefuehrt  auf  dem 
kais.  kon.  Nat.  Hof theater. 

[TFien],  Zujinden  leym  logenmeister,  1781.     44  V-     ^^*^"*- 

First  performed,  as  indicated,  May  22,  1781.  Schatz  7617 

—  Arien  aus  den  Philosophen.     Ein  singspiel  in  zwey  aufzuegen. 
n.  i.,  n.  d.     24  p.     16^"^- 

Same  version  as  the  foregoing. 

First  performed  at  Pressburg,  private  theater  of  Graf  Erdody ,  1788 .    Schatz  7618 


OPERA  LIBRETTOS  507 

Filosofia  ed  amore.     Dramina  di  tre  atti  per  muaica.     Rappresen- 
tato  per  la  prima  volta  in  Venezia  il  camovale  dell'  anno  MDCCLX. 
Carlo  Goldoni,  Opere  teatrali,  Venezia.  Zatta  e  figli,  1788-96,  v.  S8, 
[271]-334  p.     18^"^. 

PQ 

Filosofia  ed  amore,  dramma  giocoso  per  musica  di  Polisseno  Fegejo, 
P.  A.  Da  rappresentarsi  nel  Teatro  Giustinian  di  S.  Mois^,  il  camo- 
vale delF  anno  MDCCLX. 

Venezia,  Modesto  Fenzo,  1760.    68  p.     Id""^. 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Florian  Leopold  Gass- 
mann  as  the  composer.  Schatz  3615 

II  filosofo.     Intermezzo. 

[193]-209  p.  16Y^-  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  iv,  Torino,  1757.) 

Two  parts.    First  composer  unknown  to  Schatz.  ML  49.A2G6 

—  II  filosofo.     Intermezzo  di  due  parti  per  musica. 

C(irlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v.  35, 
[251]-270  p.     ISY"^. 

PQ 

II  filosofo  amante.     Farsa  per  musica  da  rappresentarai  nel  real 
Teatro  di  Salva terra  nel  camovale  dell'  anno  1776. 
[Lisbon/]],  Nella  Stamperia  reale,  n.  d.     77  p.     16^'^'^. 

Two  acts.  By  unknown  author.  Cast,  scenario,  and  name  of  the  composer, 
Giovanni  Battista  Borghi.  Schatz  1232 

II  filosofo  deriso,  ballet.     See  P.  Guglielmi's  Rinaldo. 

II  filosofo  di  campagna.  Dramma  di  tre  atti  per  musica.  Rap- 
presentato  a  Madrid  I'anno  MDCCLX. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v.  43, 
[63]-122  p.     18'='^. 

For  first  performance  see  next  entry.  PQ 

II  filosofo  di  campagna.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo,  Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  Grimani  di  S. 
Samuel  I'autunno  dell'  anno  1754  .  .  . 

Venezia,  Modesto  Fenzo,  1754.     60  p.     15^"^. 

Three  acts.  By  Goldoni.  Impresario's  dedication,  cast,  scenario,  and  name  <rf 
Baldassare  Galuppi  as  composer. 

First  performed  at  Milan,  Regio-Ducal  Teatro,  summer  1750.  Schatz  3452 

—  II  filosofo  di  campagna.  Dramma  giocoso  per  musica,  da  rap- 
presentarsi in  Dresda  I'anno  MDCCLV. — Der  land-mann  ein  philo- 
soph  .  .  . 

Dresden,  gedruckt  hey  der  verwitt.  .  .  .  Stoesselin,  un4  .  .  .  Johann 
Carl  Krausen,  n.  d.     158  p.     17'='^. 

Three  acts.  Cast,  scenario,  and  name  of  Oaluppi  as  composer.  German  text 
faces  the  Italian,  which  follows  closely  that  of  the  original  ed.  of  1754,  though  some 
differences  are  noticeable.  For  instance  (I,  4),  "Taci,  amor,  nel  seno  mio"  has  been 
replaced  by  "Agitato  gelo,  e  tremo,"  words  which  do  not  appear  to  be  by  Goldoni 
at  all.  Schatz  3453 


508  LIBRARY   OF   CONGRESS 

II  filosofo  di  campagna — Continued. 

—  La  serva  astuta  o  sia  II  filosofo  in  campagna,  intermezzo  in  due 

f)arti  a  cinque  voci  da  rappresentarsi  nel  Teatro  di  Sant'  Angelo 
'autunno  dell'  anno  MDCCLXI. 
Venezia,  Valvasense,  n.  d.    2^  p.     ISi""^. 

Caet.  Goldoni  ie  mentioned  as  the  author,  and  GaJuppi  as  the  composer.  A 
thoroughly-altered  condensation  in  two  acts.  The  characters  of  Eugenia  ana  Rinaldo 
have  been  dropped,  Lena  has  become  Fiorillo,  and  the  intermezzo  begins,  "Povera 
padroncina,"  instead  of  "Candidetto  Gelsomino."  Schatz  3513 

II  filosofo  di  campagna.     Dranama  giocoso  per  musica  da  rappre- 
sentarsi alia  Corte  elettorale  Palatina  .  .  .  I'anno  1756. 


cm 


Mamiheim,  Stamperia  elettorale,  n.  d.     173  p.     16 
Three  acts.    Neither  Goldoni,  the  author,  nor  Ignaz  Holzbauer,  the  composer,  is 
mentioned.  Schatz  4782 

II  filosofo  in  campagna.     A.  T.  of  Galuppi's  La  serva  astuta. 

Os  filosofos  imaginarios.     Tr.  of  Paisiello's  I  filosofi  immaginarii. 

Der  fiindling.     A.  T.  of  Monsigny's  Felix. 

La  finta  amalata:   Farsa  per  musica  in  un  solo  atto.     Da  rappre- 
sentarsi nel  Regio  Teatro  di  S.  Carlo,  della  Principessa, 
Lishona,  Simone  Taddeo  Ferreira,  1796.    167  p.    16^"^. 

Cast.  Portuguese  translation  faces  Italian.  Neither  the  author  (unknown  to 
Schatz)  is  mentioned,  nor  Domenico  Cimarosa,  the  composer.  The  text  is  a  con- 
densation (with  alterations)  of  the  two-act  text  of  the  same  title  composed,  for  instance, 
by  Vittorio  Trento  for  Florence,  1793. 

First  performed  1796,  as  indicated. 

On  p.  [69J-167: 

—  H  convitato  di  Pietra. 

One  act  ("farsa  II "  of  the  evening).  Cast,  scenario,  and  name  of  Vincenzo  Fabrizi 
as  composer.  The  author,  Giambattista  Lorenzi,  is  not  mentioned.  The  above  is 
the  A.  T.  of  their  "Don  Giovanni  Tenorio,"  Bologna,  1791.  ML  48.C6  III 

La  finta  amalata.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobile  Teatro  Veronese  in  San  Cassano  il  camovale  dell'  anno 
1794.     Posto  in  musica  dal  Signor  maestro  Vittorio  Trento. 
Venezia,  Casali,  1794.    55  p.     18'^'^. 

Two  acts.    Author  not  mentioned,  and  unknown  to  Schatz.    With  the  opera  were 
performed  the  ballets,  "I  Veneziani  a  Costantinopoli "  and  "II  Chinese." 
First  performed  at  Florence,  Teatro  La  Palla  a  Corda,  spring  of  1793. 

Schatz  10432 

La  finta  amante.     Opera  comica  di  due  atti  per  musica  da  rappre- 
sentarsi nel  Teatro  de'  Fiorentini. 
Napoli,  n.  pull,  1788.     34  p.     15''^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Palsiello  as  the  composer. 

First  performed  at  St.  Petersburg,  Teatro  di  corte,  1780,  and  previously,  in  June, 
1780,  for  the  meeting  of  Catherine  II  with  Joseph  II  of  Austria  Schatz  7669 

La  finta  Astrea.  Farsetta  in  musica  a  tre  voci  da  recitarsi  nel 
Teatro  alia  Valle  il  camevale  dell'  anno  1755  .  .  . 

Roma,  OttavioPuccineTli,  1754.     24  p.     15^'^- 

Two  parts.  Author  unknown  to  me.  Dedication  by  Angelo  Lungi,  cast  and 
name  of  Giacinto  Quagliattini  as  composer.  ML  50.2.F43Q2 


OPERA    LIBRETTOS  '  609 

La  fiuta  baronessa  o  Li  due  fratelli  ridicoli.  L.  T.  of  Alessandri's 
La  finta  principessa. 

La  finta  cameriera.     Drama  giocoso   da  rappresentarsi  sopra  il 
Nuovo  Teatro  dell'  Opera  pantomima  del  Nicolini  in  Bronseviga. 
Bronseviga,  heredi  Eeitel,  n.  d.     Unpaged.     19^. 

Three  acts.  By  Giovanni  Barlocci,  who  is  not  mentioned.  Argument,  scenario, 
and  name  of  Bald.  Galuppi  as  composer.  German  title  page,  "Dae  verstellte  Kam- 
mermaedgen,"  and  text  face  the  Italian. 

First  performed,  as  indicated,  1751. 

"La  finta  cameriera  "  is  generally  attributed  to  Latilla.  Piovano  suspects  that  this 
Brunswick  version,  though  bearing  Galuppi's  name,  either  was  by  Latilla  or  else  that 
it  was  a  pasticcio,  partly  from  Galuppi.  '         Schatz  3454 

La  finta  cameriera.  Divertimento  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  Sant'  Angelo  la  prima  vera  dell'  anno  1743. 
Nella  fiera  dell'  Ascensione. 

Venezia,  Modesto  Fenzo,  17 43.     60  p.  {incl.  front.) .     IS^"^. 

Three  acts.  By  Giovanni  Barlocci,  who  is  not  mentioned.  Cast  and  name  of 
Gaetano  Latilla  as  composer.  Became  known  also  as  "La giardiniera contessa ' '  and 
"  Don  Colascione." 

First  performed  at  Rome,  Teatro  Yalle,  spring  of  1738.  Schatz  5445 

La  finta  cantatrice.     A.  T.  of  P.  Guglielmi's  Chi  la  dura  la  vince. 

La  finta  cecita  di  Antioco  il  Grande.  Drama  per  musica  nel  feli- 
cissimo  di  natalizio  .  .  .  Leopold©  I  .  .  .  I'anno  MDCXCV.  Posto 
in  musica  dal  Sr.  Antonio  Draghi  maestro  di  Cap.  di  S.  M.  C.  con 
I'arie  per  li  balletti  del  Sr.  Gio.  GiosefFo  Hoffer,  violinista  di  S.  M.  C. 

Vienna  d^ Austria,  Susanna  Cristina,  vedova  di  Matteo  Cosmerovio, 
n.  d.     106  p.     lo""^. 

Three  acts,  with  ballets  and  Licenza  by  Donato  Cupeda,  by  whom  the  dedication 
is  signed  and  dated  "Vienna,  9.  di  Giugno,  1695."  Followed  by  "Benigno  lettore" 
and  ailment  and  scenario. 

First  performed  at  Vienna,  Hoftheater,  Jime  9,  1695.  Schatz  2797 

La  finta  Cingara  per  amore.     Farsa  per  musica  in  due  atti,  a 
cinque  voci  da  rappresentarsi  nel  ndbil  Teatro  Grimani  di  S.  Gio. 
Grisostomo  il  camovale  dell'  anno  1780  .  .  . 
Venezia,  Pietro  Sola,  1780.    51  p.    17'='". 

Impresario's  dedication,  cast,  scenario,  name  of  Carlo  Franchi  as  composer  of  the 
first  and  of  Pasquale  Anfossi  of  the  second  act.     The  author  is  unknown  to  Schatz. 
First  performed  at  Rome,  Teatro  di  Tor  di  Nona,  carnival,  1774.      Schatz  3331 

La  finta  contessina.  Farsetta  per  musica  da  rappresentarsi  nel 
Teatro  alia  Valle  nel  carnevale  dell'  anno  1751   .  .  . 

Roma,  Ottavio  PuccineUi,  1751.     26  p.     15^""- 

Two  parts.  Author  not  mjentioned  and  unknown  to  me.  Dedication  by  the 
publisher  and  Angelo  Lungi  ("ponendosi  sulle  scene  il  terzo  scherzo  musicals"), 
cast  and  name  of  Antonio  Colli  a.^  composer.  ML  60.2.F433C7 

La  finta  Galatea  o  sia  L'antiquario  fanatico. 

Two  acts.  Text  and  mus»ic  by  Marcello  di  Capua  (Bernardini).  First  performed 
at  Rome,  Teatro  della  Pace,  carnival  1785. 

L.  of  C.  has  no  18th  cent.  ed.  under  this,  the  original  title 


510  •  LIBBARY    OF   CONGBESS 

La  finta  Galatea — Continued. 

—  Le  donne  bisbetiche  o  sia  L'antiquario  fanatico,  Farsetta  in 
musica  a  cinque  voci  da  rappresentarsi  ncl  Pubblico  Teatro  della 
nobil  cittk  di  Orvieto  nel  camevale  dell'  anno  1791  .  .  . 

Orvieto,  Luigi  Carlucci,  n.  d.     1^1  p.     16^"^. 

Two  acts.  Cast,  name  of  Marcello  di  Capua  (Bemardini)  as  author  and  com- 
poser and  impresario's  dedication  to  the  ladies  of  Orvieto,  in  which  he  says: 

"  Non  v'  ^  piu  dubbio,  che  il  Teatro  fu  instituito  per  la  riforraa  de'  costumi.  Questo 
deve  eempre  essere  I'ujiico  suo  fine,  cio6  dilettare,  e  nell'  istesso  tempo  dolcemente 
ammaestrare  lo  epettatore  con  iepirargli  orrore  al  vizio,  che  nelle  sceniche  rappresen- 
tazioni  o  ei  riprende,  o  si  dile^gia,  ed  animarlo  alia  virtil,  che  ei  commenda,  e  di 
cui  se  ne  presentano  dei  modelli  .  .  . 

"Consequiamoalla  vostra  protezione  la  presente  farsetta,  che  serve  perinterrom- 
pere  coUa  musica  le  altre  teatriche  rappresentanze  .  .  ."  ML  50.2.D61B2 

La  finta  giardiniera.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi in  Prato  nel  camevale  dell'  anno  1775  nel  Teatro  pubblico  dei 
Nobili  Accademici  Semplici  .  .  . 

Firenze,  Gio.  Bat.  Stecchi  e  Anton  Giuseppe  Pagani,  1775.     7 4  p. 

Three  acts.  Impresario's  dedication,  cast,  and  name  of  the  composer,  Pasquale 
Anfossi,  but  not  of  librettist,  who  is  unknown  to  Schatz. 

First  performed  at  Rome,  Teatro  delle  Dame,  carnival,  1774.  Schatz  234 

—  La  finta  giardiniera.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Piccolo  teatro  di  S.  A.  S.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1775.     175  p.     16^"^- 

Three  acts.  Scenario  and  name  of  Anfossi  as  composer.  German  title-jmge  ' '  Die 
verstellte  gaertnerin,"  and  text  face  Italian. 

First  performed,  as  indicated,  February  7,  1775.  Schatz  235 

La  finta  matta.  Commedia  per  musica  di  Domenico  Piccinni  da 
rappresentarsi  nel  Teatro  de'  Fiorentini  per  terz'  opera  di  quest' 
anno  1789. 

Napoli,  n.  puU.,  1789.     59  p.     15\<''^: 

Two  acts.     Caet  and  name  of  Silvestro  di  Palma  as  the  composer.    Schatz  7741 

La  finta  pazza.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  Moisd.  Nella  fiera  della  Ascensione  dell' 
anno  1747. 

Venezla,  Modesto  Fenzo,  17J^7.    front.,  4^  p.     15'^"^. 

Three  acts.  Caet  and  scenario.  Author  and  composer  not  mentioned  and  unknown 
to  Schatz.  Schatz  11331 

La  finta  pazza.     Drama  di  Giulio  Strozzi.     Seconda  impressione. 

Venetia,  Gio.  Battista  Surian,  I64I.     96  p.     13^"". 

Three  acts  with  prologue.  Author's  dedication  dated  Venice,  January  14,  1641, 
and  his  notice  to  the  reader,  which  begins: 

"Queeta  h  I'ottava  fatica  rapresentativa,  che  mi  trovo  haver  fatta;  cinque  delle 
quali  hanno  di  gia  piii  volte  paeseggiate  le  scene,  e'in  questa  m'e^  riuscito  assai  feli- 
cemente  lo  sciorre  piii  d'un  nodo  di  lei  eenza  magia,  e  senza  ricorrere  a  gli  aiuti 
Bopranaturali,  e  divini." 

At  the  end  he  mentions  Francesco  Sacrati  as  the  composer.  Then  follows  ' '  Sonetti 
del  Sig.  Francesco  Melosi  alia  Signora  Anna  Renzi,  celebre  cantatrice  di  Roma,  rap- 
presentante  in  Venetia  La  finta  pazza"  and  "Pianto  di  Deidamia  nella  Finta  pazza. 
Espresso  mirabilmente  in  musica  dalla  Sig.  Anna  Renzi  Romana."  At  end  this  note 
by  "Gio.  Battista  Surian  libraio  al  frequente  compratore": 

"Sono  stato  sforzato  dall'  avidity  de'  lettori  di  quest'  opera  a  metterla  due  volte 
in  un  mese  sotto  il  torchio;  tanto  applauso  ha  ricevuto  dalle  lingue  universali  La 
finta  pazza  nel  Teatro  Novissimo  della  citta  di  Venetia,  ov'  ella  con  regale  apparato 
h  stata  in  17  giomi  dodici  volte  rappresentata."  Schatz  9253 


OPERA   LIBRETTOS  511 

La  finta  pazzia  d'XJlisse.     Drama  per  musica  da  recitarsi  nel  Teatro 
Vendramino  di  S.  Salvatore  Tanno  1696.     Di  Matteo  Noris  .  .  . 
Venetia,  Francesco  Nicolini,  1696.     83  p.     14'^"'. 

Three  acts.  Author's  dedication,  notice  to  the  reader  with  scenario  and  name  of 
Marc  Antonio  Zia^  as  the  composer  and  scenario. 

First  performed,  as  indicated,  carnival,  1696.  Schatz  11186 

La  finta  pazzia  di  Diana.  Pastorale  giocosa  per  musica  da  rapjjre- 
sentarsi  nel  Teatro  Giustinian  di  S.  Moise  nel  carnovale  delF  anno 
1748. 

Venezia,  Modesto  Fenzo,  1748.     36  p.  (incl.  front.) .     15^^. 

Three  acts.    Cast.    Author  and  composer  not  mentioned  and  unknown  to  Schatz. 

Schatz  11332 

La  finta  Polacca.  L.  T.  of  Pergolesi's  Livietta  e  Tracollo  o  sia  La 
contadina  astuta. 

La  finta  principessa.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  del  Falcone  I'autunno  dell'  anno  1783  .  .  . 

Genova,  Giovanni  FrancheUi,  n.  d.     68  p.     14h'''^- 

Two  acts.  By  Filippo  Livigni,  who  ie  not  mentioned.  Cast  and  name  of  Felice 
Alessandri  as  composer. 

First  performed  at  Venice,  Teatro  di  S.  Moie^,  1782.  Schatz  146 

—  La  finta  baronessa,  o  Li  due  fratelli  ridicoli,  dramma  giocoso 
per  musica  da  rappresentarsi  nel  Reggio  teatro  di  S.  Carlo,  della 
Principessa,  I'estate  dell'  anno  1795. 
Lishona,  Simone  Taddeo  Ferpeira,  1795.  195  p.  14^^- 
Two  acts.  By  Filippo  Livigni.  With  cast,  scenario,  and  name  of  Felice  Ales- 
sandri as  composer.  The  Portuguese  faces  the  Italian  text,  which  is  practically  the 
same  as  that  of  "La  finta  principessa."  Schatz  150 

La  finta  principessa.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno  1796. 
Venezia,  Casdli,  1796.     69  p.     18<='^. 

Two  acts.  By  Filippo  Livigni,  who  is  not  mentioned.  Scenario,  cast,  and  name 
of  Gaetano  Marinelli  as  the  composer.    ("La  musica  del  tutto  nuova.") 

Schatz  5967 

La  finta  Savia.     Drama  di  Giulio  Strozzi.     [vignette] 

Venetia,  Matteo  Leni  e  Giovanni  VeceUio,  1643.     190,  1  (errata)  p. 

Three  acts,  with  prologue  and  two  "canzonetta  cantata  per  intermezzo."  Strozzi'e 
dedication,  dated  Venicej  January  1,  1643,  "amumento  hietorico,"  ailment  pre- 
ceding each  scene,  and  this  note  after  the  list  of  characters: 

"Molti  versi  si  tralascieranno  per  la  lunghezza  dell'  opera  fabricata  dall'  autore  per 
poteria  anco  rappresentare  senza  canto)." 

Following  the  text  of  the  opera:  (^p.  182-183)  "breve  ristretto  dell'  argomento;" 
(p.  186-190)  "Osservationi;"  and  this  statement  on  p.  184-185: 

"I^a  musica  di  questo  drama  k  per  la  maggior  parte  compositione  esquisita  del 
Signer  Filiberto  Laurenzi  da  Bertmoro,  il  quale  con  la  sua  virtii  hk  saputo  dalla 
buona  scuola  di  Roma,  e  dalla  degna  di  Venetia  far  un  misto  ottimo,  e  molto  adeguato 
cosi  al  recitativo,  come  all'  arioso  per  questa  opera. 

"II  Signor  [Arcangelo]  CriveUi  ha  maestrevolmente  favorite  alcune  delle  mie 
scene,  ed  alcun'  altre  sono  state  honorate  dal  Signor  [Tarquinio]  Merula,  ed  altre 
finalmente  nobilitate  dal  Signor  Benedetto  Feirari:  e  perche  I'operatione  lodi  i 
facitori,  habbiamo  ad  ogni  scena  posto  il  nome  dell'  autor  della  mueica. 


512  LIBRARY  OF   CONGRESS 

La  finta  savia — Continued. 

"Le  macchine,  e  le  scene  con  numerose  mutationi  sono  state  inventate  dal  vivacis- 
Bimo  Sig.  Gio.  Bumacini  da  Jesena,  il  quale  fu  gli  anni  adietro  il  primo,  che  ravviv6 
i  teatri  di  Venetia  con  (jueete  maeetrose  apparenze  .  .  . 

"La  Big.  Anna  Renzi  romana  stupor  de  teatri,  che  illuetrb  la  mia  Finta  pazza,  hora 
si  compiacer^  con  I'armonica  sua  maraviglioua  espreesione  di  far  apparire  la  Finta 
savia  molto  migliore  di  quello,  ch'io  i'habbia  composta.  Lo  etesso  operanno  con  la 
doleezza  della  lor  voce,  e  con  la  gentilieeima  maniera  di  rappresentare  tanti  altri 
illuBtri  musici,  e  principalmente  la  Signora  Anna  di  Valeric  romana  similmente,  che 
col  celeste  suo  canto  s^  condire  tutte  le  terrene  amarezze,  non  potendo  in  lei  rocchio, 
e  I'orecchio  desiderar  di  vanta^o,  ond'  ella  sark  quest'  anno  il  eigillo  di  tutte  le 
musicali  meraviglie." 

First  performed  January  1,  1643,  at  Venice,  Teatro  di  S.  S.  Gio.  e  Paolo. 

ScHATz  5474 

La  finta  schiava.  Intermezzi  in  musica  a  tre  voci  da  rappresen- 
tarsi  nel  Teatro  della  Pace  il  camevale  dell'  anno  1754  .  .  . 

Roma,  Si  vendono  nella  libraria  di  S.  Michele  Ripa  Grande,  1754, 
24  p.     IS""^. 

Two  parts.  Neither  author  nor  composer  mentioned  and  both  unknown  to  me. 
Cast  and  dedication  by  Angelo  Lungi  and  Gioacchino  PuccineUi,  the  publisher. 

ML  50.2.F438 

La  finta  semplice.  Dramma  di  tre  atti  per  musica.  Rappresen- 
tato  per  la  prima  volta  in  Venezia  il  carnovale  dell'  anno  MEMjCLXIV 
con  musica  del  Perillo. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  Jigli,  1788-95,  t.  41, 
[239]-298  p.     18'"". 

PQ 

La  finta  semplice.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  S.  Mois^  il  carnovale  dell'  anno  1764. 

Venezia,  Modesto  Fenzo,  1764.     60  p.     15""^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Schatz  attributes  the  text 
incorrectly  to  Luigi  Coltellini.  Cast,  scenario,  and  name  of  Salvatore  Perillo  as  the 
composer. 

Schatz  7926 

La  finta  semplice  o  sia  II  tutore  burlato.  Dramma  giocoso  da  rap- 
presentarsi in  Lisbona  nel  Teatro  della  rua  dos  Condes  nella  prima- 
vera  dell'  anno  1773. 

[Lishona],  Stamperia  reale,  n.  d.     78  p.     15^"^. 

Three  acts.  By  Pasqualo  Mililotti,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  "Giacomo  Monopoli  detto  Insanguine." 

First  performed  at  Naples,  Teatro  Nuovo  sopra  Toledo,  1769.  Schatz  4837 

La  finta  sposa  olandese.  Farsetta  in  musica  a  cinque  voci  da  rap- 
presentarsi nel  Teatro  Capranica  nel  camevale  dell'  anno  1777  ... 

Roma,  Ottavio  PuccineUi,  1776.     60  p.     15^"^. 

Two  acts.  Impresario's  dedication  of  this  "farsetta,"  cast,  and  name  of  Marcello 
di  Capua  (Marcello  Bemardini)  as  composer.  Author  not  mentioned,  and  unknown 
^o  Scnatz.  Schatz  846 

La  finta  Tedesca.     Intermezzi  per  musica  a  quattro  voci  da  rappre- 
sentarsi nel  Teatro  di  Tordinona,  nel  camivale  dell'  anno  1753  .  .  . 
Romxi,  Giuseppe  Agazzi,  1753.    22,  [1]  p.     15^"^. 

Two  parts.  Cast,  publisher's  dedication,  and  name  of  Giovanni  Battista  Casale 
(Casali)  as  composer.    The  author  is  unknown  to  Schatz.  ML  50.2.F44C2 


OPERA   LIBEETTOS  513 

La  flnta  Tedesca.     Intermezzo  per  musica,  da  rappresentarsi  nel 
Nuovo  Real  Teatro  di  Potsdam  .  .  . 
Potsdam,  C.  F.  Voss,  1749.     45  p.     17 Y"^. 

Three  parts.     Author  not  mentioned,  and  unknown  to  Schatz.     Cast.    The  com- 

¥oser,  Johann  Adolph  Hasse,  is  not  mentioned.     German  title  page,  "Die  veratellte 
eutsche,"  and  text  face  Italian. 
First  performed,  as  indicated,  summer  of  1749;    previously  at  Hamburg,  Theater 
beim  Gansemarkt,  November  16,  1746;  and  originally,  as  "Pantaleone  e  Carlotta,"  aa 
intermezzi  in  his  "Attalo,  r5  di  Bitinia,"  at  Naples,  Teatro  di  San  Bartolomeo,  spring 
of  1728.  Schatz  4540 

La  filnta  zingana  ossia  II  solachianello.  L.  T.  of  Pietro  Guglielmi's 
La  finta  zingara. 

La  finta  zingara.  Farsa  per  musica  di  Giambattista  Lorenzi,  P.  A. 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  nel  camevale  di  quest' 
anno  1785. 

One  act.  Cast  and  name  of  Pietro  Guglielmi  as  composer.  Forms  p.  33-71  of 
his  "Le  sventurate  fortunate,  Napoli,  1785." 

First  performed,  as  indicated,  Jan.  10,  1785.  Schatz  4274 

—  La  finta  zingana  ossia  II  solachianello.  Commedia  in  musica 
da  rappresentarsi  per  terz'  opera  nel  Teatro  di  questa  citta  di  Salerno 
neir  inverno  del  1791  .  .  . 

Napoli,  Vincenzo  Mazzola-Vocola,  1791.     34  p.     15'^^. 

One  act,  with  running  title ' '  atto  secondo  " !  Impresario's  dedication  dated  Salerno, 
December  1791,  with  name  of  Pietro  Guglielmi  as  the  composer,  and  cast.  Lorenzi's 
text  has  been  noticeably  altered.  For  instance,  the  second  scene,  "E  ben?  se  astretti 
eiamo,"  has  become  the  third  and  "Dico  avete  finite  di  gracchiare?"  hae  been  added 
as  the  second.    The  differences  become  more  numerous  towards  the  end. 

Schatz  4245 

Le  finte  gemelle.     Farsa  per  musica  a  quattro  voci, 
Firenze,  Stecchi  e  Pagani,  1771.     1  p.  I.,  56  p.     16""^. 

Two  acts.  At  end:  "Farsa  in  musica  fatta  rappresentare  nell'  estate  del 
MDCCLXXI  nella  villa  Palmieri  de  Tre-Visi  da  S.  E.  Milord  Co.  di  Cowper."  Nic- 
col6  Piccinni  is  mentioned  as  the  composer.  Giuseppe  Petrosellini,  the  author,  is 
not  mentioned. 

First  performed  at  Rome,  Teatro  alia  Valle,  January  2,  1771,  but  Cametti  claims 
under  the  title  of  "Le  due  finte  gemelle."  Schatz  8094 

—  Le  finte  gemelle.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi in  Lisbona  nel  Teatro  della  rua  dos  Condes  nell'  estate  dell' 
anno  1773. 

[Lisbona],  Stamperia  reale,  n.  d.     94  p.     17*^^. 

Three  acts.  Cast,  scenario,  and  names  of  Giuseppe  Petrosellini  as  author,  of 
Niccol5  Piccinni  as  composer.  Obviously  an  expansion  of  the  two-act  version.  The 
dialogue  is  otherwise  fairly  the  same  (with  the  customary  changes  of  arias,  of  course) 
up  to  and  including  II,  12.  Then  the  Florence  two-act  version  ends  with  the  ' '  ultima : 
Dice  bene  il  proverbio,"  which  closes  with  the  final  tutti  of  the  three-act  version, 
"Deh  scendi  Amore  dal  carro  adomo."  Schatz  8093 

—  Le  due  finte  gemelle.  Intermezzo  in  musica  a  quattro  voci  da 
rappresentarsi  nel  Nobil  Teatro  Tron  di  San  Cassiano  il  camovale 
dell'  anno  MDCCLXXXIII  .  .  . 

Venezia,  Modesto  Fenzo,  1783.     51  p.     17^'^'". 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Niccol6  Piccinni 
as  the  composer.  Though  the  impresario,  Giuseppe  Pratini  speaks  of  this  as  "questo 
nuovo  intermezzo"  and  though  we  read  "La  musica  sar^,"  the  text  ^with  the  custom- 
ary alterations)  is  that  of  Giuseppe  Petroeellini's  ' '  Le  finte  gemelle.'*    Schatz  8157 

72251°— VOL  1—14 33 


614  LIBBABY   OF   CONGEESS 

I  flnti  amori.  Commedia  per  musica  da  rappresentarsi  nel  Teatro 
de'  Fiorentini  nell'  estS,  del  corrente  anno  1784. 

Napoli,  n.  publ,  1784.     74  p.     15''^. 

Three  acte.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Pietro  Guglielmi  as  the  composer.  Schatz  4246 

—  I  finti  amori.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  A.  E.  di  Sassionia. 

Dresda,  n.  pull.,  1790.     151  p.     15''"*. 

Two  acts!  Pietro  Guglielmi  is  mentioned  as  the  composer.  German  title- jmge 
*  Liebe  zum  schein,"  and  text  face  Italian. 

First  performed,  as  indicated,  January  9,  1790.  Schatz  4247 

—  L'impostore  punito.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  alia  Scala  I'autunno  dell'  anno  1785  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     70,  22,  19  p.     16'='^. 
Two  acts.    Dedication,  cast,  scenario,  and  name  of  Pietro  Gu^^lielini  as  the  com- 

foser.  The  text  is  that  of  "I  finti  amori,"  but  with  many  alterations.  For  instance, 
,  4,  "Caro  sposo,  eposo  amato,"  has  become  I,  5,  and  II,  1,  has  the  aria,  "Sa  lei 
Signer  marcheee,"  instead  of  "Sta  in  quell'  abito  celata."  The  additional  pages 
contain  argument  and  description  of  Sebastiano  Gallet's  "Le  rapt  des  Sabines,  ballet 
heroique  "  in  five  acts  and  of  his  ' '  Le  mar^chal. ' '  This  is  followed  by  the  descriptions 
of  his  "II  disertpre,  ballo  tragi7Comico "  and  "Le  pazzie  amorose."  The  title  of 
"II  disertore"  has  the  date  of  performance  of  1785,  whereas  the  two  French  ballets 
have  not.  On  p.  7  of  the  libretto  the  titles  of  the  two  ballets  to  be  performed  are 
"L'amor  vincitore  ossia  Diana  ed  Endimione"  and  "Le  pazzie  amorose."  Appar- 
ently there  was  either  confusion  in  the  plans  of  the  management  or  confusion  in 
binding. 

First  performed,  as  indicated,  October  22,  1785.  Schatz  4300 

I  finti  eredi,  opera  comica,  da  rappresentarsi  nel  Teatro  Imperiale 
di  Pietroburgo,  ranno  1785,  composta  nuovamente  dal  Sigr.  Giuseppe 
Sarti  ... 

Pietroburgo,  Breitkopf,  n.  d.     7  p.  I.,  197  p.     ISY"^- 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned  and  whose  "II  villano 
geloso"  this  is.     Scenario,  cast,  and  dedication  by  Sarti  which  reads  in  part: 

"C'est  le  premier  fruit  de  mes  travaux,  qui  paroit  au  jour,  depuis  que  j'ai  le  bon- 
heur,  tant  desir^,  de  me  trouver  au  service  de  Votre  Majebte  Imperiale." 

French  title-page  "Les  h^ritiers  supposes,"  and  text  face  Italian.     Schatz  9433 

—  I  finti  eredi.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1787.     147  p.     W"^. 

Two  acts.  Cast  added  in  pencil  and  name  of  Saxti  as  the  composer.  This  ed.  of 
Bertati's  text  shows  differences  from  the  St.  Petersburg  ed.  For  instance,  "Se  la 
bella  per  via  trovero"  of  the  latter  (I,  4)  has  become  "La  mia  cara,  la  mia  bella"  and 
"Staremo  allegramente "  (II,  10)  has  become  "Nel  mirar  la  bella  dama."  German 
title-page  "Die  erdichteten  lehnserben,"  and  text  face  Italian.  Schatz  9434 

—  I  finti  eredi:  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  S.  Carlo,  deUa  Principessa,  Testate  dell'  anno  1794. 

Lishona,  Simone  Taddeo  Ferreira,  1794.     171  p.     15'^'^. 

Two  acts.  Cast,  scenario,  and  name  of  Giuseppe  Saxfci  as  the  composer.  Portu- 
guese text  faces  Italian.  Schatz  9467 

I  finti  fllosofi,  ballet.    See  Curcio's  Le  nozze  a  dispetto. 

Gli  finti  filosofi,  ballet.     See  P.  Gugliehni's  Gli  amanti  della  dote. 


OPERA   LIBRETTOS  515 

Li  flnti  filosofl,  ballet.  See  Guglielmi's  Lo  sciocco  poeta  di  cam- 
pagna. 

II  finto  astrologo.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  Salvaterra  nel  camovale  dell'  anno  1792. 
[Lishona],  Nella  stamperia  reale,  n.  d.     70  p.     ISY^- 
Two  acts.     Cast,  scenario,  and  name  of  the  composer,  Francesco  Bianchi.     T'he 
librettist  is  not  mentioned,  and  is  unknown  to  Schatz. 

First  performed  at  Rome,  Teatro  Valle,  carnival,  1790.  Schatz  998 

II  finto  cavaliere.  O.  T.  of  Accorimboni's  Das  herbstabentheuer 
oder  Wer  wagt,  gewinnt. 

II  finto  cavaliere  parigino. 

Two  acts.     Author  unknown  to  Schatz.     Music  by  Carlo  Monza. 
First  performed  at  Rome,  Teatro  Capranica,  carnival,  1770. 
Not  in  L.  of  C. 

—  II  cavalier  parigino.     Operetta  per  musica  da  rappresentarsi 
nel  Regio  Ducal  Teatro  di  Milano  Fautunno  dell'  anno  1774  .  .  . 
Milano,  Giovanni  Montani,  n.  d.     4^  p.     15^'^'^. 

Two  acts.  The  author  is  not  mentioned.  Dedication,  scenario,  and  name  of 
Carlo  Monza  as  the  composer.  Schatz  6619 

II  finto  chimico.  Drama  per  la  musica  rappresentato  nella  Villa 
di  Pratolino. 

Firenze,  Vincenzo  Vangelisti,  1686.     52  p.     15Y^^- 

Three  acts.     Author  and  composer  unknown  to  Wotquenne  and  Schatz. 

ML  48.A5    V.  30 

II  finto  Esau,  overo  Gli  odii  fratemi.  Drama  da  recitarsi  nel 
presente  carnevale  1698.  Da  scolari  di  D.  Giuseppe  Fianello,  alunno 
di  Santi  Apostoli  ... 

Venetia,  Domenico  Lovisa,  1698.     79  (incl.  front.) ,  [1]  p.     14"". 

Three  acts.  Dedication  signed  by  the  author,  Giuseppe  Fianello,  notice  to  the 
reader,  including  the  argument,  scenario,  and  name  of  Antonio  PacelU  as  the  com- 
poser. The  opera  was  performed  "in  ima  casa  privata  in  contrada  di  Santa  Marina," 
as  Schatz  says.  Schatz  7377 

II  finto  giardiniere,  ballet.     See  Monza's  Enea  in  Cartagine. 

II  finto  giardiniere,  ballet.     See  Zingarelli's  Annibale  in  Torino. 

II  finto  Parigino.  Intermezzo  in  musica  da  rappresentarsi  nel 
nobil  Teatro  Tron  di  S.  Cassiano  I'autunno  dell'  anno  1784  .  .  . 

Venezia,  n.  puhl.,  n.  d.     4^  V-     17 Y^- 

Two  acts.  Impresario's  dedication,  argument,  cast,  and  name  of  Lorenzo  Baini  as 
the  composer.  Author  unknown  to  Schatz.  The  ballet,  by  Giovanni  Graziolli,  detlo 
Schizza  (composer  of  the  music  not  mentioned),  was  called,  "Le  due  pastorelle 
smarrite,  o  sia  La  generosity."  The  intermezzo  not  to  be  confused  with  Baini's  "II 
Parigino  in  Italia."  Schatz  552 

II  finto  pazzo.  L.  T.  of  Pergolesi's  Livietta  e  TracoUo  o  sia  La  con- 
tadina  astuta. 


516  LIBRARY  or   CONGRESS 

II  fin  to  pazzo  per  amore.  Opera  buffa  a  sette  voci  da  rappresen- 
tarsi  nel  Teatro  dell'  eccellentissima  casa  Grimani  a  S.  Gio.  Grisos- 
tomo  il  came  vale  dell'  anno  1779. 

Venezia,  Modesto  Fenzo,  1779.     63  p.     17*="^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Michele  Mortellari  as  the  composer.  Schatz  6681 

II  finto  pazzo  per  amore.  O.  T.  of  Sacchini's  II  soldato  per  forza 
impazzito  per  amore. 

Lo  finto  Perziano.  O.  T.  of  Trinchera's  text  Li  nnamorate 
correvate. 

II  finto  Policare.  Tragicommedia  per  musica,  da  rappresentarsi 
nella  Cesarea  Corte  .  .  .  nel  came  vale  dell'  anno  MDCCXVI. 

Vienna  d* Austria,  Gio  Van  Ghelen,  n.  d.     72  p.     l^h'^™'. 

Three  acts.  By  Pietro  Pariati.  Argument,  scenario,  and  names  of  the  composer, 
Francesco  Bartolomeo  Conti,  and  the  author.  Nicola  Matteis  is  named  as  the  composer 
of  the  ballet  music. 

First  performed  in  February,  1716.  Schatz  2200 

—  Der  verstellte  Policare,  musicalische  opera,  welclie  auff  dem 
Theatro  zu  Bresslau  in  Aprili  1726  vorgestellet  .  .  . 

n.  i.,  n.  d.      Unpaged.     18'^'^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  and  name  of  the  com- 
poser, Francesco  Conti.    German  text  faces  Italian.  Schatz  2201 

H  finto  principe. 

16^^.  [63]-116  p.  (Carlo  Goldoni,  Opere  drammaiiche  giocose, 
t.  Hi,  Torino,  1757.) 

Three  acts.    Below  the  list  of  characters,  the  note: 

"Le  arie  marcate  con  questo  segno  *  sono  meese  dagli  attorialoro  piacimento;  I'altre 
Bono  del  libro." 

Consequently,  such  arias  as  "Se  col  labbro  vi  dicon  gl'amanti "  (I,  3),  "Pien  d'ardir, 
coetante,  e  forte"  (I,  5),  "La  speranza  di  quest'  alma"  (I,  6),  and  others  were 
interpolated. 

According  to  Schatz,  this  pasticcio  by  xmknown  composers  was  performed  as  early 
as  fall  1749  at  Venice,  Teatro  Tron  di  San  Cassiano.  ML  49.A2G6 

—  II  finto  principe.  Dramma  di  tre  atti  per  musica.  Rappresen- 
tato  per  la  prima  volta  in  Venezia  I'anno  MDCCLV. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  t.  39, 
[249]-302  p.     18<=^. 

PQ 

II  finto  Stregone.  Farsa  giocosa  per  musica  di  un  atto  solo  di 
Giuseppe  Foppa  da  rappresentarsi  nel  Teatro  Giustiniani  in  San 
Moise  I'autunno  dell'  anno  1798. 

Venezia,  Modesto  Fenzo,  1798.     4O  p.     18'^'^. 

Cast,  scenario,  and  name  of  Francesco  Gardi  as  the  composer.  After  the  farce,  was 
performed  Giuseppe  Cajani's  ballet,  "Nicola  e  Cirilla,"  the  composer  of  the  music  not 
being  mentioned.  Schatz  3549 

Fire  and  water!     A  comic  opera:   In  two  acts.     Performed  at  the 
Theatre-Royal  in  the  Hay-Market.     By  Miles  Peter  Andrews. 
London,  T.  Cadell,  1780.     4  p.  I,  4O  p.     20'=^. 

Cast  and  prefatory  note  that  the  piece  was  in  the  hands  of  the  manager  ' '  long  before 
any  of  the  late  disturbances."     The  composer,  Samuel  Arnold,  is  not  mentioned. 
First  performed  July  8,  1780,  as  indicated.  Longe  135 


OPERA   LIBRETTOS  '517 

The  first  of  August.     A.  T.  of  Dibdin's  The  waterman. 

Der  flscher  im  trueben.     Tr.  of  Sarti's  Fra  i  due  litiganti  il  terzo 

gode. 

Die  fischerinn,  ein  smgspiel.  Auf  dem  natuerlichen  schauplatz  zu 
Tiefurth  vorgestellt. 

n.  %.,  1782.      Unpaged.     16''"'. 

One  act.     Neither  the  author,  Goethe,  nor  the  composer.  Corona  Elisabeth  Wil- 
helmine  Schroter,  is  mentioned.     The  eingspiel  begins  with  the  Erlkonig  ballad. 
First  performed,  as  indicated,  July  22,  1782.  Schatz  9696 

Das  fischermaedchen.     Tr.  of  Pietro  Gugliehni's  La  bella  pescatrice. 

Das  fischermaedchen.     Tr.  of  Piccinni's  La  pescatrice. 

Piskeme.     Et  syngespil  i  tre  handlinger  af  Johannes  Ewald. 

71.  i.,  n.  d.     128  p.     19""^. 

On  p.  [3-5],  the  story  of  the  event  on  which  the  plot  is  based.  The  composer, 
Johann  Ernst  Hartmann,  is  not  mentioned . 

First  performed  at  Copenhagen,  Royal  Theater,  January  31,  1780.      Schatz  4465 

Den  flanevurne  kone.     Tr.  of  Galuppi's  La  moglie  bizzarra. 

II  flauto  magico.     Tr.  of  Mozart's  Die  zauberflote. 

Flavio  Anicio  Olibrio. 

Apostoh  Zeno,  Poesie  drammatiche,  Venezia,  1744,  t-  x,  P-  [38S]~ 
476.     W"". 

Three  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  the  volume  the  date  and  place  of 
first  ed.  is  given  as  Venice,  1708  (but  see  below).  ML  49.A2Z3 

—  Flavio    Anicio    Olibrio.     Pubblicato    per    la    prima    volta    in 
Venezia  1708. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  x,  p.  96. 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Flavio  Anicio  Olibrio.     For  later  version  see  La  Tirannide  debellata 

Flavio  Anicio  Olibrio.     Drama  per  musica  da  rappresentarsi  nel. 
Teatro  di  via  della  Pergola  nella  presente  estate  dell  anno  1723  .  .  . 
Firenze,  Domen.  Amhrogio  Verdi,  n.  d.     70  p.     14Y^' 
Three  acts.    Neither  the  authors,  Zeno  and  Pariati,  nor  the  composer.  Carlo  Fran- 
cesco Gasparini,  are  mentioned.     Dedication,  cast,  scenario,  and  argument. 
First  performed  at  Venice,  Teatro  Tron  di  San  Cassiano,  carnival  1707. 

Schatz  3568 
Second  copy.    ML  48. A5    v.  18 

Flavio  Bertarido  re  de  Longobardi.  Drama  per  musica  di  Stefano 
Ghisi  [Ghigi],  patritio  veneto.  Da  rapresentarsi  nelP  impareggiabile 
Teatro  Grimani  di  S.  Gio.  Grisostomo  I'anno  MD(X)VI  .  .  . 

Venezia,  Francesco  Pongini,  1706.     84  p-     14'^^- 

Three  acts.  Author's  dedication  in  which  he  calls  this  "una  primitia  del  mio 
debole  talento^"  notice  to  the  reader  in  which  he  says  "questa  fe  la  prima  compoei- 
tione,  che  in  simil  genere,  sia  uscita  dalla  mia  penna,"  argument,  cast,  and  scenario. 
The  composer.  Carlo  Francesco  Pollaroli,  is  not  mentioned.  Schatz  8290 


618  LIBBARY  OF   CONGRESS 

Flavio  Cuniberto.  Drama  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimano  in  S.  Gio.  Grisostomo.  L'anno  MDCLXXXII 
di  Matteo  Noris  ... 

Venetia,  Francesco  Nicolini,  1682.     84  p-     IS'^. 

Three  acts.  Author's  dedication,  argument,  and  Bcenario.  Giovanni  Domenico 
Partenio,  the  composer,  is  not  mentioned.  Schatz  7778 

—  Flavio  Cuniberto.  Drama  per  musica  rappresentato  nella  villa 
di  Pratolino, 

Firenze,  Pietro  Antonio  Brigonci,  1702.     4  V-  ^v  ^4  V-     16^'^, 

Three  acts.     Scenario  and  argument  with  this  remark: 

"6  parto  della  gia  nota  penna  del  Signor  Matteo  Noris,  che  avrk  la  discretezza  di 
soffrire  la  mutazione  fattasi  quivi  nell'  arie,  le  quali  non  si  sono  rinnovate  per  ripro- 
vare  in  conto  alcuno  quelle,  che  si  gentilmente  vi  stavano,  ma  per  recare  qualche 
sorte  di' variety  ad  un'  opera,  che  viene  in  iscena  dopo  easere  stata  gi^  veduta  com- 
parire  su  piu  famosi  teatri." 

The  alterations  are  qmite  numerous.  For  instance  in  I,  14  the  aria  "Amor,  tu 
reggimi"  has  replaced  "rerch'io  veggo  se  son  tradito,"  "Su,  miei  spirti  che  s'aspetta" 
in  I,  18  "Spirti  fieri  a  la  vendetta,"  "Parlar  potesse  il  cuore"  in  I,  20  "Deggio 
credesti  o  gelosia."  Neither  Paxtenio  is  mentioned,  nor  the  composer  of  the  inter- 
polations. ML50.2.F6P2 

Flavius  Bertaridus,  koenig  der  Longobarden,  in  einer  opera  auf 
dem  Hamburgischen  Schau-platze  vorgestellet.     Im  jakr  1729. 

[Hamburg],  GedrucJct  mit  Stromerschen  schriften,  n.  d.  Unpaged. 
18^"^. 

Three  acts.  Neither  the  author,  Stefano  Ghigi  ("Flavio  Bertarido,  r^  de'  Longo- 
bardi")  nor  the  translators,  Christoph  Gottlieb  Wendt  and  Georg  Philipp  Telemann, 
are  mentioned.     Argument,  cast,  scenario,  and  note: 

"Annoch  ist  zu  gedenken,  dass  mit  der  uebersetzung  dieses  schauspieles  zwo 
fedem  beschaefftiget  gewesen  sind,  deren  die  eine  im  zweyten  actu,  nach  dem 
duetto:  Care  pene  etc  anfaenget;  die  music  aber  ist  vom  herm  capellmeister  Tele- 
majxa.'" 

To  some  of  the  arias  the  original  text  has  been  added. 

First  performed  November  23,  1729.  Schatz  10260 

Fleur  d'epine,  comedie.  En  deux  actes  et  en  prose,  melee  d'ari- 
ettes;  tiree  d'Hamilton,  par  Monsieur  de  V  *  *  *.  Representee 
pour  la  premiere  fois  par  les  Com6diens  italiens  ordinaires  du  roi,  le 
22  aotit  1776. 

Paris,  RuauU,  1776.     28  p.     19<=^. 

The  composer,  Mme.  Louis,  nee  Bajon,  is  not  mentioned.  ML  50.2.F65L7 

—  Fleur  d'epine,  comedie  en  deux  actes,  m^lee  d'ariettes,  tiree 
d'Hamilton,  par  M.  de  V  *  *  *.  Representee  pour  la  premiere 
fois  par  les  Comediens  italiens  ordinaires  du  roi  le  22  aotit  1776. 

Paris,  la  veuve  Duchesne,  1777.     4.O  p.     18<^^. 

Cast.  On  p.  37^0  the  air  of  "Quand  on  est  tendre."  By  de  Voisenon.  The 
composer,  Mme.  Louis,  n^e  Bajon,  is  not  mentioned.  Schatz  11721 

Les  fleurs.     Entree  in  Rameau's  Les  Indes  galantes. 

A  flight  from  Lapland.     A.  T.  of  Lord  Mayor's  day. 

The  flight  of  Harlequin.     A.  T.  of  Reeve's  Blue  Beard. 


OPERA    LIBEETTOS  519 

The  flitch  of  bacon;  a  comic  opera,  in  two  acts:  As  it  is  performed 
at  the  Theatre-Koyal  in  the  Hay-AIarket.     By  the  Rev.  Hen.  Bate  .  .  . 
Dublin,  Printed  for  the  Company  ofhooJcseUers,  1779.     2  p.L,  32  p. 
17"^. 

Cast  and  dedication  dated  Buckingham-street,  June  1,  1779.  The  compiler- 
composer,  William  Shield,  is  not  mentioned. 

first  performed  August  19,  1778  (Scnatz),  August  17,  1778  (Genest),  as  indicated. 

LONGE  118 

V  La  Flora.     Melodrama  da  rappresentarsi  nel  Theatro  di  Sant'  Angelo 
I'anno  1681.     Di  Novello  Bonis  .  .  . 

Venetia,  Francesco  Nicolini,  1681.     60  p.     14*^- 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader 
with  the  names  of  Antonio  Sartorio  and  Marc'  Antonio  Ziaxii  as  the  composers  and 
the  statement  "Questa  h  la  mia  terza  fatica."  Schatz  9495 

Flora:  or,  Hob  in  the  well.  An  opera.  Being  Mr.  Dogget's  farce 
of  the  Country  wake,  alter'd  after  the  manner  or  the  Beggar's  opera. 

[77]-109  p.  18""^.  (Colley  Gibber,  Dramatic  works,  London,  J. 
Rivington  and  sons  [etc.],  1777.) 

Two  acts.  1768  cast!  As  will  be  seen  from  a  comparison  of  this  entry  with  the 
following,  there  is  a  contradiction  of  authorship,  on  which  confused  data  will  be  found 
in  the  reference  books.  As  a  matter  of  fact,  the  text  in  all  the  following  entries  is 
identical!  Consequently  "Flora"  (later  on  called  Flora,  or,  Hob  in  the  well)  ia 
either  by  Hippisley  or  by  Gibber.  If  some  authorities  seek  a  way  out  of  the  diffi- 
culty by  saying  that  Hippesley  altered  a  farce  by  Gibber,  "Hob,  or.  The  country 
wake"  (1715)  into  a  ballad  opera  (1729),  Gibber's  farce  itself  being  an  alteration  of 
Thomas  Dogget's  farce  "The  coun  try -wake "  (1696),  they  forget  that  Gibber  never 
wrote  a  farce  of  the  title,  "Hob,  or.  The  country  wake."  The  probabilities  are  that 
"Flora"  has  been  attributed  incorrectly  to  Hippisley  and  that  Gibber  was  indeed 
its  author.  PR  3347  .Al 

—  Flora;  an  opera.  As  it  is  now  acting  at  the  Theatre  Royal  in 
Lincoln's-inn-Fields.  Being  Mr.  Dogget's  farce  of  the  Country-wake, 
alter'd  after  the  manner  of  the  Beggar's  opera.  To  which  is  added, 
the  musick  engrav'd  on  copper-plates.  Written  by  a  gentleman  .  .  . 
The  third  edition. 

London,  Printed  by  T.  Wood,  1729.     32  p,  8  p.  {music)     20^"^. 

Two  acts.     Ballad-opera.    John   Hippisley  appears  in  the  cast  as  Sir  Thoinaa 
Testy.    The  airs  of  the  24  songs  are  indicated  by  title  in  the  text.    They  are  engraved 
without  their  titles  in  the  musical  supplement. 
■    First  performed,  as  indicated,  1729.  Lonqe  197 

—  Flora;  or  Hob  in  the  well.  An  opera.  As  it  is  now  acting  at  the 
Theatre  Royal  in  Drury-Lane.  Being  Mr.  Dogget's  farce  of  the 
Country  wake,  alter'd  after  the  manner  of  the  Beggar's  opera.  By 
Mr.  Hippisley  .  .  .     The  seventh  edition. 

L(mdon,  T.  Loumdes,  1768.     36  p.  (incl.  front.)     16<^. 

Two  acts.  Cast.  Ballad  opera,  most  of  the  airs  of  the  24  songs  being  indicated  by 
title.  William  Bates,  who  is  not  mentioned,  is  the  reputed  arranger  of  the  music, 
but  Longman,  Lukey  &  Go's  vocal  score  says:  "aa  now  performed  at  Covent  Garden 
the  overture,  duet,  and  principal  songs  composed  by  Mr.  Bates.  Lonqe  73 

—  Flora;  or.  Hob  in  the  well.  In  two  acts.  By  Colley  Cibber  [IJ 
Esq. 

[301]-328  p.     19^"^.     (Collection  of  the  most  esteemsd  farces  and 

entertainment,  t.  iv,  Edinburgh,  1792.) 

Schatz  11753D 


520  LIBRARY  OF  CONGRESS 

Floridante. 

[101]-14i  P'  17'^™.  (JRoUiy  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  17 44-) 

Three  acts.    Argument  and  dedication.    The  composer,  Handel,  is  not  men- 
tioned. 
First  performed  at  London,  Haymarket,  December  9,  1721.  ML  49.A2R7 

—  Der  tbxazische  printz  Floridantes  in  einem  singe-spiele  auf 
dem  Hamburgischen  Schau-Platze  vorgestellet. 
Hamburg,  Caspar  Jakhel,  1723.      Unpaged.     18'^^. 

Three  acts.  German  version  by  Joachim  Beckau  of  Rolli's  "Floridante."  Neither 
they  nor  the  composer,  Georg  Friedrich  Handel,  are  mentioned.  Italian  text  of 
the  arias  added  to  the  German.    Argument  and  scenario. 

First  performed  at  the  Theater  beim  Gansemarkt,  as  indicated,  1723. 

ScHATz  4477 

^^oridea.     Draimna   per   musica    da    recitarsi   in    Venetia   I'anno 
MDCLXXXVIII  ... 

Venetia,  Francesco  Nicolini,  1688.     52  p.     14"'^. 

Three  acts.  Dedication  by  the  impresario  Luigio  Rincepa,  dated  Venice,  Novem- 
ber 22,  1687,  notice  to  the  reader,  with  apologies  for  the  additional  "canzonette," 
the  alterations  and  the  cuts  in  the  "recitativi  troppo  lunghi."  Author  (GiuUo 
Pancieri)  and  composer  (unknown  to  Schatz)  not  mentioned.    Argument,  scenario. 

SCHATZ  11333 

Florizel  and  Perdita.     See  Ame's  The  sheep-shearing. 

Die  flucht  des  Aeneas  nach  Latien.  A.  T.  of  Porpora-Telemann's 
Der  streit  der  kindlichen  pflicht  und  der  liebe. 

The  flying  lovers.     A.  T.  of  The  rape  of  Colombine. 

Foca  Superbo.  Drama  per  musica  di  A.  Luchini  da  rappresentarsi 
nel  famoso  Teatro  Grimani  di  S.  Gio.  Grisostomo.  11  camoval  dell' 
anno  1716  »  .  . 

Venezia,  Marino  Rossetti,  1716.     60  p.     16'^™'.  ^ 

Three  acts.  Argument,  notice  to  the  reader,  cast,  scenario,  and  author's  dedication 
dated  Venice,  December,  1716,  in  which  he  says: 

"Che  una  primizia  della  mia  debole  penna  si  faccia  vedere  per  la  prima  volta  in 
uno  de  piu  famosi  teatri  pu6  non  esser  considerabile  ..." 

The  composer,  Antonio  Lotti,  is  not  mentioned.  Schatz  5717 

La  foire  de  Guibray.     See  Arlequin  Mahomet. 

Folette  ou  L'erifant  gktd.  Parody  of  Destouches'  Camaval  &  la 
folie. 

Folette  et  Roger-Bontems.     A.  T.  of  L' enfant  g&t6. 

La  folle  g^omata.     L.  A.  T.  of  Mozart's  Le  nozze  di  Figaro. 

La  folle  par  amour.     A.  T.  of  Dalayrac's  Nina. 

La  follia  e  la  saggiezza,  ballet.  See  Bianchi's  Alessandro  nell' 
Indie. 

La  fondation  de  Marseille.     A.  T.  of  Massilie. 


OPERA  LIBRETTOS  521 

La  fondazion  di  Venezia. 

[265]-£S4  P'  i^J*^"*.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  Hi,  Torino,  1757.) 

Divertimento  in  Beven  actions.    Argument.  ML  49.A2G6 

—  La  fondazione  di  Venezia.  Dramma  di  un  atto  solo  per  musica. 
Rappresentato  per  la  prima  volta  in  Venezia  I'autunno  dell'  anno 
MDCCXXXIV. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli  1788-96,  v.  36, 
{lS]-25  p.     ISY"^. 
According  to  Schatz,  Macari's  setting  of  1736  was  the  first.  PQ 

La  fondazion  di  Venezia.  Divertimento  per  musica  da  cantarsi 
dalla  Compagnia  de  Comici  nel  Teatro  Grimani  a  S.  Samuele  la  prima 
sera  delle  recite  autunnali  in  Venezia  in  quest'  anno  1736, 

Venezia,  Alvise  Valvasense,  n.  d.     23  p.     IJ^Y^- 

Prologue  and  seven  azioni.  Prefatory  note.  Neither  the  author,  Carlo  Goldoni, 
is  mentioned,  nor  Giacomo  Macari,  the  composer.  Schatz  5810 

La  fontaine  de  Jouvence.     See  La  nouvelle  Bastienne. 

Fontainebleau ;  or,  Our  way  in  France.  A  comic  opera  in  three 
acts.  As  performed  at  the  Theatres-Royal  in  Co  vent-Garden,  and 
Smock- Alley.  Written  by  J.  O'Keefe,  Esq.  The  music  selected  and 
composed  by  William  Shield  [ !] 

Duhlin,  G.  Perrin,  1787.     75,  [1]  p.     16^"^. 

Cast.  In  Longman  &  Broderip's  vocal  score  "Love  does  so  run"  is  headed  aa 
composed  by  Dr.  Ame,  "How  sweet!  how  fresh!"  as  by  Stephen  Paxton  and 
"Brooks  to  your  sources  "  as  by  Domenico  Corri. 

First  performed  at  London,  Covent-Garden,  November  16,  1784.  Longe  148 

Le  fontane  incantate,  ballet.     See  Gluck's  II  trionfo  di  Clelia. 

Le  fontane  incantate,  ballet.     See  Pasque's  Arianna  e  Teseo. 

H  fonte  d'acqua  gialla,  o  sia  II  trionfo  della  pazzia.  Farsetta  per 
musica  da  rappresentarsi  nel  Teatro  Valle  degl'  illustriss.  Sigg.  Capra- 
nica.     Neir  autunno  dell'  anno  1786  .  .  . 

Roma,  Michele  Puccinelli,  n.  d.     75  p.     16'^'^. 

Two  acts.  Cast,  name  of  Marcello  di  Capua  (Bemardini)  as  author  and  com- 
poser and  his  dedication.  ML  50.2.F7B2 

The  fool  turn'd  critick:  A  comedy:  As  it  was  acted  at  the  Theatre 
Royall.     By  His  Majesties  servants.     By  T.  D.  Gent. 

London,  James  Magnes  and  Richard  Berdley,  1678.  2  p.  I.,  69,  [1]  p. 
21^'^'^. 

In  this  five-act  play  by  Thomas  Durfey  there  is  a  fair  amount  of  singing,  but,  what 
is  quite  unusual,  three  of  the  airs  (presumably  by  Durfey)  are  printed  in  the  text,  with 
their  words.  They  are :  "  The  age  is  refin'd, "  "  I  found  my  Caelia  one  night  undrest, ' ' 
"  To  ramble  from  taverns."  Longe  112 

Second  copy.     Lonoe  160 


•J 


522  LIBRARY   OF   CONGRESS 

The  fool's  opera;    or,  The  taste  of  the  age.     Written  by  Mat. 
Medley.     And  performed  by  his  company  in  Oxford  ...     To  which 
is  pretix'd  A  sketch  of  the  author's  life,  written  by  himself. 
London,  T.  Payne  [ca.  1730].     4  p.  I.  (incl  front.) ,  22,  [2]  p.     18^"^. 

The  front.,  a  scene  from  the  play,6howB,  in  upper  left  hand  corner,  what  appears  to 
be  the  portrait  of  the  author,  whose  real  name  was  Anthony  Aston,  for  the  title  of  the 
biograpnical  sketch  (p.  15-22)  is:  "A  sketch  of  the  life,  etc.  of  Mr.  Anthony  Aston, 
commonly  call'd  Tony  Aston.  Written  by  himself: — Now  all  alive."  (The  impor- 
tance of  this  autobiographical  sketch  for  the  history  of  the  American  theatre  was 
pointed  out  by  me  in  the  New  Music  Review,  June,  1907.)  The  sketch  is  preceded, 
on  p.  12-14,  by  "A  ballad,  call'd  A  di&sertation  on  the  Beggar's  opera."  The  17  airs 
used  are  indicated  by  title.  Text  preceded  by  cast  (Aston,  sen.,  playing  the  poet) 
and  prefatory  note  to  the  reader.  The  [2]  p.  at  end  contain  book  advertisements  by 
J.  Applebee  and  T.  Payne.  Longe  291 

A  fool's  preferment,  or.  The  three  dukes  of  Dunstable.  A  comedy. 
As  it  was  acted  at  the  Queens  Theatre  in  Dorset-Garden,  by  Their 
Majesties  servants.  Written  by  Mr.  D'urfey.  Together,  with  all 
the  songs  and  notes  to  'em,  excellently  compos'd  by  Mr.  Henry 
Purcell.     1688.     Licensed,  May  21.  1688  ... 

[London]  Printed  for  Jos.  Knight  and  Fra.  Saujiders,  1688.  A  p.  I.. 
85,  [3  p.],  16  p.  {music).     21^"^. 

Five  acts,  prologue,  and  epilogue.  Durfey's  dedication,  cast.  After  the  epilogue, 
a  list  of  "plays  printed  for  Henry  Herringman."  The  songs,  voice  and  bass,  have  a 
special  title  page : 

New  songs  sung  in  The  fool's  preferment,  or,  The  three  dukes  of  Dunstable. 

In  the  Savoy.     Printed  by  E.  Jones,  for  Jos.  Knight  and  Fran.  Saunders,  1688. 

Of  the  eight  songs,  all  but  two  have  the  name  of  Henry  Purcell  as  composer  at  end. 
The  two  are:  "I'le  sail  upon  the  dog-star"  and  "A  Scotch  song  ...  A  dialogue  by 
Jockey  and  Jenny."  Mr.  Squire  has  pointed  out  that  neither  the  words  of  these  nor 
of  "Fled  is  my  love;  'Tis  Death  alone"  and  "If  thou  wilt  give  me  back"  appear  in 
the  play,  and  that,  on  the  other  hand,  the  play  contains  two  songs — "In  yonder 
cowslip  "  and  "I'll  lay  me  down  " — for  which  no  music  is  given. 

First  performed  before  May,  1688,  as  indicated.  M  3.3.P9  11.11 

—  Second  copy,  without  the  music.  Longe  132 

The  footman:    an  opera.    As  it  is  acted  at  the  New-Theatre  in 
Goodman's-Fields. 
London,  Henry  Lintot,  1732.     iv,  U],  76  p.     W"^. 

Three  acts,   introduction,   and   epilogue.     Cast  and  dedication.    Ballad  opera, 
most  of  the  68  airs  being  indicated  by  title.    Author  not  recorded  by  Clarence. 
First  performed  March  7,  1732,  as  indicated.  Longe  52 

The  force  of  credulity.  A.  T.  of  The  disappointment,  ballad 
opera. 

De  forelskte  haandverksfolk.     Tr.  of  Latilla's  L'amore  artigiano. 

La  forest  enchantee,  representation  tiree  du  poeme  italien  de  la 
Jerusalem  delivr^e  Spectacle  orn6  de  machines,  anim^  d'acteurs 
pantomimes  &  accompagne  d'une  musique  (de  la  composition  de 
M.  Geminiani)  qui  en  cxprime  les  differentes  actions;  execute  sur  le 
grand  Theatre  du  palais  des  Thuilleries  pour  la  premiere  fois  le 
dimanche  31  mars  1754. 

[Paris],  Ballard,  1754.     16  p.     18^"^. 

Five  acts.  Description  of  "ce  spectacle  .  .  .  de  I'invention  du  Sieur  Servan- 
doni "  and  this  interesting  prefatory  note: 

"La  decoration  th^atrale  est  un  des  genres  de  la  peinture  qui  produit  le  plus  ces 
illusions  agreables  qui  font  appeller  cet  art  le  rival  de  la  nature.    Ce  genre  de  peindre 


OPERA    LIBRETTOS  523 

La  forest  enchantee — Continued. 

exige  des  connoissances  approfondies  de  Farchitecture,  et  de  la  perspective;  et  elles 
doivent  etre  jointes  k  toutes  les  parties  de  la  peinture  qui  sont  communes  aux  autres 
genres.  La  mechanique  doit  aussi  foumir  au  decorateur  des  moyens  ingenieux  de 
faire  valoir,  par  des  changemens  et  des  oppositions,  ses  differents  tableaux.  II  seroit 
k  souhaiter,  sans  doute,  que  le  genre  de  spectacle  auquel  Part  des  decorations  thea- 
trales  est  particulierement  adapte  dans  toute  I'Europe,  et  qui  int^resse  k  ses  jeux 
trois  Muses  qui  gagnent  a  etre  bien  unies,  put  toujours  rassembler  tous  les  secours 

aue  chacune  d' elles  doit  lui  offrir;  mais  si  cette  reunion  difficile  ee  voit  rarement, 
es  beautes  particulieres  suppleent  au  moins  tres-souvent  a  cette  perfection  generale. 
Un  poeme  rempli  d'action  et  d'interet  semble  en  effet  avoir  moins  besoin  du  charme 
de  la  musique  et  de  I'illusion  de  la  peinture.  Une  musique  saillante  et  pleine  de 
genie  j)aroit  aussi  quelquefois  distraire  entierement  de  I'attention  qu'on  croiroit 
necessaire  aux  poemes.  rourquoi  la  peinture  ne  s'efforceroit-elle  pas  d'avoir  I'avan- 
tage  d'occuper  seule  toute  I'attention  des  spectateurs?  Pourguoi  n'aspireroit-elle 
pas  a  la  gloire  de  faire  oublier  quelques  instans  ses  soeurs,  et  ae  recueillir,  sans  lea 
partager,  les  applaudissemens  flateurs  d'une  nation  eclairee  sur  les  arts  qui  contri- 
buent  tous  a  sa  gloire  et  k  ses  plaisirs?  C'est  le  but  qu'ose  se  proposer  le  Sieur  Ser- 
vandoni."  ML  52.2.F6G3 

La  foret  de  Dordone.     See  Prologue  des  deux  pieces  .  .  . 

The  forge  of  Vulcan,  ballet.     See  Sacchini's  Enea  e  Lavinia. 

Den  forladte  Dido.     Tr.  of  Sarti's  Didone  abbandonata. 

De  forsonede  medbeylere.     Tr.  of  P.  Guglielmi's  I  rivali  placati. 

Den  forstilte  tvistighed.     Tr.  of  Monsigny's  Kose  et  Colas. 

/La  fortezza  al  cimento.  Drama  per  musica  di  Francesco  Silvani 
da  rappresentarsi  nel  famoso  Teatro  Vendramino  di  S.  Salvatore  .  .  . 
MDCIC. 

(At  end)  In  Venetia  1699.  Per  il  Nicolini.  2  p.  I.  {incl.  front.) , 
66,  [1]  p.     IShJ"". 

Three  acts.  Author's  dedication  dated  Venice,  February  14,  1699,  scenario, 
notice  to  the  reader  with  argument,  name  of  Giuseppe  [Antonio  Vincenzo]  Aldrovan- 
diTii  as  composer  and  remark  that  this  is  the  author's  "seconda  fatica"  during  the 
present  carnival  season.  Schatz  134 

Den  fortraengte  ubekiendte.     A.  T.  of  Anfossi's  Jeannette. 

La  fortuna  incatenata.     See  M.  Curzio. 

La  fortuna  per  dote.  Tragicomedia  da  rappresentarsi  in  musica, 
nel  famosissimo  Teatro  Grimano  di  S.  Gio.  Grisostomo.     L'anno  1704. 

Venezia,  Marino  Rossetti,  1704.     83,  [1]  p.     14Y'\ 

The  unnumb.  p.  contains  "errori."  Five,  acts.  Neither  the  composer.  Carlo 
Francesco  Pollaxoli,  nor  the  author,  conte  Girolamo  Frigimelica  Roberti  is  men- 
tioned. The  latter,  as  was  his  custom  (on  p.  2-8),  gives  a  "Notizia  poetica,"  with 
his  views  of  what  constitutes  a  fra^ifowcc/ta.     He  says  in  part : 

"Propone  alia  fantasia  un'  immagine  di  poema  mescolato  di  tragedia  e  di  comedia" 
but  "da  tutto  questo  ei  comprende  quanto  sia  diversa  la  tragicomedia,  dalla  tragedia 
di  lieto  fine." 

(Count  Roberti  may  not  have  been  a  great  poet,  but  his  dramaturgic  esthetic 
prefaces  are  well  worti  studying  for  a  history  of  opera-libretto.')  The  "notizia  po- 
etica" is  followed  by  a  "notizia  istorica"  and  a  detailed  description  of  "Le  scene,  ed 
i  cori  d'intermezzo."  Schatz  8291 


524  LIBRARY   OF   CONGRESS 

•/La  fortuna  tra  le  disgratie.  Drarnma  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Sant'  Angelo,  Tanno  1688.  Di  D.  itinaldo 
Ciali  [!]... 

Venetia,  Francesco  Nicolini,  1688.     59  p.     14*^^. 

Three  acts.  Publisher's  dedication,  scenario,  and  notice  to  the  reader  with  name 
of  Paolo  Biego  as  composer.  Schatz  1014 

The  fortunate  prince,  or,  Marriage  at  last.  L.  T.  of  The  court 
medley. 

La  fortune  au  village.     Parody  of  Lagarde's  Egl6. 

Le  fortune  di  Rodope  e  Damira.  Drama  per  musica  di  Aurelio 
Aureli,  favola  terza. 

Bologna,  Giacomo  Monti,  1658.     96  p.     l^""^. 

Prologue  and  three  acts.  Argument  and  notice  to  the  reader  with  cast  [!!]  and 
name  of  the  composer  as  follows: 

"Agradisci  le  mie  debolezze,  honorate  di  musica  dalla  somma  virtii  del  Signer 
padre  Ziani  .  .  .  Per  sodisfare  in  parte  k  la  tua  curiosity,  sono  stati  qui  sotto  stam- 
pati  li  nomi  di  quelli  virtuosi,  che  rappreeentano  le  parti  del  drama  ..." 

First  performed  at  Bologna,  Teatro  Guaetavillani,  carnival  1658;  at  Venezia, 
Teatro  di  Sant'  Apolinare,  camivale,  1657.  Schatz  11215 

The  fortune  hunter.     A.  T.  of  Barthelemon's  The  noble  pedlar. 

La  forza  d'amore.     Dramutna  per  musica. 

Siena,  Stamparia  del  Pubhlico,  n.  d.     4  V-  ^-i  ^^  V-     ^4*^"*- 

Prologue  and  three  acts.    Unsigned  dedication.    Written  ca.  1690,  perhaps  by 

Girolamo  Gigli  and  composed  by  Giuseppe  Fabbrini,  both  of  Siena. 

ML  48.A5    V.46 

La  forza  d'amore.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassiano  il  carnovale  dell'  anno  1745. 
Venezia,  n.  puhl.,  n.  d.     79  p.     17^^. 

Three  acts.  By  Panicelli,  who  is  not  mentioned.  Cast,  scenario,  name  of  com- 
poser, Galuppi,  and  note  that  for  briefness'  sake  scene  8,  act  II,  scenes  10-12,  act  III 
and  other  verses  are  omitted  in  performance.  Also  that  the  following  substitute 
arias  are  not  by  the  author  of  the  libretto:  "Figlia  presto  monta  in  barca"  (I,  4), 
"Voi  la  spada,  o  mia  signora"  (II,  4),  "In  mezzo  a  mille  straggi"  (II,  7),  "Bel  visino 
graziosino"  (III,  8),  " Se  per  dispetto  io  piango "  (III,  9),  "II  cor  mi  sento"  (III,  13), 
"Son  stordita  via  tecete"  (III,  last  scene). 

First  performed,  as  indicated,  January  30,  1745.  Schatz  3478. 

>/  La  forza  d'amore.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  SS.  Gio.  e  Paulo  I'anno  1697  .  .  . 

Venetia,  Nicolini,  1697.     55,  [1]  p.     l^Y"^. 

The  unnumb.  p.  contains  "errori  di  stampa." 

Three  acts.  Neither  Lorenzo  Burlini,  the  author,  nor  Carlo  Francesco  Pollaroli, 
the  composer,  is  mentioned.  Dedication,  argument,  scenario,  and  notice  to  the 
reader,  in  which  we  read : 

"II  drama  poi  per  maligniti  d'alcune  stelle  contrarie,  prima  che  comparirti  sti  la 
ecena  ha  incontrato  tali,  e  tante  opposizioni,  che  se  non  s'e  trattenuto,  s'fe  per6  si  can- 
giato  di  forma,  che  appena  lo  potrebbe  riconoecere  chi  nel  suo  prime  stato  conosciuto 
Phaveese . ' '  Schatz  8292 

La  forza  del  sanguine.     O.  T.  of  Silvani's  libretto  Zoe. 


OPERA   LIBRETTOS  525 

La  forza  del  sangue.  Drama  per  musica  da  rappresentarsi  nel 
famoso  Teatro  Grimani  dj  San  Gio.  Grisostomo  rautunno  dell'  anno 
1711   .  .  . 

Venezia,  Marino  Rossetti,  1711.     82  f.     l^Y^. 

Three  acts.  Dedication  signed  by  the  author,  Francesco  Silvani,  and  dated  Venice, 
November  14,  1711,  argument,  cast,  scenario.  The  composer,  Antonio  Lotti,  is  not 
mentioned.  Schatz  5718 

La  forza  del  sangue,  e  della  pieta.  Drama  per  musica  .  .  .  Can- 
tato  per  le  vacanze  del  camevale  I'anno  1686  da'  Signori  convittori 
del  nobil  coUegio  Tolomei  di  Siena. 

Siena,  nella  stamp,  del  puhl.  1686.     6  p.  I.,  71,  [1]  p.     ISY'^. 

The  dedication  is  dated,  "Siena  li  15  febbraio  1686,"  and  signed  by  Girolamo  Gigli 
as  author.  Then,  "L'autore  al  cortese  lettore,"  from  which  it  apnears  that  this  was 
Gi^li's  second  libretto,  and  that  it  was  composed  by  Giuseppe  Fabrini  (Fabbrini). 
This  followed  by  "Argomento  istorico,"  scenario,  casts  of  opera  and  fcaZh'and  note 
calling  attention  to  the  unnumb,  1.  between  p.  20-21.  From  the  dedication  it  ap- 
pears that  Gigli's  Geneviefa  is  to  be  dated  1685.  Schatz  2963 

La  forza  dell'  amicizia.  Dramma  per  musica  da  rappresentarsi  in 
Mantova  Tanno  1700  .  .  . 

[Mantova],  Gio.  Batt.  Grana,  n.  d.     81  p.     15^"^. 

Three  acts.  Dedication,  argument,  cast,  scenario.  Author  (Adriano  Morselli, 
whose  "Pirro  e  Demetrio  "  this  is)  and  composer  (vmknown  to  Schatz)  not  mentioned. 

Schatz  11334 

La  forza  dell'  amore,  Die  macht  der  liebe  oder  Die  von  Paris 
entfuehxte  Helena,  in  einem  singe-spiel,  auf  den  grossen  Ham- 
burgischen  Schau-platze  fuergestellet  und  in  die  music  gebracht 
durch  Reinhard  Keisem  .  .  . 

Hamburg,  n.  puhl,  1709.      Unpaged.     18^'^. 

Three  acts.  Scenario  and  "vorbericht,"  which  reads,  in  part: 
"Den  anlass  zu  gegenwaertigem  schau-spiele,  hat  eine  italiaenische  opera,  dieses 
nahmens  gegeben,  welche  ehemahls  von  Sigr.  [Pietro  Antoniol  Fiocco  [text  by  Gio- 
vanni Filippo  Appoloni?]  in  Amsterdam,  hemach  auf  den  beruehmten  IBraunschwei- 
gischen  Theatro  [as  Helena  rapita  da  Paride],  nicht  ohne  geringe  approbation,  auf- 
gefuehret  word  en.  Wie  weit  man  aber  selbigem  sujetgefolget,  wird  der  geneigte  leser 
am  besten  beurtheilen  koennen,  wenn  er  beyde  erfindungen  gegen  einander  haelt .  .  . 
Von  der  musique  ist  nur  dieses  zu  erinnem :  Dase  die  meisten  arien  nach  dem  go{iet, 
theils  fuerstlicher,  theils  anderer  vomehme  standee-persohnen  lange  vorher,  ehe  man 
die  Helena  gefangen,  eingerichtet  gewesen  .  .  .  Die  italiaenische  aria  "Sta  in  quel 
vago,"  etc  im  5"^°  auftritt  der  3*^°  handlung  ist  von  der  ausarbeitung  und  invention 
eines  jungen  cavalliers  ..." 

To  many  of  the  arias  the  Italian  text  has  been  added  to  the  German .    Schatz  5090 

La  forza  dell'  amore  e  dell'  amicizia,  ballet.  See  P.  Gugliebni's 
Tamerlano. 

La  forza  dell'  innocenza.  A.  T.  of  Zeno  and  Pariati'a  text 
Engelberta. 

La    forza    dell'    innocenza.     A.    T.    of    Orefici    and    Mancini's 

L'Engelberta. 

La  forza  della  pace.  Intermezzi  per  musica  a  tr^  voci  da  rappre- 
sentarsi neir  antico  Teatro  della  Pace  nel  camevale  dell'  anno 
1752  .  .  . 

Rorrm,  Ottavio  Puccinelli,  1751.     24  p.     16^"^. 

On  p.  23-24  a  poem  "La  pace."  Two  parts.  Author  not  mentioned  and  un- 
known to  Schatz.  Possibly  Girolamo  Aureli  wrote  the  text.  Pifblisher's  dedication, 
cast  and  name  of  Binaldo  di  Capua  as  composer.  ML  50.2.F75R3 


626  LIBRARY   OF   CONGRESS 

La  forza  della  virt^.     A.  T.  of  Orlandini's  Ataulfo  rd  de'  Goti. 

La  forza  della  virtft.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Malvezzi  I'anno  MDCXCI V.     Di  Domenico  David  .  .  . 

Bologna.,  gVEredi  d' Antonio  Pisarri,  1694.     ^^  V-     ^^''"'^ 

Three  acts.  Dedication  dated  Bologna,  May  23,  1694,  argument,  cast,  scenario, 
and  notice  to  the  reader,  which  reads,  in  part: 

"Ecoti  ricomparire  in  Teatro  la  Forza  della  virtu — Se  la  troverai  in  parte  mutata 
dal  euo  primo  origiijale,  resta  accertato,  che  la  sola  neceeeitk  di  portark  alle  nostra 
scene,  il  desiderio  di  compiacere  a'signori  musici,  &  il  genio  di  sodisfare  a  noi  stessi, 
^  stata  la  cagione  di  tale  alterazione  .  .  ." 

The  composer,  Giacomo  Antonio  Perti,  is  not  mentioned.  Schatz  7948 

La  forza  della  virtu.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Gio.  Grisostomo.  L'anno  MDCXCIII.  Di  Domenico 
David.     Seconda  impressione  .  .  . 

Venetia,  Nicolini,  1693.     72  jp.  {incl.  front).     ;4<=™. 

Three  acts.  Author's  dedication,  argument,  "allegoria  del  drama,"  notice  to  the 
reader,  and  scenario.    Carlo  Francesco  Pollaroli,  the  composer,  is  not  mentioned. 

Schatz  8293 

—  Creonte  tiranno  di  Tebe.     Drama  per  musica  da  rappresen- 
tarsi nel  Theatro  di  S.  Bartolomeo  di  Napoli  in  quest'  anno  1699  .  .  . 
Napoli,  Bom.  Ant.  Parrino  e  Michele  Luigi  Mutio,  1699.    57  p. 

Three  acts.  Scenario,  cast,  and  publisher's  dedication,  according  to  which  "questo 
drama  .  .  .  fu  veduto  con  sommo  piacimento  ne'  primi  teatri  d' Italia  intitolato  Ui 
Forza  della  virtu  .  .  ."  This  refers  to  Domenico  David's  text,  composed  by  Carlo 
Francesco  Pollaroli,  but  at  Naples  the  text  was  somewhat  altered,  and  music  by 
Aleeeandro  Scarlatti  and  others  was  interpolated.  ML  50.2.C78P7 

La  forza  delle  donne.  O.  T.  of  Bertati's  text  Ogus  o  sia  II  trionfo 
del  bel  sesso. 

La  forza  delle  donne.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Moise  I'autunno 
deir  anno  1778. 

71.  i.,  n.  d.     [31-62  p.     17 Y"^. 

Two  acts.    Cast  and  name  of  composer,  Pasquale  Anfossi.     Interpolated  between  ' 
p.  32-33  are  4  p.  describing  "Vertunno  e  Pomona,  ballo  pastorale,"  invented  by 
Filippo  Beretti.    The  composer  of  the  music  is  not  mentioned.  Schatz  267 

La  forza  delle  donne,  ballet.     See  Stabinger's  L'astuzie  di  Bettina. 

La  forza  delle  prime  impressioni.  A.  T.  of  Capuzzi's  I  bagni 
d'Abano. 

La  forza  vinta  dall'  onore.     Drama  musicale  da  rappresentarsi  nel 
Teatro  di  S.  Moise  in  Venezia  l'anno  1703  .  .  . 
Venezia,  Zuccato,  1703.     48  p.     16"^. 

Three  acts.  Dedication,  with  the  initials  of  the  author,  Andrea  Minelli,  argument, 
scenario.    The  composer,  Niccol6  Le  Mixte,  is  not  mentioned  Schatz  5486 

Le  fosse  du  scrupule,  opera-comique  en  un  acte;  avec  un  prologue, 
un  epilogue  &  un  divertissement;  represents  pour  la  premiere  fois 
sur  le  Theatre  de  la  Foire,  en  1738. 

Charles  Francois  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  3, 
[69]-138  p.     17'"^. 

In  prose  and  vaude^^lles.  Composer  not  recorded  by  Parfaict,  who  datea  first 
performance  July  26,  1738.  PQ2019.P3 


OPERA   LIBRETTOS  527 

The  four  seasons  or  Love  in  every  age.  Interlude  in  The  island 
princess. 

The  fox  trap't.     A.  T.  of  The  raree  show. 

Fra  i  due  iitiganti  il  terzo  gode.  O.  T.  of  Sarti's  I  pretendenti 
delusi. 

The  original  Milan,  1782  libretto  of  Sarti's  opera  not  in  L.  of  C. 

—  I  pretendenti  delusi.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  nobile  Teatro  dell'  Eccell.™*  casa  Giustiniani  in  S.  Mois6 
r  autunno  1782. 

Venezia,  n.  puM.,  n.  d.     58  p.     17"^. 

Two  acts.  Cast,  scenario,  and  name  of  Giuseppe  Sarti  as  composer.  Text  by 
Goldoni  (not  mentioned),  originally  with  the  title,  "Le  nozze." 

Sarti's  opera  was  first  performed  at  Milan,  Teatro  alia  Scala,  September  14,  1782,  as 
' '  Fra  i  due  Iitiganti  il  terzo  gode, ' '  its  best  known  title.  Schatz  9453 

—  Fra  i  due  Iitiganti  il  terzo  gode.  Dramma  giocoso  per  musica 
in  tre  atti,  da  rappresentarsi  nel  Teatro  Elettorale. 

Dresda,  n.  publ.,  1784.     117  p.     16'"^. 

Sarti  is  mentioned  as  the  composer.  German  title-page  "Unter  zwey  etrei ten- 
den  siegtderdritte,"  and  text  face  the  Italian,  which  is  the  same  as  "I  pretendenti  de- 
lusi," but  with  some  differences.  For  instance,  the  aria,  "E  destin  troppo  infelice," 
has  been  dropped  at  the  beginning  of  1, 11,  and  of  course  the  original  two  acts  have 
become  three.  Schatz  9457 

—  Fra  i  due  Iitiganti  il  terzo  gode :  Dramma  giocoso  per  musica 
da  rappresentarsi  nel  Reggio  Teatro  di  S.  Carlo,  della  Principessa 
1'  autunno  dell'  anno  1793, 

Lishona,  Simone  Taddeo  Ferreira,  1793.     151  p.     15'^'^. 

Two  acts.  Cast,  scenario,  and  name  of  Giuseppe  Sarti  as  the  composer.  Portu- 
guese text  faces  Italian.  With  the  opera  was  performed  (composer  of  the  music  not 
mentioned)  Gaetano  Ghelardini'e  ballet,  "Le  vendemmie,  o  sia  La  villanella  rapita." 

Schatz  9468 

—  Fra  i  due  Iitiganti  il  terzo  gode.  Dramma  giocoso  per  musica 
da  rappresentarsi  nel  Teatro  alia  Scala  F  autunno  dell'  anno  1795  .  .  . 

Milano,  Gio.  Batista  BiancJii,  n.  d.     60  p.     15Y^- 
Two  acts.    Impresario's  dedication,  cast,  scenario,  and  name  of  Giuseppe  Sarti  as 
the  composer.    The  text  is  the  same  as  "I  pretendenti  delusi,"  but  with  many  altera- 
tions.   With  the  opera  were  performed  Gaspare  Ronzi's  ballets,  "II  r6  pastore"  and 
"La  fanciulla  mal  custodita,  '  the  composer  of  the  music  not  being  mentioned. 

Schatz  9454 

—  I  due  Iitiganti.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobilissimo  Nuovo  Teatro  di  Padx)va  il  carnovale  dell'  anno 
1792  .  .  . 

Padova,  perli  Conzatti,  n.  d.     52  p.     17'^'^. 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Giuseppe  Sarti  aa 
thecomposer.  The  text  isthesameas  "I  pretendenti  delusi,"  butwith  considerable 
alterations.  On  p.  29,  argument,  without  name  of  the  composer  of  the  music  of 
Giuseppe  Bartolomei's  ballet,  "Bacco  e  Arianna."  Schatz  9456 


528  LIBRARY   OF   CONGRESS 

Pra  i  due  litiganti  il  terzo  gode — Continued. 

—  Le  nozze  di  Dorina,  a  new  comic  opera,  in  two  acts,  as  performed 
at  the  King's  Theatre  in  the  Haymarket.  The  music  by  the  cele- 
brated Signor  Sarti,  under  the  direction  of  Mr.  Storace. 

London,  J.  Hammond,  n.  d.     55  p.     20'^^. 

Cast.  English  translation  faces  the  Italian,  which  takes  the  usual  unlimited  libe'"- 
ties  with  Goldoni's  text. 

First  performed  at  London,  same  theatre,  January  6.  1784,  as  "I  rivali  delusi;" 
under  the  above  title,  it  would  seem,  shortly  after  Storace  s  return  to  England,  in  1787. 

ML  48.M2K 

—  Le  nozze  di  Dorina.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  di  S.  A.  S.  il  Signor  principe  di  Carignano  nel  car- 
no  vale  deir  anno  1796. 

Torino,  Onorato  Derossi,  n.  d.     2  p.  I.,  60  p.     14\'^'^. 

Two  acts.  Cast,  scenario,  and  name  of  Giuseppe  Saxti  as  the  composer.  The  text 
is  the  same  as  "I  pretendenti  delusi,"  but,  of  course,  with  many  alterations.  On  p. 
[53]-60,  cast,  argument,  and  description  (without  name  of  the  composer  of  the 
music)  of  Filippo  Beretti's  "Andronico  e  Ramira,  ballo  eroico  pantomime." 

First  performed  xmder  this  title  at  Naples,  Reale  Teatro  del  Fondo,  December  10, 
1784.  ScHATZ  9455 

—  Der  fischer  im  trueben.  Ein  singspiel.  Die  musik  ist  von 
herrn  Joseph  Sarti  .  .  . 

Stuttgardt,  Drukkerey  der  Jierzoglichen  Hohen  Karls-ScJiule,  1785. 
139  p.     16""^. 

Three  acts.  German  text  and  Italian  text,  with  running  title,  "Fra  due  litiganti 
il  terzo  gode."  The  version  retains  the  "E  destin  troppo  infelice,"  at  1, 11,  but  snows 
other  differences.  For  instance,  "Vu6  soffrire  a  un  certo  segno"  (I,  1)  has  become 
"La  donna  h  sempre  istabile."  Schatz  9458 

—  Gesaenge  aus  dem  singspiele :  Im  trueben  ist  gut  fischen,  in 
zwey  abtheilungen.  Neu  bearbeitet  von  Schink.  In  musik  gesetzt 
von  Sarti. 

Hamburg,  FriedricJi  Hermann  NesUer,  n.  d.     ^8  p.     15'^™'. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  September  21,  1785. 

ScHATz  9459 

—  Im  trueben  ist  gut  fischen.  Ein  singspiel  in  drey  aufzuegen. 
Nach  dem  italiaenischen  frey  bearbeitet  von  Johann  Andre.  Die 
musik  ist  vom  herrn  Joseph  Sarti. 

Koeln  am  Khein,  JoJi.  GodschaTk  Lang  en,  1786.     6^  p.     16'^^. 

First  performed  at  Mannheim,  National  Theater,  December  29,  1785. 

ScHATZ  9460 

—  Unter  zwey  streitenden  zieht  der  dritte  den  nutzen.     Ein 

singspiel  in  drey  aufzuegen,  Aufgefuehrt  auf  dem  hochfuerstlichen 
Hortneater  in  Salzburg. 

Salzburg,  Waisenhaus  buchdruckerei,  1787.     79  p.     15"^. 

Cast  and  name  of  Giuseppe  Sarti  as  the  composer.  Translated  by  Ludwig  Zehn- 
mark. 

First  performed  1787,  as  indicated.  Schatz  9461 

—  I  opr0rt  vand  er  godt  at  fiske.  Et  syngespil  i  tre  acter,  hvortil 
musiken  er  komponeret  af  Sarti.     Oversat  af  Lars  Knudsei. 

Ki0benhavn,  S.  Poulsens  forlag,  1795.     88  p.     W*^ 


;cm 


First  performed  at  Copenhagen,  Theater  paa  Kongens  Nytorv,  April  7,  1795. 

ScHATZ  9462 


OPERA   LIBEETTOS  529 

Die  frage  und  die  antwort.     A.  T.  of  Killer's  Lisuart  und  Dariolette. 

Fragments,  composes  du  Prologue  des  Amours  des  dieux,  de 
I'acte  de  L'amour  enjou6  et  de  celui  de  La  danse;  representes 
devant  Leurs  Majestes  a  Versailles  le  mercredi  6  mars  1765. 

[Paris],  CTiristopJie  Ballard,  1765.  3  v.  in  1.  11,  1  p.  I,  16,  2  p.  l, 
20  p.     20^"^. 

Casts  and  names  of  Louis  Fuzelier  as  the  author,  and  of  Jean  Joseph  Mouret  as  the 
composer  of  the  Prologue,  of  Antoine  Dauvergne  as  composer  of  L'amour  enjoue, 
ballet  en  un  acte,"  of  Jean  Philippe  Rameau  as  composer  of  "La  danse,  troisi^me 
entree  du  ballet  des  Talents  lyriques."  Laval,  p^re  et  fils,  are  mentioned  in  each 
case  as  the  "composers"  of  the  ballets.  ML  48. J7 

Fragments  de  M'  de  Lully,  ballet,  mis  au  theatre  par  M"^-  Dan- 
chet  &  Campra.     Represente  par  I'Academie  royale  de  musique  I'an 

1702.  LVI.  opera. 

n.  i.,  n.  d.  l^.'^^.  front,  S91~4^7  p.  (Recueil  general  des  opera, 
t.  vii,  Paris,  1703.) 

Detached  copy.  Prolc^e  and  the  entries,  "Feste  marine,"  "Les  guerriers,"  "La 
bergerie,"  "Les  Boh^miens,"  and  the  additional  "divertissement  comique  Cariselli." 
The  words  were  selected  and  partly  translated  from  different  sources  by  Danchet,  and 
the  music  was  arranged  bv  Campra.    An  "avertissement"  (p.  392)  reads: 

"Comme  ce  ballet  a  ^te  varie  dans  I'espace  de  huit  mois,  qu'il  a  ete  represent^;  on 
a  crft  devoir  y  joindre  les  trois  nouvelles  entries  qui  y  oni  4t6  ajo<!itees  success! vement. 
On  y  a  encore  ajofite  les  noms  des  acteurs  &  actrices,  pour  faire  connoitre  ceux  qui 
occupent  presentement  le  theatre." 

First  performed,  as  indicated,  September  10,  1702.  Schatz  5767 

Second  copy.    ML  48. R4 

• 

—  Trois  nouvelles  entrees  ajout^es  aux  Fragments  en  different^ 
temps.     Les  paroles  de  M.  Danchet  &  la  musique  de  M.  Campra. 

n.  i.,  n.  d.     439-^86  p.     14'^^.     (Recueil  general  des  opera,  Paris, 

1703,  t.  vii.) 

Detached  copy.  Casts.  The  individual  titles  are:  "Le  triomphe  de  V^nus,"  "La 
B^r^nade  venitienne,"  and  "Le  bal  interrompu."  Schatz  1563 

—  Le  bal  interrompu.  Cette  entree  &  la  suivante  ont  6te  ajoutees 
aux  Fragments  de  LuUi;  &  representees  en  1703,  dans  la  reprise  qui 
se  fit  de  ces  Fragmens. 

—  Le   jaloux    trompe.     Divertissement.     Reprfeent^    pour  la 

Eremiere  fois  en  1703.  sous  le  titre  de  la  Serenade  venitienne,  dans  le 
allet  des  Fragmens  de  M.  de  Lully.     Remis  au  Theatre  k  la  suite 
du  Camaval  &  La  folie.     Le  jeudi  18  Janvier  1731. 

[265]-290  p.     17 Y"^.     {Antoine  Danchet,  Thedtre,  t.  ii,  Paris,  1751.) 

PQ  1972.D2 

Le  Franc  Breton,  ou  Le  n^gociant  de  Nantes,  com^die  en  un  acte 

et  en  vers  libres,  par  M.  de  Jaure.     Representee  pour  la  premiere 

fois  k  Paris,  par  les  Com^diens  italiens  ordinaires  du  roi,  le  15  f^vrier 

1791. 

Paris,  CaiUeau  <ic  fils,  1791.     35  p.     21'^'^. 

Cast.    The  composers,  Rodolphe  Kreutzer  and  Solid,  are  not  mentioned. 

ML50.2.F8K7 

72251'— VOL  1—14 34 


530  LIBRARY   OP   CONGRESS 

La  Francese  a  Malghera.  Dramina  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  Tron  di  S.  Cassano  nell'  autunno  dell'  anno  1764. 
Dell'  abbate  Pietro  Chiari,  Bresciano. 

Venezia,  Modesto  Fenzo,  1764.     '^^  P-     16^'^. 

Three  acts.  Caet,  scenario,  and  name  of  composer,  Tommaso  Trajetta  ("La 
musica  tutta  nuova  ").  Schatz  10411 

II  Francese  bizarre.  Opera  buff  a  a  sette  voci  da  rappresentarsi 
nel  Teatro  dell'  eccellentisima  casa  Grimani  S.  Gio.  Grisostomo  il 
camevale  dell'  anno  1779. 

Venesia,  Modesto  Fenzo,  1779.     62  p.     16^"^. 

Two  acts.  Cast,  scenario,  and  name  of  composer,  Gennaro  Astaritta,  but  not  of 
librettist,  who  is  unknown  to  Schatz.  Schatz  371 

—  II  Francese  bizzarre.  Opera  buff  a  da  rappresentarsi  nel  Teatro 
di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1786.     131  p.     15^'^. 

Two  acts.  Name  of  Astaritta  as  composer.  German  title-page,  "Derwunder- 
liche  Franzos.     Ein  komieches  singstiick,"  and  text  face  Italian. 

First  performed  at  Dresden  in  1786.  Schatz  372 

La  Francese  briUante.     Dramma  giocoso   per  musica  da  rappre- 
sentarsi nel  Pubblico  Teatro  di  Lucca  I'autunno' dell'  anno  1767. 
Lucca,  Giuseppe  Simoni,  1767.     84,  [1]  p.     l^Y"^- 

Three  acts.  By  Paequale  Mililotti,  who  is  not  mentioned.  Cast  and  name  of 
Pietro  Guglielmi  as  the  composer. 

First  performed,  as  indicated,  August  22,  1767;  at  Naples,  Teatro  de'  Fiorentini, 
summer  of  1763.  Schatz  4284 

La  Francese  di  spirite.  Commedia  per  musica  di  Giuseppe  Maria 
Mililotti  da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  prima 
opera  di  quest  anno  1781. 

Napoli,  n.  puU.,  1781.     55  p.     15""^. 

Two  acts.  Cast  and  name  of  Giacomo  Tritto  as  the  composer.  At  end  this  char- 
acteristic foot-note : 

"Si  6  dovuto  togliere  dalla  commedia  il  personaggio  di  Smeraldina,  che  stando 
indispoeta,  si  h  licenziata  da  se  medesima  dal  teatro  per  tutto  I'anno.  Ed  essendosi 
dovuto  in  parte  ristampare  il  libretto,  in  quello,  che  h  rimasto,  ee  mai  si  trova  il 
noma  di  Smeraldina,  il  eavio  lettore  non  ne  faccia  caeo."  Schatz  10471 

II  Francese  in  Lendra,  ballet.     See  Anfossi's  Le  gelosie  villane. 

I  Francesi  brillanti.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Real  Teatro  dell'  Ajuda  nell'  autunno  dell'  anno  1765. 
Lishona,  Michele  Maneschal  da  Costa,  n.  d.     78  p.     16'^^. 

Three  acts.  Pasquale  Mililotti,  the  author,  not  mentioned.  Cast,  scenario,  and 
name  of  PaisieUo  as  the  composer.  Mililotti's  title  originally  was  "La  Francese 
brillante." 

First  performed  at  Bologna,  Teatro  Marsigli  Rossi,  June,  1764.  Schatz  7687 

La  Frascatana.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 

Teatro  Grande  della  nobUissima  Accademia  Intronata  di  Siena,  nel 

camevale  dell'  anno  bisestile  1776  .  .  . 

Siena,  Vincenzo  Pazzini  Carli  ejigli,  n.  d.     76  p.     16^™'- 

Three  acts.    By  Filippo  Livigni  who  is  not  mentioned.     Impresario's  dedication, 

cast,  and  name  of  PaisieUo  as  the  composer. 

First  performed  at  Venice,  Teatro  S.  Samuele,  1774.  Schatz  7620 


OPERA   LIBRETTOS  531 

La  Frascatana — Continued. 

—  La  Frascatana.  Dranuna  giocoso  per  musica  del  Signore  Filippo 
Livigni  da  rappresentarsi  nel  riccolo  Teatro  di  S.  A.  S.  E.  di  Sas- 
sonia. 

Dresda,  n.  puhl,  1776.     181  p.     W^. 

Three  acts.  Paisiello  ie  mentioned  as  the  composer.  German  title  page,  "Die 
Fraecatanerin,"  and  text  face  Italian. 

First  performed,  as  indicated,  1776.  Schatz  7621 

—  La  Fraschetana ;  a  new  comic  opera :  as  performed  at  the  King's 
Theatre  in  the  Hay-Market.  The  music  by  Signor  Paisiello,  under 
the  direction  of  Mr.  Giardini. 

London,  T.  CadeU,  1776.     75  p.     18'^'^. 

On  verso  of  last  p.  a  catalogue  of  Bremner's  latest  publications.  Three  acts. 
Livigni's  text  with  numerous  alterations  and  interpolations.  English  translation 
faces  Italian. 

First  performed  1776  as  indicated.  Schatz  7622 

—  La  Frascatana.  Dramma  giocoso  per  musica,  da  rappresentarsi 
nel  Regio  Teatro. — ^Landsbye-pigen  fra  Frascati  .  .  .  Oversadt  paa 
dansk  af  R.  Soelberg. 

Ki0henhavn,  H.  J.  Graae,  1776.     US  p.     16^"^. 

Three  acts.  Text  by  Livigni,  who  is  not  mentioned.  Cast  and  name  of  Paisiello 
as  the  composer. 

First  performed  at  Copenhagen,  October  31,  1776.  Schatz  7623 

—  La  Frascatana  oder  Das  maedchen  von  Fraskati,  ein  singspiel  in 
drey  aufzuegen.     Die  musik  von  Paisello. 

n.  %.,  1782.     102  p.     17 Y"^. 

German  version  by  Johann  Friedrich  Schmidt.  Schatz  7624 

—  La  Frascatana.  Ein  singspiel  in  drey  aufziiegen.  Die  musick 
von  Paisello. 

n.  i.,  1782.     128  p.     16^"^. 

The  translator  is  not  mentioned,  but  it  is  practically  the  same  version  as  Schatz 
7624,  as  comparison  proves.  ML  50.2.F84P2 

—  Arien  und  Gesaenge  aus  der  grossen  komischen  oper:  Das  maed- 
chen von  Fraskati,  in  drey  aufzuegen.  So  wie  sie  auf  der  Tilly- 
schen  schaubuehne  aufgefuenret  wird.     Die  musik  ist  von  Paisiello. 

Luebeck,  n.  puhl,  1785.     24  p.     16^'^^. 

Schmidt's  version. 

First  performed  at  Lubeck,  Theater  i.  d.  Backergrube,  1785;  at  Weimar,  Herzogl. 
Comodienhaus,  January  15,  1784.  Schatz  7625 

—  L'infante  de  Zamora,  comedie  en  trois  actes,  melees  d'ariettes, 

Earodi^es  sur  la  musique  de  la  Frascatana,  del  Signor  Paesielo,  par 
I.  Framery.     Cette  Edition  est  la  seule  qui  soit  conforme  h  la  parti- 
tion gravee,  h.  laquelle  on  a  fait  beaucoup  de  changemens. 
La  Haye,  les  Lihraires  associes,  1783.     55,  [1]  p.     19Y^. 
First  performed  at  Versailles,  1781;  at  Paris,  Th^fitre  de  Monsieur,  not  until  June 
22,  1789.  ML  50.2.F84P22 

La  Frascatana  nobile.  Commedia  per  musica  di  Pasquale  Mililotti 
da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nelr  invemo  del 
corrente  anno  1776. 

Napoli,  n.  pull.,  1776.     60  p.     15"^. 

Three  acts .    Cast  and  name  of  the  composer,  Domenico  Cimarosa.    Schatz  1995 


532  LIBRARY  OF   CONGRESS 

Die  Frascatanerin.     Tr.  of  Paisiello's  La  Frascatana. 

La  Fraschetana.     L.  T.  of  Paisiello's  La  Frascatana. 

Lo  frate  nnammorato.     Commeddeja  pe  mmusica  de  Jennaran- 
tonio   Federico   Napolitano   da   rappresentarese    a   lo   Triato   de   li 
Shiorentine  lo  camevale  de  chist'  anno  1734  .  .  . 
Napqle,  Nicola  de  Bejase,  n.  d.     80  p.     i^J<^"*. 

Three  acts.  Impresario's  dedication,  cast,  name  of  Giammattista  Pergolese  (Per- 
goleai)  as  the  composer,  and  notice  to  the  reader,  which  reads,  in  part : 

"Sta  commedeja  Be  rdppresentajell'anno  1732.  [September]  nne  lo  stisso  triato  .  .  . 
Te  s'avisa,  ca  non  se  ll'e  caguato  autro,  se  non  che  cierte  poch'  arie,  che  bedarraje 
segnate  con  cchisto  eigno  §,  co  I'accaseone,  che  I'fe  parzo  de  buono  a  lo  masto  de  cap- 

Sella  de  cagnarence  la  museca,  secunno  I'abbeleta  de  chi  I'ha  da  cantare;    &  ppe 
arela  non  poco  cchiu  breve,  s'^  accortata  no  poco  all'  atto  terzo."        Schatz  7903 

I  fratelli  nemici.  Tragedia  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Berlin©  .  .  .  MDCCLVI. 

Berlino,  Haude  e  Spener,  n;  d.     115,  [4]  p.     16^'^. 

Three  acts.     By  G.  P.  de  Tagliazucchi,  who  begins  his  prefatory  note: 

"La  traduzione  italiana  di  una  eccellente  tragedia  francese,  che  5  I'onore  di  pre- 
eentare  al  publico  m'obbliga  a  pre^rlo  del  suo  compatimento,  s'ei  troverk,  che  f'or- 
eervanza  di  un  metro  regolare,  la  nma  detemninatamente  obbligata,  e  la  scelta  delle 
parole  alia  musica  confacenti  m'anno  forzato  nelle  arie  a  prendermi  qualche  liberty 
senza  per6  gran  torto  al  sentimento.  Sia  in  una,  sia  in  altra  maniera  decentemente 
vestita  leggiadra  giovane  sar^  sempre  leggiadra.  Ne'  recitativi,  dove  il  metro  non  mi 
l^ava,  e  la  rima,  servendo  di  solo  omamento  alia  poesia,  b'6  venuta  naturalmente  a 
intromettere  dove  luogo  h.  trovato,  mi  lusingo,  che  il  lettore  m'incontreri  fedele,  ed 
esatto;  non  senza  aver  avuto  per5  tutto  il  riguardo  di  conformarmi  al  genio  particolare 
di  nostra  favella  da  quelle  della  Francese  cos6  diferente  ..." 

Tagliazucchi  herewith  alludes  to  the  fact  that  his  text  was  merely  the  Italian  ver- 
sion of  an  "excellent  French  tragedy,"  written  by  Frederick  the  Great  and  based  on 
Racine's  "Les  frferes  ennemis."  Scenario  and  name  of  Carl  Heinrich  Graun  as 
composer.  German  text  (by  Francesco  Grugnanelli,  according  to  Mennicke)  and 
title-page,  "Die  uneinigen  brueder,"  face  Italian. 

First  performed,  as  indicated,  January  9,  1756.  Schatz  4100 

—  I  fratelli  nemici.  Tragedia  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Berlino  .  .  .  MDCCLVI. 

Berlino,  Haude  &  Spener,  n.  d.     115,  [4\  p.     16Y'^. 

Exactly  like  Schatz  4100,  except  that  instead  of  the  German  translation  a  French 
version,     Les  fr^res  ennemis,  op^ra  tragique,"  faces  the  Italian  Schatz  4101 

Li  fratelli  Pappamosca.  L.  T.  of  F.  Guglielmi's  La  villanella 
ingentilita. 

I  fratelli  riconosciuti.  Dranima  per  musica  da  rappresentarsi  in 
Parma  nella  prima  vera  dell'  anno  1726  .  .  . 

Parma,  Eredi  di  Paolo  Monti,  1726.     xii,  46,  [1]  p.     15^"^. 

Three  acts.  By  Francesco  Silvani,  whose  original  title  was  "La  verity  nell' 
inganno."    The  Protesta  reads,  in  part: 

"Se  quest'  opera,  che  nell'  anno  1717  fu  rappresentata  in  Vienna,  ora  viene  notabil- 
mente  variata,  ci6  si  h  per  aderire  in  parte  al  genio  de  signori  interessati,  in  parte  per 
incontrare  la  soddisfazione  del  compositore  della  musica,  ed  in  parte  ancora  per  uni- 
formarsi  al  ^sto  de  cantanti." 

Giovanni  Maria  Capello  is  mentioned  as  the  composer  of  the  music  ("di  nuova, 
studiosa  composizione").  The  alterations  of  the  text  were  by  Carlo  Innocenzio 
Frugoni  (Schatz).     Dedication,  argument,  cast,  scenario.  Schatz  1590 


OPERA   LIBRETTOS  533 

I  fratelli  rivali.  Dram  ma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  Venier  di  San  Benedetto  I'autunno  1793. 

Venezia,  Casali,  1793.     78  p.     ISh/'^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Peter  von  Winter  as  the  composer.  On  p.  [33]-43,  argument,  cast,  descriptipn,  with- 
out name  of  the  composer  of  the  music  of  Filippo  Beretti's  "Andronico  e  Ramira,  ballo 
eroico  pantomime."  Schatz  11032 

—  I  fratelli  rivali.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1795.     127  p.     W"'. 

Two  acts.  Cast  added  in  pencil.  Peter  von  Winter  is  mentioned  as  the  composer. 
German  title-page,  "Die  brueder  als  nebenbuhler,"  and  text  face  Italian. 

First  performed,  as  indicated,  October,  1795.  Schatz  11033 

—  Arien  und  gesaenge  aus  der  oper  Die  brueder  als  nebenbuhler, 
in  zwey  aufzuagen.     Die  musik  ist  von  Winter. 

Frankfurt  am  Main,  n.  puhl,  1798.     2^  p.     17'^"'. 

Translated  by  Matthaus  Stegmayer,  who  is  not  mentioned. 

First  performed  at  Frankfurt  a/M.,  National  theater,  1798.  Schatz  11034 

H  fratricida  innocente.  Drama  eroico  per  musica  da  rappresen- 
tarsi in  Bologna  nel  Teatro  Malvezzi  Fanno  MDCCVIII. 

Bologna,  Costantino  Pisarri,  n.  d.     71,  [1]  p.     16*^^. 

Three  acts.  By  Apostola  Zeno  (not  mentioned) .  Earlier  and  better-known  title  of 
the  text  is ' '  Venceelao. ' '  Argument,  scenario,  cast.  The  composer,  Giacomo  Antonio 
Perti,  is  not  mentioned.  Fehr  attributes  the  music  to  Predieri,  by  whom  Schatz 
records  no  such  opera. 

First  performed,  as  indicated,  May  19,  1708.  Schatz  7949 

La  Fredegonda.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Tron  in  S.  CascianoF  anno  1705  .  .  .     Poesia  di  Francesco  Silvani  ..  . 
Venezia,  Marino  RossetH,  1705.     72  p.     i^J'*". 

Three  acts.  Author's  dedication  dated  Venezia,  December  26,  1704,  notice  to  the 
reader  as  argument,  cast,  scenario,  and  name  of  Carlo  Francesco  Gaspaxiiu  as  the 
composer.  Schatz  3569 

Fredegunda.     [vignette]     In  einem  musicalischen  schau-spiele  auf 
dem  Hamburgischen  Schau-platze  vorgestellt  im  mertz  monath  1715. 
Hamburg,  Fridrich  Conrad  Grejiinger,  1716.      Unpaged.     18*^^. 

Five  acts.  In  his  "vorbericht"  the  author,  Johann  Ulrich  Konig,  says: 
"Die  generale  approbation,  mit  welcher  meine  letzte  opera:  L'inganno  fedele 
angenommen  worden,  hat  mich  aufgemuntert,  abermahl  ein  solches  schau-epiel  aus- 
zuarbeiten,  welches  um  so  viel  weniger  fuerchten  darf  zu  mieefallen,  weil  es  schon 
in  italiaenischer  sprache,  worinn  es  zuerst  geschrieben  worden,  bereits  den  beyfall 
aller  verstaendigen  erworben.  Wer  inzwischen  glaubt,  dass  gegenwaertige  bogen 
nichts  als  eine  blosse  ubersetzung,  wird  sich  vielleicht  zu  meinem  vortheil  betrogen 
finden,  wann  er  die  muehe  nehmen  will,  das  italiaenische  nachzuaehen  .  .  ." 

To  some  of  the  arias  the  Italian  text  has  been  added.  Reinhard  Kaiser,  the 
composer,  is  not  mentioned.  Koenig  took  his  text  from  Francesco  Silvani's  "La 
Fred^onda."  Schatz  5123 

—  Fredegunda,  in  einem  musicalischen  schau-spiele  auf  dem  Ham- 
burgischen Schau-platze  vorgestellt  im  jahr  1736. 

Hamburg,  Georg  Diedrich  Spieringlcs  wittwe,  n.  d.      Unpaged.     18^"^' 
Five  acts.     Neither  the  author,  Johann  Ulrich  Koenig,  nor  the  composer.  Rein- 
hard  Eelser,  is  mentioned.    The  Italian  text  has  been  added  to  some  of  the  ariaa. 
The  text  seems  to  the  same  aa  in  the  edition  of  1715.  Schatz  5091 


534  LTBRABY  OF   CONGBESS 

Fremore  und  Melime.  Ein  scliauspiel  mit  gesang  in  drey  akten 
von  einem  jungen  kavalier,  die  musik  von  dem  kurbayerschen  kam- 
merkompositeur  Miclil. 

Frankfurt  am    Mayn,   mit  Andreaeischen  scJiriften,   1778.     77  p. 

Text  by  H.,  graf  von  Spaur. 

First  performed  at  Mayence,  Theater  a.  d.  gr.  Bleiche,  January,  1778. 

ScHATz  6484 

Le  frenesie  d'amore.     L.  T.  of  Buini's  II  Savio  delirante. 

Les  freres  ennemis.     Tr.  of  Graun's  I  fratelli  nemici. 

Freud-  und  liebes-streitt  in  einer  operette  vorgestellt  auf  dem 
Oettingischen  Schau-Platz. 

Oettingen,  StepJian  Rolck,  1699.     4p.l.,  35  p.     19'''". 

Three  acts  with  prologue.  By  the  composer,  Conradi,  who  signs  his  dedication 
"Johann  Melchior  Counradi."    He  informs  the  reader: 

"Dieses  ist  das  erste  mahl  das  auf  dem  allhiesigen  Schau-Platz  etwas  aufgefuehret 
wird  so  den  nahmen  einer  operette  verdienen  moechte.  Zwar  ist  dieses  unser  absehen 
nimmer  mehr  gewesen  dass  diese  geringe  arbeit  noch  auf  eine  solche  weise  soUte  an 
das  licht  gegeben  werden:  Allein  ein  gnaediger  befehl  hat  verursachet,  dass  dieses 
werck'gen  noch  den  schein  einer  operette  bekouunen.  Du  darfst  dir  aber,  geneigter 
leser,  nicht  einbilden  dass  du  viel  galantes  hierinnen  antreffen  wordest,  sondem 
man  ueberreicht  dir  nichts  als  ein  pastoral,  da  zu  vor  die  Musen  sich  ueber  die  ab- 
wesenheit  unserer  Durchleuchtigsten  fuerstin  hoechstens  betrueben;  welche  aber  von 
dem  Apollo  getroestet  und  endlich  benachrichtiget  werden,  dass  dieses  theure  fuersten- 
haupt  wieder  ^esund  und  gluecklich  angekommen,  vorueber  sich  die  Musen,  schaeffer 
und  schaeffermnen,  sehr  erfreuen.  Sonsten,  wann  unsere  verse  dir  auch  nicht  das 
geringste  contentement  geben  koennen:  So  wisse,  das  selbige,  wie  auch  die  musique 
nimmermehr  vor  einen  oeffentlichen  schau-platz,  sondem  nur  die  muessige  etunden 
durch  ein  anmuthiges  exercitium  zu  vertreiben,  seyn  verfertigct  worden.  Im 
uebrigen  wirst  du,  geneigter  leser,  dich  selbsten  erinnem,  dass  wir  alle,  und  also 
auch  du  den  fehlem  unterworffen."  Schatz  2181 

Die  freundschaft  auf  der  probe.  Tr.  of  Gr^try's  L'amitie  k  I'e- 
preuve. 

Der  freybrief .     Eine  posse  mit  gesang  in  einem  akt. 

Berlin,  n.  puhl,  1788.     65  p.     16^"^. 

By  Georg  Ernst  Liiderwald,  who  is  not  mentioned. 

1)  The  music  was  partly  selected  from  Joseph  Haydn's  "La  fedelt^  premiata," 

Eartly  from  Mozart,  with  additional  music  by  the  arranger,  Frido.  Stephan  Johann 
[aria  Andreas  freiherr  von  Weber,  none  of  whom  mentioned  in  the  libretto. 
First  performed  in  a  <wo-act  version  at  Niimberg,  Nationaltheater,  December  22, 
1796;  in  its  original  one-act  version  at  Meiningen,  1789. 

2)  With  music  composed  by  the  author  under  the  pseudonym  Georg  Ernst  Lange 
in  one  act  at  Riga,  2/13  July,  1792. 

3)  With  music  composed  by  Julius  Miller,  in  one  act  at  Flensburg,  1802. 

ScHATz  4610a 

—  Der  freybrief.  Ein  singspiel  in  zwey  aufzuegen.  Die  musik  ist 
von  Haiden. 

n.  i.,  [Nuernberg?]  1797.     I4  p.     16"^. 

Schatz  4610 

Das  freyschiessen  oder  Das  gluekliche  bauemmaedchen,  eine 
operette  in  zween  aufzuegen  von  J.  A.  W. 

Goettingen,  F.  A.  Rosenhusch,  1786.     86  p.     W"^. 

By  Johann  August  Weppen.  The  composer.  Christian  I.udwig  Dieter,  is  not 
mentioned . 

First  performed  at  Stuttgart,  Herzogl.  ¥1.  Theater,  August  31, 1787 .    Schatz  2575 


OPERA    LIBRETTOS  535 

Der  fried  zwischen  Romulo  und  Tatzio.  Tr.  of  the  ballet 
L'alliance  de  Romulus  et  de  Tatius. 

Frigga,  opera  i  en  act.  I  deras  kongl.  majestaters  och  det  konql. 
husets  narvero  forsta  g&ngen  upford  af  Konql.  musicaliska  academien 
i  Stockliolm,  den  31  Maji  1787. 

Stockholm,  Konql.  Tryckeriet,  1787.     4  p.  I.,  31  p.     23'='^. 

Cast,  scenario,  and  names  of  the  atithor,  Carl  Gustav  af  Leopold,  and  the  Composer, 
Olof  Ahlstrom.  Schatz  69 

The  frolics  of  fancy.     A.  T.  of  A  match  for  a  widow. 

Den  fromme  pige.     Tr.  of  Piccinni's  La  buona  figluola. 

Die  fmehlingsfeier  in  Arkadien.  A.  T.  of  Hensel's  Die  geisterbe- 
schwoerung. 

Die  fruehlingsnacht,  eine  operette  in  einem  akte.  Von  J.  W.  A. 
Schoepfel. 

FranTcfurt  und  Leipzig,  CJiristian  Gottlieb  Hertel,  1773.     86  p.     17"^. 

Inthe"Vorrede,"  dated  Leipzig,  June  15,  1773,  the  author  calls  this  the  "eretling 
meiner  Muse,"  hopes  for  a  favorable  reception  of  it,  and  savs: 

"Die  operetten  machen  seit  einigen  jahren,  wie  in  Italien  und  Frankreich,  also 
auch  in  Deutechland,  den  hauptgegenstand  des  theaters  aus,  und  der  geschmack  an 
komoedien  und  trauerspielen  ist  dadurch  um  ein  merkliches  gefallen.  Das  weiche 
gefuehl,  welches  die  mit  gesaengen  untermischte  musik  der  oper  in  uns  hervorbringt, 
gab  vermuthlich  zu  dieser  veraenderung  anlass  ....  Weise  [!]  und  Hiller  sind  solche 
namen  [as  against  the  foreigners]  die  das  teutsche  publicum,  wenigstens  das  feinere 
xind  gesittete  publicum,  nie  ohne  achtung  ausprechen  wird  ..."       Schatz  11612 

Das  fruehstueck  auf  der  jagd,  oder  Der  neue  richter,  ein  laend- 
liches  lustspiel  mit  gesang  in  zween  aufzuegen.  Hauptsaechlich 
fuers  Schultneater  von  C.  W. 

Sorau  und  Leipzig,  Erdmann  Gotthelf  Deinzer,  1785.     63  p.     16"'^. 

By  Christian  Gotthilf  Weissflog,  who  also  composed  the  music  and  who  says,  in  his 
' '  Vorerri  nerung : ' ' 

' '  Gegenwaertige  kleine  komische  operette  ist  urspruenglich  nur  fuer  schultheater 
bestimmt  gewesen.  Ich  muss  indessen  gestehen,  dass  mir  seit  etlichen  jahren  zwar 
viele  schauspiele  bekannt  geworden,  die  sich  noch  weit  besser  fuer  schultheater 
schicken,  als  dieses;  aber  sehr  wenig  komische  opem,  die  der  Kleinen  aehrenleserin 
und  der  Friedensfeier  des  herm  Weiss  gleich  kaeme.  Aber  auch  in  diesen  fallen  die 
gesaenge  zu  unvermutend  ein;  ein  fehler,  der  fast  in  alien  komischen  opem  bemerkt 
wird. 

' '  Es  laesst  allerdings  sehr  sonderbar,  und  ist  oft  wider  alle  erwartung  des  zuschauers, 
wenn  der  akteur  oder  die  aktrise  ganz  unvermuthet  zu  singen  anfaengt,  und  noch 
dazu  das  singt,  was  eigentlich  haette  sollen  gesprochen  werden.  Ich  habe  dieeen  fasst 
allgemeinen  fehler  in  dieser  operette  zu  vermeiden  gesucht,  und  die  .gesaenge  niemals 
so  unvermuthet  anheben,  sondem  gleichsam  vorheV  erst  ankuendigen  lassen.  So 
verlangt  es  die  natur,  und  so  haben  es  sachverstaendige  auch  sehr  lange  gewuenscht 
.  .  .  Sollte  sie  beifall  finden,  so  ist  der  verleger  gesonnen,  auch  die  musik  dazu  in 
einem  voUkommenen  clavierauszug  auf  praenumeration  herauszugeben  ..." 

Schatz  10983 

Puenf  und  zwanzig  tausend  gulden.  A.  T.  of  Walter's  Im 
dunkehi  ist  nicht  gut  munkeln. 

Der  fuerst  und  sein  hofnarr.     A.  T.  of  von  Seyfried's  Orion. 


536  LIBRARY   OF   CONGRESS 

Der  fuerst   und   sein  volk.     Ein    teutsches    nationaldrama   mit 
gesaengen  in  einem  aufzuge.     Nach  einer  wahren  begebenheit.     Auf- 
gefuehrt  auf  der  Joseph  Secondaischen  Schaubuehne  in  Leipzig. 
Leipzig,  Kindel,  n,  d.     56  p.     H'^^. 

One  act.  Cast  and  notice  to  the  reader,  which  is  dated  Leipzig,  March  5,  1791, 
and  reads  in  part: 

"Die  musick  ist  zu  den  arien  und  choeren  vom  herm  von  Dittersdorf  und  Ber- 
toni.  Die  texte  eind  zwar  untergelegt;  man  glaubt  aber,  daes  wahre  kenner  diese 
wahl  nicht  misbilligen,  und  oefters  angemessener,  als  die  worte  des  originals  selbet, 
finden  werden.  Das  duett  aber  in  der  vierten  scene,  und  das  sextett  nebst  dem 
chor  in  der  neunten  scene  ist  vom  herm  Pitterlin,  Musickdirecktor  der  Jos.  Secondai- 
schen Schaubuehne,  wie  wenigstens  dem  verfaeser  duenkt,  eehr  brav  gearbeitet 
worden." 

For  author  see  next  entry.  Schatz  8204 

—  Der  fuerst  und  sein  volk.  Ein  deutsches  nationaldrama  mit 
gesaengen  in  einsm  aufzuge.     Nach  einer  wahren  begebenheit. 

n.  i.,  1794.     48  p.     16"^, 

Neither  the  author,  Georg  Carl  Claudius,  called  Franz  Ehrenberg,  is  mentioned, 
nor  the  composers,  Friedrich  August  Pitrerlin,  Dittersdorf,  and  Bertoni. 
First  performed  at  Leipzig,  Theater  am  Rannstaedter  Thore,  March  5,  1791.    . 

ScHATZ  11613 

Der  fuerst  von  Taranto.     Tr.  of  Paer's  II  principe  di  Taranto. 

La  fuga.     Commedia  per  musica  di  Giambatista  Lorenzi  P.  A.     Da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nella  estk  del  1777. 
Napoli,  Vincenzo  Mazzola-Vocola,  1777.     82  p.     15'^^. 

Three  acts.  Scenario,  cast,  name  of  Gaetano  Monti  as  the  composer,  and  notice 
to  the  reader,  who  is  informed  that  Lorenzi  had  written  the  text  in  two  acts  only,  but 
that ' '  al  rispettabile  comando  di  personnagio  assai  lumino  "  he  rewrote  it  in  three  acts. 

ScHATz  6603 

La  fuga  dell'  invidia.  Poemetto  dramatico  nel  giorno  del  gloriosis- 
simo  nome  .  .  .  dell'  imperatore  Leopoldo  I  .  .  .  L'anno  MDCCI. 
Posto  in  musica  dal  Sigr  Marc'  Antonio  Ziani  .  .  . 

[Vienna],  Susanna  Cristina,  vedova  di  Matteo  Cosmerovio,  n.  d. 
Unpaged.     16^"^. 

One  act.    Author  not  mentioned  and  imknown  to  Schatz.    Argument. 

First  performed,  as  indicated,  Nov.  15, 1701.  Schatz  11187 

The  fugitive.     L.  T.  of  Shield's  The  czar. 

The  fugitive;  or,  Happy  recess.     A  dramatic  pastoral,  in  two  acts, 
as  written  for  the  Royalty  Theatre :  By  Thomas  Shapter  .  .  . 
London,  Printed  for  the  author,  iy  John  Abraham,  n.  d.     4i  ^0  p. 

In  his  preface  the  author  tells  us  that  the  piece  was  hastily  written  for  the  Royalty 
Theatre  in  the  spring  of  1790,  accepted  and  turned  over  to  "Mr.  [John]  Moulds, 
composer,  to  adapt  to  music,"  but  owing  to  illness  the  latter  did  not  finish  the  muic 
until  about  the  close  of  the  season.  He  then  "repossessed  "  the  music,  by  permission 
of  the  managers  for  private  purposes.  The  score  "fell  into  some  other  hands  which 
rendered  a  fresh  copy  of  the  scores  necessary  to  be  taken."  The  piece  was  to  reopen 
the  new  season,  but  the  copyist  was  exasperatingly  slow:  "the  whole  was  finally 
delivered  about  the  beginning  of  September,  just  before  the  theatre  oj>ened  anew, 
and  was  getting  forward  for  rehearsal,  when,  suddenly,  the  second  season  came  to  a 
close  .  .  ."  LoNGE  207 


OPERA   LIBRETTOS  537 

II  fumo  villano.     L.  T.  of  Piccinni's  II  cavaliere  per  amore. 

Les  funerailles  de  la  Foire.     Piece  d'un  acte.     Par  Mrs.  le  S    *    *. 
&  D'Or    *     *.     Representee  sur  le  Theatre  du  Palais  Royal,  par 
ordre  de  S.  A.  Royale  Madame,  le  jeudy  6,  octobre  1718. 
Le  Theatre  de  la  foire,  Paris,  1737,  t  Hi,  pi,  [377]-410  p.     H'"^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  aire,  Belected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  "compositeur"  of  the  theatre,  are  printed 
at  the  end  of  the  volume  in  the  "Table  des  airs."    A  note  on  the  title  page  reads: 

"Cette  pij^ce  fut  faite  sur  le  bruit  qui  courut  ^  la  fin  de  la  Foire  de  S.  Laurent 
1718,  qu'il  n'y  auroit  plus  d'Opera  comique.  Et  comme  S.  A.  R.  Madame  la  voulut 
voir  repr^senter,  ou  la  fit  jouer  devant  EUe  au  Palais  royal."  ML  48. L2  III 

H  fuoco  eterno  custodito  dalle  Vestali.  Drama  musicale  per  la 
felicissima  nascita  della  sereniss.  arciduchessa  Anna  Maria,  Figlia. 
Delle  S.S.  C.C.  R.R.  M.M.  dell'  imperatore  Leopoldo,  e  della  impera- 
trice  Claudia  Felice.  Et  alle  medesime  M.  M.  consacrato.  Posto  in 
musica  dal  S?  Antonio  Draghi  .  .  .  Con  Tarie  per  li  balletti  del 
S'  Gio.  Erico  Smelzer  .  .  . 

Vienna  d' Austria,  Gio.  Christoforo  Cosmerovio,  1674-  ^  P-  ^'  (^'w^* 
front),  83  p.,  12  fold.  pi.     5^^"'. 

The  extraordinary  pi.  (size  of  the  vol.,  except  the  first,  which  is  78  x  51"™.)  were 
designed  by  Lodovico  Biunacini,  the  court-theatre  engineer,  and  engraved  by 
Matthaeus  Kiisel. 

Three  acts.  Dedication  by  the  author,  conte  Nicol5  Minato,  dated  Vienna,  October 
23,  1674,  argument,  allegoria,  scenario,  list  of  the  "machine"  and  "attioni  et  appa- 
renze,"  etc.,  and  notice  to  the  reader  in  which  Minato  commenting  on  his  difficulties 
says  "^  stato  un  impossibile  eolo  possibile  k  Cesare." 

First  performed  at  Vienna,  Hoftheater,  as  indicated,  September  1674. 

ML  50.2.F89D7 

La  furba  burlata.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  Nuovo  nell'  estk  dell'  anno  1762. 

Napoli,  Vincenzo  Mazzola-Vocola,  1762.     68  p.     14Y^' 

Three  acts.  By  Pietro  di  Napoli,  according  to  a  me.  note  on  the  title  page.  Cast 
and  notice: 

"La  musica  per  la  maggior  parte  6  del  Signor  D.  Niccola  Picciuni  .  .  .  L'aria  di 
Cannetella  ed  il  terzetto  nel  primo  atto,  sono  del  Signor  D.  Niccola  liogroscino;  e 
tutte  I'arie  senate  con  questo  segno  *  sono  del  Signor  D.  Giacomo  In  Sangnine 
detto  Monopoh  ..." 

These  starred  arias,  or  parts  of  arias  or  dialogue  are:  "Birbante  c6  creanza"  (I,  1)^ 
"Ma  chesto  soccede"  (I,  1),  "Che  sia  cortese  e  placido"  (I,  3),  "Mme  eapisse  a  ddi 
perch^"  (I,  9),  "Ch'v'^  schiaffato  ncanna"  (II,  3),  "Sospira,  ei  lamenta"  (II,  4)j 
^'E  tu  malantrino"  (II,  7),  "L'esempio  de  chesta  ved^"  (11,  8),  "E  se  dippiii  ti 
chiede"  (II,  9),  "Te  fa  i  buono  ogne  designo"  (II,  11),  ^'No  Don  Framinio  non 
truove  cchiii "  (III,  1),  "locchiiinesciuno"  (III,  2),  "rerch^  e  sicuro  pegno  "  (111,4), 
"Ave  trovato  sto  bello  coref "  (III,  7). 

First  performed  at  Naples,  Teatro  de'  Fiorentini,  fall  of  1760.  Schatz  8159 

Furberia  e  puntiglio.  Farsa  giocoso  per  musica  di  Giuseppe  Foppa 
da  rappresentarsi  nel  Teatro  Giustiniani  in  San  Mois^  I'autunno  aell' 
anno  1798. 

Venezia,  Modesto  Fenzo,  1798.     48  p.     18'='^. 

One  act.  Cast,  scenario,  and  name  of  Marcello  di  Capua  (Marcello  Bemardini)  as 
composer.  On  p.  43-48,  argument  of  "Caterina  e  Blech.  Ballo  eroico  pantomime  in 
quattro  atti  d'invenzione  ed  esecuzione  di  Giuseppe  Cajani  da  rappresentarsi  nel 
Teatro  Giustiniani  in  San  Mois^  I'anno  1798."     Cajani  also  composed  tne  music. 

First  performed  at  Venice,  as  indicated,  September  18,  1798.  Schatz  834 


538  LIBRARY   OF   CONGRESS 

Le  furberie  deluse.  Commedia  per  musica  di  Giuseppe  Palomba. 
Da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo,  per  quart'  opera 
di  questo  corrente  anno  1793. 

Napoli,  Vincenzo  Flauto,  1793.     43  p.     W^. 

Two  acts.    Cast  and  name  of  Gabriele  Prota  as  the  composer.  Schatz  8474 

I  furbi  burlati.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  la  prima  vera  di  quest'  anno  1773. 

Napoli,  1773,  n.  puhl.     70  p.     15^"^. 

Three  acts.  Author  not  mentioned.  Cast  and  name  of  Niccol6  Piccinni  as  the 
composer.  The  text  is  but  a  revamped  version  of  Pietro  di  Napoli's  "La  furba  bur- 
lata,"  composed  by  Niccol5  Piccinni,  with  exception  of  two  pieces  in  the  first  act,  by 
Nicola  Logroecino,  and  several  arias  by  Giacomo  Insanguine,  and  first  performed  at 
Naples,  Teatro  de'  Fiorentini,  fall  of  1760.  According  to  Schatz,  and  at  least  the 
libretto  with  Piccinni's  name  as  only  composer  would  appear  to  corroborate  his  claim, 
the  music  of  "I  furbi  burlati"  was  entirely  by  Piccinni,  though  perhaps  Schatz  goes 
too  far  if  he  says  "vollstandig  neu  bearbeitet."  Cametti  is  of  no  assistance  in  this 
matter.  Schatz  8127 

II  furbo  contro  al  furbo.  Commedia  per  musica  da  rappresen- 
tarsi nel  nobilissimo  Teatro  in  S.  Samuele  il  camovale  dell'  anno 
1797. 

Venezia,  Stamperia  Valvasense,  n.  d.     79  p.     17'^^. 

Two  acts.  Cast  and  name  of  the  composer,  Valentino  Fioravanti  ("musica  del 
tutta  nuova"),  to  whom  Schatz  also  attnbutes  the  text,  though  the  libretto  simply 
says:    "La  poesia  del  tutto  nuova  del  Sig.  N.  N."     Schatz  based  his  information^ 

Probably,  on  a  somewhat  altered  version  of  the  libretto  "Chi  la  fa,  chi  la  disfa,  e  chi 
imbroglia,"  Trieste,  1802,  in  which  Fiorayanti  figures  both  as  author  and  composer, 

Schatz  3131 

II  furbo  malaccorto.     L.  T.  of  Fioravanti's  L'astuta  in  amore. 

II  furbo  malaccorto.  Opera  in  musica  da  rappresentarsi  nel  Teatro 
della  citta  di  Cosenza  .  .  . 

Napoli,  Amati  Cons.,  1782.     72  p.     IS'"^. 

Three  acts.  Impresario's  dedication  (dated  1782)  and  cast.  Neither  the  author, 
Giambattista  Lorenzi,  nor  the  composer,  Paisiello,  is  mentioned. 

First  performed  at  Naples,  Teatro  Nuovo,  winter,  1767.  Schatz  7677 

Purcht  und  hoffnung,  vorspiel  mit  gesang.  In  musik  gesezt  von 
C.  D.  Stegmann. 

Hamburg,  Robe  und  Freystatzky  wittwe,  1798.     16  p.     W^. 

Author  not  mentioned,  and  unknown  to  Schatz. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  April  11,  1798. 

Schatz  10038 

Le  furie  d'Oreste.     A.  T.  of  Marescalchi's  ballet  La  morte  d'Egisto. 

II  furio  Camillo.  Drama  del  Sig.  Matteo  Noris  da  recitarsi  nel 
Teatro  Malvezzi  I'anno  1693. 

Bologna,  Giulio  Borzaghi,  1693.     83  p.     IJ^""^. 

Three  acts.  Argument,  scenario,  and  notice  to  the  reader,  referring  to  the  first 
pertormance  at  Venice  and  mentioning  Giacomo  Antonio  Perti  as  the  composer. 

First  performed,  as  indicated,  January  17, 1693;  at  Venice,  Teatro  di  San  Salvatore, 
carnival,  1692.  Schatz  7950 


OPERA    LIBRETTOS  539 

II  furio  Camillo — Continued, 

—  II  furio  Camillo.  Dramma  per  music  di  Mateo  Noris,  da  rap- 
presentarsi  in  Mantova  I'anno  MDCC  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     6  p.  I.,  60  p.     16'^^. 
Three  acts.     Dedication  by  Giacomo  Sironi,  argument,  cast,  scenario  and  substi- 
tute aria  "Trionfi  Giuliva"  in  II,  1,  for  "De  cori,  e  del'  alme."     Perti  is  not  men- 
tioned. ML  50.2.F9P3 

I  furori  di  Orlando.  Dranuna  semi-giocoso  per  musica,  da  rappre- 
sentarsi  nel  Teatro  di  Ratisbona  per  ordine  di  Sua  Altezza  Serenis- 
sima  il  principe  regnante  della  Torre  e  Tassis  .  .  . 

[Ratishona],  Stamperia  Zunckeliana,  n.  d.     8  p.  I.,  167  p.     15'^^. 

Three  acts.  German  title-page, ' '  Die  rasereyen  des  Rolands, ' '  and  text  face  Italian. 
"Touchemolin,  primo  violino  e  direttore  de  concerti  di  S*  A'*  S""*  il  principe  della 
Torre  e  Tassis,"  is  mentioned  as  the  composer.  A  long,  pretentious,  but  noteworthy, 
"Avertissement  aux  amateurs  du  spectacle,"  by  the  author,  Domenico  Friggieri, 
precedes  the  text,  which  is  a  scathing  arraignment  of  the  average  Italian  opera  libretto. 
He  says: 

"Je  n' ignore  point  ce  cjue  les  Gens  d' Esprit  et  de  bon  sens  pensent  du  m^rite 
pr^tendu  des  Operas  Comiques  Italiens.  Je  con\'iens  sincerement  avee  eux,  qu'on 
n'y  trouve  ni  conduite,  ni  int^ret,  ni  sens  commun  &c. 

"Cependant  on  ne  doit  point  supposer,  comme  a  fait  quel  q'un,  que  ce  genre  de 
Composition  soit  I'ouvrage  des  Poetes.  L'ltalie,  qui  a  toujours  produit  des  Hommes 
savants  en  toutes  sciences,  abonde  encore  aujourd'hui  en  grands  Poetes  capables  par 
leur  genie  de  donner  k  cette  partie  de  i'Art  drammatique  la  perfection,  dont  elle 
eeroit  susceptible.  Mais  ceux  ci  n'oseroient  employer  leurs  talents  a  composer  dee 
Operas  Comiques,  par  des  raisons  assez  solides,  qu'on  trouvera  dans  mon  Histoire  du 
Theatre  de  Musique  Italien  que  je  donnerai  d'ici  a  quelque  tems  au  Public.  Histoire, 
qui  ne  sera  pas  peu  divertissante,  ni  peu  instructive  pour  bien  des  Gens. 

"II  est  Bur  que  ces  Faroes,  qu'on  represente  en  Musique,  depuis  un  certain  nom- 
bre  d'annees,  et  surtout  apr&s  le  depart  de  Mr.  Goldoni  pour  la  France,  sont  des  pro- 
ductions de  certains  Rimailleurs  m^rcenaires,  qui  n'ont  preeque  aucune  connoissance 
ni  de  la  Poesie,  ni  du  Theatre,  ni  du  Monde.  II  arrive  cependant  a  quelques  uns  de 
ces  pauvres  Versificateurs  a  gages,  d'enfanter  quelque  fois,  ou  de  choisir  un  sujet 
assez  bon  et  d'imaginer  un  Plan,  sur  le  quel  ils  pourroient  travailler  de  fa^on,  a  ne 
point  m^riter  tout  a  fait  le  m^pris  des  Gens  de  Esprit;  Mais,  malheureueement  g^n6s 
dans  leur  travail,  et  contraints  par  des  Entrepreneurs  presque  tous  ignorants,  av§,re8j 
et  souvent  paillards  II  contenter  le  gout  des  Acteurs,  et  des  charmantes  Actrices,  qui 
doivent  jouer  pour  la  premiere  fois  leur  piece,  (gout,  qui  comme  on  pent  aisement  se 
le  persuader  n'est  jamais  des  plus  fins,  et  delicats)  ils  defigurent  le  sujet  heureuse- 
ment  trouve,  et  le  Plan  bien  con^u,  surchargeant  I'un,  et  I'autre  d'un  amas  de  plattes 
bouflEoneries,  de  Scenes  pastiches,  de  Dialogues  impertinente,  et  mille  autres  sottises; 
de  fa^on,  qu'ils  produisent  un  monstre,  qui  Bortant  ensuit  improprement  pare  de  tous 
les  charmes  possibles  d'une  ex^llente  Musique,  n'en  est  que  plus  meprisable,  et  cents 
fois  plus  hideux,  et  extravagant,  que  celui,  imaging  par  Horace  dans  eon  Epitre  eur 
I'Art  Poetique. 

"Une  preuve  de  ce  que  je  dis  ici,  c'est  que  ce  meme  Dramme  lyrique,  que  je 
presente  au  Public,  sous  le  titre  des  Fureurs  de  Holland,  a  6t6  donn6  il  y  a  quelques 
ann^es  par  un  de  ces  Compositeurs,  dont  je  viens  de  parler,  farci  de  mille  d^fauts, 
comme  on  pent  le  voir  dans  un  Exemplaire,  que  je  conserve.  On  ne  pouvoit  pour- 
tant  pas  appeller  sa  piece  tout  a  fait  mauvaise,  ni  m§me  mediocre;  et  la  parcoufant 
plus  d'une  fois  pour  voir  si  on  pourroit  la  produire  sur  ce  Theatre,  elle  m'a  fait  naitre 
la  resolution  de  la  refaire,  plus  tot  que  de  la  rejetter,  conservant  les  memee  Person- 
nagee,  une  grande  partie  du  Plan  imaging  par  son  premier  Auteur,  beaucoup  des  see 
id^es,  et  de  ees  Vers  tree  bons,  jusqu'  au  nombre  de  235  a  peu  pr^s. 


Satire  peu  honette  contre  la  Musique  Fran^aise:  de  telles  eottisee  n'etant  propres, 

Su'a  fomenter,  et  maintenir  cette  haine  d^raisonable,  et  ce  m^pris  r^ciproque  d'une 
fation  a  une  autre;  Effet  d(5t<5stable  des  prejug^s  enfant^s  par  la  vanity,  et  la  bStise. 
Enfin  j'ai  tant  refondu  cette  piece,  au'il  eeroit  bien  difficile  a  eon  ancien  Compositeur 
d'y  reconnoitre  une  partie  de  son  Plan,  et  dee  see  id^ee.    Je  me  flatte  hardiment  de 


540  LIBRARY   OF  CONGRESS 

I  furori  di  Orlando — Continued. 

la'voir  reudue  beaucoup  meilleure.  Du  moins  on  y  verm  RoUan4,  pae  seulement 
Fou,  mais  furieux:  et  I'on  n'y  rencontrera  point  mille  bouffoneries  indecentes,  et 
outr^es,  qui  ne  peuvent  que  faire  rire  lee  sots.  II  est  vrai  que,  iustement  psu-  cette 
raison  ma  piece  eera  trouv^e  mauvaise  par  les  soidisants  Acteure  ItalienB;  mais  je  me 
Boucie  fort  peu  des  leurs  suffrages,  auesi  bien  que  de  la  critique  de  quelques  uns  de 
leurs  partisans." 

First  performed  as  indicated,  carnival,  1777.  Schatz  10383 

Gabriella  di  Vergy,  ballet.     See  Anfossi's  La  Nitteti. 

Das  gaertner-maedchen.  Eine  komische  oper,  in  drey  aufzuegen, 
herausgegeben  von  dem  verfasser. 

Weimar,  Karl  Rudolf  Hoffmann,  1771.     6  f.  l,  124  V-     -^^'"'• 

Three  acts.  Neither  the  composer,  Ernst  Wilhelm  Wolf,  is  mentioned,  nor  the 
author,  Johann  Carl  August  Musaeus,  whose  long  preface  occupies  the  p.  1.  and  which 
reads,  in  part: 

"Ein  eigenniitziger  Akteur  von  der  Kochischen  Geeellschaft  und  ein  vorlauter 
Kimstrichter,  vertreten  bey  dieser  kleinen  thearalischen  Arbeit  die  Stelle  drin- 
gender  Freunde  und  Conner,  denen  man  nichta  abschlagen  kann:  sie  nothigen  mir 
beyde,  durch  ihren  Eifer  dieses  Stiick  der  Vergessenheit  zu  entreissen,  die  offent- 
licne  Bekanntmachung  deseelben  ab,  so  wenig  dieses  jemals  meine  Absicht  war. 
Der  erste,  der  aller  Vermuthung  nach  entweder  dem  Herm  Koch  das  Manuskript 
des  Gartnermadchens  unter  irgend  einem  Vorwand  abzuschwatzen  gemusst,  oder  aua 
den  au^eschriebenen  Rolen  das  Stiick  zusammen  geetoppelt  haben  mag,  wie  dieses 
einige  abgeschmackte  Zusiitze  und  Abandenmgen  wanrscheinlich  machen,  ist  so 
unverschiimt,  um  einen  kleinen  Gewinnet  zu  erhaschen,  diese  Operette  an  einen 
Buchdrucker  in  Berlin  zu  vertrodeln,  der  sie  ohne  mein  Vorwissen,  mit  alien  Fehlem 
der  unkorrekten  Abechrift  abgedruckt  hat.  Der  andere  versucht  seit  drey  Jahren 
an  mir  bey  aller  Gelegenheit  seine  kritischen  Krafte,  ohne  dass  er  mich  bisher  aus 
meinem  Ruhepunkte  hiltte  bewegen  konnen,  und  ohne  den  unbefugten  Herausgeber 
dieser  Operette,  hatte  er  noch  drey  Jahr  schwatzen  mc^en,  ich  hatte  kein  Wort 
dariiber  verlohren.  Ich  war  versichert,  dass  das  Publikum  bey  der  Menge  parthei- 
ischer  Richter  in  ein  unbescheidenes  Urtheil  eines  einzigen  zu  viel  Misstrauen  setzt, 
als  dass  es  sich,  ehe  es  selbst  meine  Arbeit  mit  der  Kritik  dariiber  vergleichen  konnte, 
von  ihm  soUte  iibertauben  lassen.  Aber  nun  da  durch  die  Gewinnsucht  eines  Nieder- 
trachtigen,  den  ich  in  der  Kochischen  Gesellschaft  nicht  vermuthet  hatte,  diese 
Operette  in  der  nachtheiligsten  Gestalt  offentlich  erscheinet,  diirfen  die  Fehler  des 
Berliner  Drucks  leicht  auf  meine  Rechnung  kommen,  und  dadurch  wurde  das  Urtheil 
des  Kunstrichters  allerdings  einiges  Gericht  erhalten.  Es  bleibt  mir  daher  kein 
andrer  Weg  iibrig,  als  solche  selbst  abdrucken  zu  lassen,  und  sie  dem  Publico  vor- 
zulegen.  Ich  habe  nichts  hauptsachliches  daran  venindert,  und  nur  dem  Dialog  an 
einigen  Stellen  wo  er  mir  zu  weitschichtig  und  geschwiitzig  schien,  etwas  abge- 
nommen.  EigentUch  hatte  ich  diese  Stellen  schon  nach  der  ersten  Auflfiihrung 
weggestrichen,  sie  eind  aber,  wie  ich  sehe  all  beybehalten  word  en,  vermuthlich  um 
den  Druck  mehr  anzuschwellen.  Andere  Veranderungen  habe  ich  um  deswillen 
nicht  untemommen,  weil  das  Ganze  dadurch  leicht  eine  neue  Gestalt  wiirde  bekom- 
men  haben,  und  die  Leser  ausser  Stande  eeyn  wiirden,  das  Stiick  mit  den  dariiber 
gefallten  Kritiken  zusammen  zuhalten,  und  iiber  beydes  selbst  zu  urtheilen.  In 
Ansehung  dieser  leztem  ist  fiir  die  Leser  eine  Erlauterung  nothig.  Es  scheinet,  als 
wenn  ganz  verschiedene  Kunstrichter  ihr  Urtheil  wider  mich  vereinigt  hiitten,  in 
der  That  ist  es  aber  nur  der  einzige  Christian  Heinrich  Schmid,  der  sein  holzemee 
Schwerdt  gegen  mich  geziickt  hat.  Alles  was  er  in  der  Nachricht  von  den  theatra- 
lischen  Vorstellungen  auf  der  Leipziger  Biihne,  in  der  Klotzischen  Bibliothek  wider 
das  Gartnermadchen  deklamiret,  das  hat  er  in  den  Zusatz«n  zur  Theorie  der  Poesie, 
in  seinem  Almanach  der  deutschen  Musen  und  in  dem  Parterre  wiedergekiiuet. 

"Ueber  eine  solche  theatralische  Kleinigkeit  als  eine  Operette  let,  wiirde  es 
unschicklich  seyn,  sich  weitliiuftig  vertheidigen  zu  wollen;  indessen  glaube  ich,  dass 
einige  Anmerkung  iiber  die  voreiligen  Urtheile  des  Herm  Schmid  hier  nicht  ganz 
iiberfliissig  sind.  Was  er  eigentlich  bisher  gegen  das  Gartnermadchen  erinnert  hat, 
ist  dieses,  dass  das  Siijet  aus  einem  schlechten  franzosischen  Roman  genommen,  dass 
das  ganze  Stiick  Weissische  Nachahmung  sey,  dass  dem  Herm  Weisse  viele  Verse 
abgestohlen  warem,  und  dass  ich  keine  Situation  zu  nutzen  versttinde.  Alles  iibrige 
ist  Petulanz  in  dem  Modeton  der  Klotzischen  Schule. 


OPERA   LIBRETTOS  541 

Das  gaertner-maedchen — Continued. 

"Es  ist  wahr,  die  Idee  zum  Gartnermadchen  ist  aus  dem  Franzosischen  Roman 
La  Jardiniere  de  Vincennes,  aber  mag  doch  dieser  gut  oder  echlecht  eeyn,  was  liegt 
daran? 

"...  Die  Weissische  Nachahmung  bezieht  sich  hauptsachlich  auf  die  Person  des 
Martins,  dieser  soil  bis  auf  die  kleinsten  Einialle  von  dem  Schoeser  in  der  Liebe  auf 
dem  Lande  kopirt  seyn.  Wer  soUte  denken,  dass  eine  Perucke  einen  Kunetrichter 
tauschen  und  zu  einem  falschen  Urtheile  verfuhren  konnte?  .  .  . 

"Worinne  iibrigens  die  Weissische  Nachahmung  liegen  soil,  das  weiss  ich  nicht, 
BO  viel  weiss  ich,  dass  ich  bey  der  Ausarbeitung  des  Gartnermadchens  kein  besonderes 
Muster  vor  Augen  gehabt  habe,  und  nur  der  Idee  iiberhaupt  gefolgt  bin,  zwischen 
dem  Grotesken  der  Opera  Buffa  und  dem  leeren  der  franzosischen  Operetta  das 
Mittel  zu  halten,  welches  dem  deutschen  Geschmack  angemessen  scheint.  Dasa 
mich  aber  die  komischen  Opem  des  Herm  Weise  auf  diese  Idee  gebracht  haben,  daa 
raume  ich  ganz  geme  ein  .  .  . 

"Weil  ich  aber  doch  iiberhaupt  Herr  Weisen  soil  gepliindert  habon,  so  versteht 
eich,  dass  ihm  auch  viele  Verse  im  Gartnermadchen  ganz  zugehoren,  dieser  Vorwurf 
ist  in  der  That  fiir  mich  ein  Kompliment.  Herr  Schmid  halt  also  viel  von  meinen 
yersen  flir  Weisische?     Sie  miissen  doch  so  schlecht  nicht  seyn  als  er  sie  ausschreyet." 

First  performed  at  Weimar,  Schlosstheater  in  der  Wilhelmsburg,  1769. 

SCHATZ  11079 

Der  gaertner  von  Sidon.     Tr.  of  Philidor's  Le  jardinier  de  Sidon. 
Das  galante  Europa.     Tr.  of  Graun'a  L'Europa  galante. 
Die  galanten  feste.     Tr.  of  Graun's  Le  feste  galanti. 

La  Galatea. 

{241\-275  p.  19'^^,  (Pietro  Metastasio,  Opere  drammatiche,  Ven- 
ezia,  Giuseppe  Bettinelli,  1733-S7,  v.  3.) 

Two  parts.  No  composer  mentioned.  Text  written  1722  at  Naples  for  the  Duke 
of  Monteleone.     First  composer  unknown  to  Schatz.  ML  49.A2M4 

—  La  Gralatea. 

Metastasio,  Poesie,  Parigi,  vedova  QuiRau,  1755,  t.  ix,  48  p.     16"'^. 

Two  parts.  ML  49.A2M42 

—  La  Galatea. 

pi.,  [9]-46  p.     26"™.     (Metastasio,  Opere,  t.  x,  Parigi,  vedova  Heris- 

sant,  1782.) 

Two  parts.  ML  49.A2M44 

Galatea  ed  Acide.     Pastorale,  da  rappresentarsi  nel  Nuovo  Real 
Teatro  di  Potsdam  .  .  . 
Posdamo,  C.  F.  Voss,  1748.     31  p.     16^"^. 

Three  acts.  By  Leopoldo  di  Villati,  who  ie  not  mentioned.  The  music  is  known 
to  have  been  selected  principally  from  Joh.  Ad.  Ha«se's  works.  The  Argomento  sim- 
ply says : 

".  .  .  Le  altre  parti  della  presente  pastorale  sono  episodiche,  &  ordite  solo  ad 
effetto  di  potervi  applicare,  come  si  ha  fatto  per  comando  sovrano,  I'arie  de'  migliori 
compositori  di  musica." 

It  is  not  certain  whether  or  not  music  by  Graim,  Quantz,  Nichelmann,  and  Fred- 
erick the  Great  was  used.  German  title  page,  "Galathee  lind  Alcides,"  and  text  face 
Italian. 

First  performed,  as  indicated,  July  11, 1748.  Schatz  4541 

Galathee  und  Alcides.     Tr.  of  Hasse's  Galatea  ed  Acide. 


542  LIBRARY   OF   CONGRESS 

•  Galieno.     Drama  da  rappresentarsi  ncl  famosissimo  Teatro  Grimano 
di  SS.  Gio.  e  Paolo.     L'anno  MDCLXXVI.     Di  Matteo  Noris  .  .  . 
Venetia,  Francesco  Nicolini,  1676.    front.,  72  p.     14'^^. 

Three  acts.  Author's  dedication,  dated  Venice,  December  23,  1675,  argument, 
and  Bcenario.    The  composer,  Carlo  Pallavicino,  is  not  mentioned.        Schatz  7724 

An  English  musical  entertainment,  called  Galligantus. 
London,  n.  publ,  1758.     iv,  5-2^  p.     21'^'^. 

Preface  "From  the  author  of  Jack  and  the  giant."  Supposed  to  be  taken  from 
Henry  Brooke's  "Jack  the  giant  queller."     Composer  not  recorded  by  Schatz. 

First  performed  at  London,  Hay-market,  1758  or  1759  and  at  Drury-I>ane,  April  14, 
1760,  according  to  Genest.  Lonob  318 

La  Galzeuco  ossia  Golconda  liberata  dalla  tirannide  di  Scour-Malou, 
ballet.     See  Pugnani's  Achille  in  Sciro. 

The  gamester.     Tr.  of  II  marito  giocatore  e  la  mogUe  bacchettona. 

Ganimede,  ballet.     See  Bernabei's  L'Ermione. 

Ganymed  in  Vulkans  schmiede,  ein  singspiel  in  zwey  aufzue^en, 
vom  sel.  herren  Demler  in  musik  gesetzt,  aufgefuehrt  von  den  schiilern 
der  dritten  klasse  am  Katholischen  schulhause  bey  St.  Salvator  den 
30  May,  1  und  2  Brachmonat  1797. 

Augsburg,  Joseph  Anton  Hueher,  n.  d.     [9]  p.     18^*^"^. 

At  head  of  this  title:  "Myrtil  oder  Der  gedemuetigte  stolz,  ein  lustspiel  in  drey 
aufzuegen.    Und."     Cast  and  "Vorbericht,"  in  which  we  read: 

"Die  fabel  von  Ganymed  soil  zum  beweise  dienen,  wie  schaendlich  sich  die  jugend 
verirrt,  wenn  sie  sich  dem  heiligen  joche  des  gehorsams  entzieht,  sich  ihrem  leichtsinne 
ueberlaesst  und  ihren  blinden  trieben  folget  ..." 

The  author  is  not  mentioned,  and  is  unknown  to  Schatz.  Schatz  2505 

La  gara.  Opera  dramatica  rappresentata  in  musica,  per  introdut- 
tione  di  torneo  fatto  in  Vienna  per  la  nascita  della  Serenissima 
infanta  di  Spagna  Donna  Margarita  Maria  d'Austria,  dedicata  a  .  .  . 
marchese  di  Castel  Rodri  ...  da  Alberto  Vimina. 

Vienna  d'Austria,  Matteo  Riccio,  1652.  4  pi.  (folded,  52  by  38'''^), 
61  p.     30^"^. 

The  plates  bear  the  legend  "  Joa-'  Bumacinus  pichtor  et  architectus.  Invenchtor. 
Seb??  lenet.  Sculpt."  rrologue  and  three  acts,  with  an  "intermedio"  before  act 
second,  an  intermedio  and  the  Torneo  before  act  third.  Brief  descriptions  precede 
each  act,  etc.,  and  to  that  of  the  Torneo  the  names  of  the  participating  nobility  are 
added.  From  the  tone  of  the  descriptions,  which  record  also  the  impression  of  the 
spectacle  made,  it  appears  that  this  volume  was  issued  after  the  performances.  The 
text  is  preceded  by  the  argument  and  Alberto  Vimina's  dedication  as  author,  dated 
Vienna,  January  7,  1652.  The  composer  is  not  mentioned  by  von  Weilen.  The  work 
is  not  recorded  by  Schatz.  ML  50.2.G2 

La  gara.  Componimento  drammatico,  scritto  dall'  autore  in 
Vienna,  e  posto  in  musica  dal  Reutter,  l'anno  1755  .  .  .  ed  eseguito 
negl'  interni  appartamenti  della  Regia  imperial  corte  ...  in  occa- 
sione  del  felicissimo  parto  dell'  imperatrice  regina,  in  cui  diede  alia 
luce  I'Altezza  Reale  dell'  arciduchessa  Maria-Antonia,  poi  Delfina, 
indi  regina  di  Francia. 

{179\-188  p.  26'^^.  (Metastasio,  Opere,  t.  xi,  Parigi,  vedova 
Eerissant,  1782.) 

ML  49.A2M44 

La  gara  degli  atleti.     See  Cafaro's  II  natal  d'Apollo. 


OPERA   LIBRETTOS  543 

La  gara  degli  dei,  festa  musicale  rappresentata  in  uno  de'  Reali 

fiardini  di  Dresda  per  servire  d'introduzione  agli  spettacoli  destinati 
a  S.  M.  a  solemiizare  le  nozze  de'  Serenissime  principi  Federigo 
Augusto  .  .  .  e  Maria,  Gioseffa,  arciduchessa  d'Austria.  Musica  del 
Sig.  Gio.  Dawide  Heinichen  .  .  . 

Dresda,  G.  C.  Stossel,  n.  d.      Unpaged.     Jf^^^™. 

Author  unknown  to  Schatz.  French  title  page,  "L'^mulationparmylesdivinitez," 
and  text  (in  prose)  face  Italian. 

First  performed,  as  indicated,  September  10,  1719.  Schatz  4705 

La  gara  de  gli  elementi,  per  riverir  le  nozze  de'  serenissimi  Ranuccio 
II.  duca  di  Parma  e  Margarita,  principessa  di  Savoia.     Introduzione 
al  combattimento  a  cavaUo  in  Piazza  intimatosi  neUo  Scherzo  del 
Giardino.     Componimento  del  conte  Francesco  Berni. 
Parma,  Mario  Vigna,  1660.     23  p.     15'^'^. 

On  p.  4,  "II  Signer  Carlo  Pasetti  invent6  la  struttura  del  monte,  e  de  carri,  e'l 
Signer  Benedetto  Ferrari  compose  la  musica."  Schatz  3070 

La  gara  per  la  gloria.  Divertimento  teatrale  per  musica  da  rap- 
presentarsi  nel  Teatro  di  S.  Mose  gl'ultimi  giomi  del  carnovale  1744. 

Venezia,  n.  puhl,  17 U-     ^^  V-     15^"^- 

Three  parts.  Neither  the  author,  Bartolomeo  Vittuxi,  is  mentioned,  nor  the  com- 
poser, Gaetano  Latilla 

First  performed  in  February,  1744,  as  indicated.  Schatz  5459 

La  gara  tra  la  commedia  e  la  musica.     Introduzione. 

Carlo  Goldini,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  [5]-  lip. 
ISY"^. 

Not  recorded  by  Schatz.  PQ 

Le  gare  degli  aznanti.     Dramma  giocoso  per  musica  ad  uso  del 
Real  Teatro  di  Colorno  nelF  autunno  dell'  anno  MDCCLXXIII. 
Parma,  Dalla  Reale  Stamperia,  n.  d.     58  p.     21  <'™. 

Three  acts.  Luigi  Bernardo  Salvoni  is  mentioned  as  author,  an4  Gian-Francesco 
Fortunati  as  composer.     ( "  La  musica  tutta  nuova . " ) 

First  performed  at  Parma,  Teatro  Ducale,  Dec.  26,  1772.  Schatz  3310 

Le  gare  dell'  inganno  e  dell'  amore,  drama  da  recitarsi  nel  nobilis- 
simo  Theatro  Zane  di  S.  Mois^,  I'anno  1689  .  .  . 

Venetia,  Zamaria  Rossi,  1689.     5  p.  I.,  48  p.     15"^. 

Three  acts.  By  Paolo  Emilio  Badi,  who  is  not  mentioned.  Scenario,  argument, 
impresario's  dedication,  and  notice  to  the  reader,  which  evidently  refers  to  some  local 
event  involving  the  Teatro  di  S.  Moise  and  the  reputation  of  Venice's  fair  treatment  of 
strangers.  He  says  that  it  fell  to  his  lot  to  sustain  this  theatre  "sbattuto  non  dalla 
disgratia,  ma  dalla  malignity,"  and  that  he  selected  this  "operina,"  "composta  in  due 
giri  di  sole  e  posta  in  musica  in  tre  notti,"  by  Teofilo  Orgiani)  who  has  united  "la 
maestria  romana  con  le  bizzarie  teatrali  di  Venetia."  Schatz  7298 

Le  gare  di  politica  e  d'amore.  Drama  per  musica  da  rappresen- 
tarsi  nel  nuovo  famoso  Teatro  Grimani  a  San  Samuele  I'anno 
MDCCXI  ... 

Venezia,  Marino  Rossetti,  1711.     60  p.     I4Y™' 

Three  acts.  Publisher's  dedication,  dated  Venice,  January  28,  1711,  argument, 
scenario,  and  notice  to  the  reader,  in  which  we  read: 

"H6  scelto  il  drama  presente,  che  per  eeser  state,  sol  I'anno  Bcoreo,  degno  diverti- 
mento d'un  gran  principe  d' Italia,  giova  crederlo  eguale  anche  esposto  al  tuo  benigno 
aggradimen to  sii  le  Venete  scene." 

While  this  refers  to  the  text  by  Antonio  Salvi  (not  mentioned),  with  its  original 
title,  "Berenice,"  it  does  not  mean  that  the  music  of  Giovanni  Maria  Ruggeri  (not 
mentioned)  had  been  previously  performed.  Schatz  9137 


544  LIBRARY  OF   CONGRESS 

Le   gare   generose.     Drama   per   musica.     Da   rappresentarsi   nel 
Teatro  Tron  di  S.  Cassiano.     L  autunno  dell'  anno  1712  .  .  . 
Venezia,  Marino  Rossetti,  1702  [/].     60  p.     /^*"«. 

Three  acts.  Dedication,  argument,  name  of  the  compoeer,  Tommaso  Albinoni, 
and  cast.  In  the  dedication  count  Antonio  Zaniboni  calls  this  "la  mia  prima  poetica 
fatica." 

The  date  of  publication  is  a  misprint  for  1712.  Schatz  94 

Le  gare  generose.     Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  per  prim*  opera  in  quest'  anno  1786, 
Napoli,  n.  puhl,  1786.     58  p.     W^. 

Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Cast,  ailment,  and 
name  of  PaisieUo  as  the  composer.  Schatz  7679 

—  Gli  schiavi  per  amore.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  S.  il  Signor  principe  di  Carignano  nell' 
autunno  dell'  anno  1791. 

Torino,  Onorato  Derossi,  n.  d.     iv,  73  p.     15'^"^. 

Two  acts.  Palomba's  "Le  gare  generose,"  text  with  modifications.  Cast, 
scenario,  and  name  of  PaisieUo  as  the  composer.  On  p.  70-73,  incorrectly  num- 
bered as  60-63,  cast  and  argument  of  Paohno  Franchi's  "Inkle  e  lariko,  ballo 
tragico-pantomimo  in  tre  atti."  Neither  of  this  nor  of  hia  "II  calzettaro  ossia  Tan  to 
va  la  gatta  al  lardo  che  ci  lascia  lo  zampino,  ballo  comico  pantomime  "  is  the  composer 
of  the  music  mentioned.  Schatz. 7700 

—  Le  gare  generose  ossia  Gli  schiavi  per  amore.  Dramma  giocoso 
per  musica  da  rappresentarsi  in  Parma  nel  R.  D.  Teatro  di  Corte  il 
camevale  dell'  anno  MDCCXCVI  .  .  . 

Parma,  Stamperia  Carmignani,  n.  d.     [viii],  4^  p.     17^"™. 

Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned .  Impresario's  dedication, 
cast,  scenario,  and  name  of  PaisieUo  as  the  composer.  With  the  opera  were  per- 
formed Paolino  Franchi's  ballets,  "II  bottaro  di  Svezia"  and  "La  pianeUa  perduta." 

Schatz  7626 

—  Le  gare  generose.  Dramma  giocoso  per  musica,  da  rappresen- 
tarsi nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1792.     I4I  p.     15^"^. 

Two  acts.    Text  by  Palomba,  who  is  not  mentioned.    German  title  page,  "Der 
edle  wettstreit,"  and  text  face  Italian.     PaisieUo  is  mentioned  as  the  composer. 
First  performed,  as  indicated,  Octobers,  1793.  Schatz  7627 

—  Gesaenge  aus  dem  sin^spiele :  Die  beyden  fluechtlinge,  in  zwey 
aufzuegen,  nacli  dem  italiaenischen.     Die  musik  von  PaisieUo. 

Hamburg,  Johann  Matthias  Michaelsen,  1791.     36  p.     16*^. 

By  Heinrich  Gottlieb  Schmieder. 

First  performed  at  Hamburg.  Theater  b.  Gansemarkt,  June  30, 1791;  at  Mayence; 
Nationaltheater,  1789.  Schatz  7628 

II  Gastaldo  burlato,  ballet.     See  Andreozzi's  Teodelinda. 

CJastfreiheit  und  armut.     A.  T.  of  Kaffka's  Philemon  und  Baucis. 

Das  gastmahl.     Tr.  of  Cimarosa's  II  convito. 

Die  gastwirtMnn.     Tr.  of  Salieri's  La  locandiera. 

Das  gaukelspiel.     A.  T.  of  Dittersdorf's  Hokus  Pokus. 

Die  geadelte  baeuerinn.     Tr.  of  Sacchini's  La  contadina  in  corte. 


OPERA  LIBRETTOS  545 

Der  geadelte  landmann.  A.  T.  of  Paisiello's  Das  witzige  land- 
maedchen. 

Die  gecroente  tapferkeit  des  Heraclius.  A.  T.  of  Keiser's  Die 
wiederhergestellte  ruh. 

Der  gedemiithigte  Phaeton.  O.  T.  of  Keiser's  Der  siegende 
Phaeton. 

Der  gedemuethigte  stolz.     A.  T.  of  Ditterdorf's  Temo  secco. 

Der  gedultige  Socrates,  in  einem  musicalischen  lust-spiele  auf  dem 
Hamburgischen  Schau-platze  vorgestellet,  1721. 
Hamhurg,  Caspar  JaJchel,  n.  d.      Unpaged.     18'^'"K 

Three  acts.  Neither  the  author  of  the  Italian  original,  nor  the  translator,  Joh. 
Ulrich  Koenig,  nor  the  composer,  Georg  Philipp  Telemann,  is  mentioned.  To 
many  of  the  arias  the  Italian  text  has  been  added  to  the  German,  which  is  based  on 
Christian  Flemmer's  comedy  "Die  zwei  weiber  oder  Die  geduld  des  Socrates,"  per- 
formed 1680  at  Brunswick,  after  conte  Niccol6  Minato's  "La  patienza  di  Socrate  con 
due  mogli."  Schatz  10261 

Die  gefangene.     Tr.  of  Piccinni's  La  schiava. 

Der  gefoppte  braeutigam,  eine  komische  oper  in  zwey  aufzuegen. 
Die  musik  ist  vom  herrn  Ditters,  edlen  von  Dittersdorf. 

Hall  am  Kocher,  Schmeisser,  n.  d.     16  p.     16Y^- 

Originally  in  Italian  as  "Lo  sposo  burlato."  At  least  the  German  version  by  the 
composer  himself. 

First  performed  in  Italian  at  the  castle  Johanneeberg  in  Silesia,  1773 ;  in  German; 
at  Vienna,  Kamthnerthor  Theater,  September,  1783,  or  at  Breslau,  Wasersches 
Theater,  in  the  same  year.  Schatz  2590 

—  Gesaenge  aus  dem  Gefoppten  braeutigam,  komischen  sing- 
spiele  in  zwey  aufzuegen  von  Ditterodorf  [!] 

n.  i.,  n.  d.     23  p.     16'^'^. 

Schatz  2590A     . 

Die  geheime  liebe  der  Diana.  A.  T.  of  Keiser's  Die  entdeckte 
verstellung. 

Die  geheimen  begebenheiten  Henrico  IV,  koenigs  von  Casti- 
lien  und  Leon,  oder:  Die  getheilte  liebe.  In  einer  opera  auff  dem 
grossen  Hamburgischen  Scnau-platz  vorgestellet  im  jahr  1711.  im 
monath  Februarius. 

Hamburg,  Friderich  Conrad  Grreflinger,  n.  d.      Unpaged.     18^'^. 

Five  acts  by  Johann  Joachim  Hoe,  who  is  not  mentioned.  "  Vor-Bericht "  and 
dedication,  the  latter  signed  by  Johann  Mattheson,  who  composed  the  opera. 
Many  of  the  arias  have  both  Italian  and  German  text.  Schatz  6100 

Der  geist  des  widerspruchs.  Tr.  of  Schuster's  Lo  spirito  di  con- 
tradizione. 

.  .  .  Die  geisterbeschwoerung,  eine  operette. — ^Daphne  oder  Die 
fruehlingsfeier  in  Arkadien,  eine  oper. 

Hirschherg,  Wolfgang  PittschiUer  und  Tcomp.,  1799.  (Singspiele  von 
Johann  Daniel  Hensel,  Erstes  haendchen)     76,  77-116  p.     17*^^. 

Both  are  in  three  acts.  Hensel  says  in  prefatory  note  dated  Hirschberg,  February, 
1799: 

"Die  haeufigen,  und  nach  meiner  ueberzeugung  gegruendeten  kls^en,  daas 
meistens  an  den  texten  unsrer  neuem  operetten  gar  nichts  eey,  bewogen  mich,  einen 

72251°— VOL  1—14 35 


546  LIBRARY   OF   CONGRESS 

Die  geisterbeschwoerung — Continued. 

vereuch  zu  machen,  ob  ich  nicht  eine  operetta  verfertigen  koennte,  die,  ohne  fade 
zu  ee>Ti,  scherzhaft  unterhielte,  einen  moralischen  zweck  ausfuehrte,  und,  wenn 
gleich  keine  meisteretuecke  von  poesien,  (die  in  der  operette  in  der  regel  zu  wenig 
geschaetzt  werden)  doch  verse  enthielte,  die  eich  musikalisch  gut  bearbeiten  lieesen. 

' '  Dies  geschah  zu  einer  zeit,  da  das  geisterzitiren  in  einer  gewissen  gegend  mode 
war,  und  ich  verfertigte  die  Geisterbeschwoerung,  wo  jenes  unwesen  hier  persiflirt 
werden  sollte.  Da  sicn  aber  bis  jetzt  die  zeiten  geaendert  haben:  so  aenderte  ich 
auch  mein  stueck.  Die  anspielungen  fielen  weg,  und  es  blieb  bios  die  poese  .  .  . 
Die  komposition  dazu,  auch  von  mir  selbet,  giebt  den  saengem  hinlaenglich  gelegen- 
heit  eich  zu  zeigen  .  .  . 

"Daphne  entetand  auf  folgende  weise  echon  friiher.  Herr  steuerrath  Weiese  hatte 
am  ende  seines  Kinderfreundee  den  hauptgegenstand  des  gegenwaertigen  stuecks,  als 
operette  fuer  die  heranwachsende  jugend  ausgefuehrt.  Ich  fand  nun,  dass  derselbe 
gegenstand,  mit  einiger  abaenderung  und  den  noethigen  zusaetzen,  zu  einem  groeeen 
eingspiele  (oper)  anzuwenden  sey,  wenn  man  nur  nicht  praechtige  opemdekorationen 
forderte,  sondem  sich  einmal  wieder  in  die  laendlich  griechieche  schaeferwelt  ver- 
setzen  wollte.  Ich  vereuchte  also  die  umaenderung,  und  da  ich  laengst  schon  den 
dichter  und  komponisten,  die  eich  so  selten  recht  in  die  haende  arbeiten,  einmal  in 
einer  person  zu  vereinigen  gewuenscht  hatte,  setzte  ich  ee  auch  in  musik.  Daa 
etueck  ward  als  konzert  aufgefuehrt  und  hatte  das  glueck  in  beider  ruecksicht  von 
kennem  und  liebhabem  alien  beifall  zu  erhalten.  Ich  feilte  nachher  gelegentlich 
an  text  und  musik  ..." 

Schatz  records  no  etage  performances.  Schatz  4635 

Second  copy.    ML  49.A2H3 

Die  geister-burg.  Ein  singspiel  in  2  aufzuegen  von  F.  Hochkirch. 
Die  musik  ist  von  Ritter. 

n.  i.,  1799.     24  p.     W"^. 

First  performed  at  Aurich,  1799.  Schatz  8823 

Die  geisterinsel.  Ein  singspiel  in  vier  handlungen^  nach  Shake- 
spear,  Gotter  und  J.  W.  D.  [Joh.  Wilh.  Doring],  umgearbeitet  von 
Johann  Daniel  Hensel. 

HirscJiberg,  Wolfgang  PittschiUer  und  Komp.,  1799.     6  p.  I.,  135  p. 

17^^. 

In  his  intelligent  preface,  dated  Hirschberg,  January,  1799,  Hensel  gives  his  reasons 
for  having  made  an  effort  to  improve  on  Gotter'e  "Geisterinsel."  After  character- 
izing Gotter's  talents,  characteristics,  and  methods,  he  makes  this  remark: 

' '  Ueberhaupt  scheint  Gotter  so  wenig  als  die  meisten  singdichter  gehoerige  kennt- 
nies  der  musik  und  komposition  gehabt  zu  haben;  wenn  er  auch  vielleicht  ein  guter 
musikus  geheissen  haben  mag.  Es  fehlt  auch  noch  ein  eignes  werk  ueber  die  musi- 
kalische  dichtkunst,  welches  aber  niemand  als  ein  dichter  und  komponist  zugleich 
echreiben  koennte,  in  welchem  dann  unsere  dichter  so  manches  paradoxon  finden 
moechten." 

After  a  few  more  remarks  on  this  subject  and  on  hie  version  of  the  Geisterinsel  in 
particular,  he  says: 

"Sobald  ich  musse  haben  werde,  denke  ich  diese  oper  auch  zu  komponiren,  und 
villeicht  ist  schon  ein  theil  davon  fertig  wenn  der  text  gedruckt  erscheint.  Was  ich 
machen  werde,  kann  ich  freilich  nicht  im  voraus  sagen;  aber  die  erfahrung  hat  mich 

felehrt,  dass  eine  edle  simplicitaet  mit  etwas  arbeit,  in  gehoeriger  abwecnslung  mit 
armoniecher  fuelle,  so  viel  und  eigentlich  mehr  wirkt,  als  alle  kuensteleien  und 
jetzt  so  sehr  gesuchten  ueberladungen,  zu  denen  das  publikum  durch  Mozart  und 
deesen  nachahmer  so  sehr  verwoehnt  ist,  dass  es  nur  immer  die  ohren  voll  haben 
will  ..." 

Schatz  records  no  performances.  Schatz  4637 

Second  copy.    ML  49.A2H3 

Arien  und  gesaenge  aiis  dem  singspiele  Die  geisterinsel  in  drey 
akten.     Komponirt  vom  herrn  kapellmeister  Reichardt. 

Berlin,  n.  puhl,  1798.     64  p.     15^''. 

Three  acts.    By  Friedrich  Wilhelm  Gotter,  who  is  not  mentioned.    Cast. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  July  6,  1798.  Schatz  8641 


OPERA   LIBRETTOS  547 

Gesaenge  aus  der  oper:    Die  geisterinsel  in  drei  aufzuegen  von 
Gotter.     In  musik  gesetzt  von  J.  R.  Zutosteeg. 
Altona,  Eckstorff  junior,  n.  d.     32  p.     15Y'^- 
First  performed  at  Stuttgart,  Hoftheate  r,  November  7, 1798.  Schatz  11294 

Der  geizige.     Tr.  of  Anfossi's  L'avaro. 

Die  geizigen  in  der  falle.     Tr.  of  Schuster's  Gli  avari  in  trappola. 

Die  gekroente  treue.     A.  T.  of  Reiser's  La  fedeltk  coronata. 

Das  gelaechter  des  Democritus.     Tr.  of  Pistocchi's  Le  risa  di 
Democrito. 

G«ld  ist  die  loosung.     Tr.  of  Paer's  L'oro  fa  tutto. 

La  Gelidaura.     Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  di  S.  Giovanni  e  Paolo,  r anno  1692  .  .  . 
Venetia,  Girolamo  Alhizd,  1692.     67  p.     15^"^. 

Three  acts.  Dedication  by  Lovigi  Carenpi,  dated  Venice,  January  12,  1692,  argu- 
ment, scenario,  and  notice  to  the  reader,  in  which  "Francesco  Quesnda,  maestro 
della  Capella  Reale  di  Sicilia  "  is  mentioned  as  the  composer,  and  the  text  attributed 
to  the  pen  " di  un  cavalier "  since  deceased,  but  reduced  "all'  uso  di  quetsta  citt^." 
The  name  of  the  author  is  unknown  to  Schatz.  Schatz  8525 

La  gelosa  di  se  stessa.     A.  T.  of  Rust's  L'amor  bizzaro. 

La  gelosia.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  S.  Samuele  I'autunno  dell'  anno  1765. 
Venezia,  Giorgio  Fossati,  n.  d.     4^  p.     17'^'^. 

Three  acts.  Impresario's  dedication,  cast,  name  of  Nicola  Logfroscino  as  com- 
poser ("musica  nuova"),  and  note,  "La  poesia  h  nuova  di  un'  autore  bolognese," 
whose  name  is  not  known  to  Schatz.  Schatz  5671 

La  gelosia,  ballet.     See  Mortellari's  Troja  distnitta. 

Gelosia  e  pazzia  sono  sorelle.     Dramma  giocoso  per  musica  da 
rappresentarsi  in  Firenze  I'autunno  deU'   anno   1784.     Nel  Nuovo 
Regio  Teatro  degl'  Intrepid!  detto  La  Palla  a  Corda  .  .  . 
Firenze,  Stamperia  Bonducdana,  178^.     56  p.     W'^^. 

Two  acts.  Cast  and  note:  "La  musica  h  di  diversi  celebri  autori."  Author  not 
mentioned,  and  unknown  to  Schatz.  With  the  opera  was  performed  the  ballet,  "Le 
tuteur  trompe  o  sia  II  maestro  di  musica."  Schatz  11335 

Gelosia  per  gelosia,  ballet.     See  Giordani's  Fernando  nel  Messico. 

Gelosia  per  gelosia.     O.  T.  of  Lorenzi's  text  Le  faUaci  apparenze. 

Gelosia  per  gelosia,  ballet.     See  Paisiello's  II  re  Teodoro  in  Venezia. 

Le   gelosie   d'Annetta   e   Fiorillo,    ballet.     See  Bosi's   La   figlia 
obbediente. 

Le  gelosie  di  Diana  e  di  Marte.     A.  T.  of  Venere  con  Adone. 

Le  gelosie  di  Pippo.     L.  A.  T.  of  Bianchi's  La  villanella  rapita. 


548  LIBRA.RY   OF   CONGRESS 

Le  gelosie  fortunate.  Dramma  giocoso  per  musica  di  Filippo 
Livigni  da  rappresentarsi  neLnobile  Teatro  di  San  Samuele  rautimno 
deir  anno  1786. 

Veneda,  Modesto  Fmzo,  1786.     80  p.     18*^. 

Two  acts.  Cast,  scenario,  and  name  of  Paequale  Anf  ossi,  as  composer.  On  p.  45 
the  argument  of  the  "ballo  prime  II  Gonzalvo,  ballo  tragico  pantomime  .  .  .  [by] 
Antonio  Muzzarelli,"  who  was  also  responsible  for  the  second  ballet,  "La  cappriciosa 
umiliata."    The  composers  of  the  music  are  not  mentioned.  Schatz  269 

Le  gelosie  villane.  Dramma  giocoso  per  musica  da  rappresentarsi  in 
Casale  nel  Teatro  Sacchi  nell'  autunno  dell'  anno  1779  .  .  . 
Casale,  Giovanni  Meardi,  n.  d.  4  V-  ^-i  ^^  V-  HV^- 
Two  acts.  By  Tommaso  Grandi.  Impresario's  dedication  dated  Casale,  Oct.  10, 
1779,  cast,  scenario,  and  name  of  composer,  Pasquale  Anfossi,  but  not  of  librettist. 
The  titles  of  the  ballets  were  "  11  Francese  in  Londra  "  and  "  Le  serenate  notume," 
both  by  Regina.     Composer  of  the  music  not  mentioned.  Schatz  280 

Le  gelosie  villane.  Dramma  giocoso  per  musica  del  Signore  Tom- 
maso Grandi  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di 
Sassonia  I'anno  1778. 

Dresda,  Stamperia  elettorale,  n.  d.     133  p.     W^. 

Three  acts.  Scenario  and  name  of  Giuseppe  Sarti  as  the  composer.  The  text  is 
somewhat  different  from  the  Naples  version,  where  I,  3,  opens  with  "A  chi  tocca  di 
noi?"  instead  of  "Tardi  fe  pur,  neho  ancor  trovato."  German  title-page,  "Die  eyfer- 
Bucht  der  bauem,"  and  text  face  Italian. 

First  performed,  as  indicated,  January  14,  1778;  at  Venice,  Teatro  di  S.  Samuele, 
November.  1776.  Schatz  9436 

—  Le  gelosie  villane.  Cantata  da  rappresentarsi  nel  Teatro  Nuovo 
in  quest'  anno  1784. 

Napoli,  n.  puhl,  1784.     52  p.     15'="'. 

Three  acts.  By  Tommaso  Grandi,  who  is  not  mentioned.  Cast  and  name  of  Giu- 
seppe Sarti  as  the  composer.  Schatz  94^5 

—  Le  gelosie  vilane.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi ne'  Piccoli  Teatri  di  S.  M.  il  re  di  Prussia.  Messo  in  musica  dal 
Sign.  Sarti. 

Berlino,  Haude  e  Spener,  1791.     103  p.     15""^. 

Three  acta.  Noticeably  different  from  both  Naples  and  Dresden,  I,  3,  beginning, 
for  instance,  in  Berlin,  "Misera  rondizion  del  nostro  sesso."  German  title-page, 
"  Eifersucht  auf  dem  lande,"  and  text  face  Italian. 

First  performed,  as  indicated,  October  5, 1791;  at  Potsdam,  Schloss  theater,  March 
29,  1783.  Schatz  9437 

Le  gelosie  villane  in  Montefosco,  ballet.  See  Martin  y  Soler's 
Vologeso. 

II  geloso.  Dramma  giocoso  per  musica  da  rappresentarsi  in  Lisbona 
nel  Teatro  della  rua  dos  Condes  il  carnovale  dell'  anno  1775. 

[Lishona],  Stamperia  reale,  n.  d.     94  p.     16'='^. 

Three  acts.  Dedicatory  sonnet,  cast,  scenario,  and  names  of  Girolamo  Tonioli  as 
author,  of  Alberto  Giuseppe  Gomes  da  Silva  as  composer.  Schatz  9880 

II  geloso  in  cimento.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  di  San  Samuele  nell'  autunno 
dell  anno  1774.     [vignette] 

Venezia,  Antonio  Graziosi,  1774-     64  P-     17"™. 

Three  acts.    Cast,  scenario,  and  name  of  Pasquale  Anfossi  as  composer. 

First  performed  at  Vienna,  Burgtheater,  May  25,  1774.  Schatz  236 


OPERA   LIBRETTOS  549 

H  geloso  in  cimento — Continued. 

—  Die  eifersucht  auf  der  probe.     Eine  operette  in  drey  aufziigen. 

Nach  dem  Geloso  in  cipiento  von  Pasqual  Anfossi. 

Gera,  Heinrich  Gottlieb  Rothe,  1791.     80  p.     16^"^. 

Three  acts.     By  Johann  Joachim  Eschenbur^,  who  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  January  12,  1781. 

SCHATZ  237 

II  geloso  in  cimento,  ballet.     See  Bianchi's  Le  villanelle  astute. 

II  geloso  in  cimento,  ballet.  See  Ferd.  Rutini's  II  matrimonio  per 
industria. 

H  geloso  schemito.  Intermezzo  per  musica  da  rappresentarsi  nel 
Teatro  Giustinian  di  S.  Moise.     L'autunno  dell'  anno  1746. 

Venezia,  Modesto  Fenzo,  1746.     16  p.     15'^^. 

Three  parts.  Neither  Pergolesi,  the  composer,  nor  the  author  is  mentioned .  The 
latter  is  unknown  to  Schatz. 

First  performed  at  Naples,  Teatro  di  S.  Bartolomeo,  1731  (Schatz).    Schatz  7905 

II  geloso  senza  rivale,  ballet.     See  P.  Guglielmi's  L'impresa  d'opera. 

La  gemma  Ceraunia  d'TJlissipone  hora  Lisbona.  Drama 
musicale  per  li  felicissimi  sponsali  della  S.  R.  Maesta  di  D.  Pietro  re 
di  Portogallo,  con  la  Serenissima  Maria  Sophia  prencipessa  elettorale 
palatina.  Eshibito,  per  coramando  del  Serenissimo  Filippo  Guglielmo 
elettore  palatino.  NeUa  sua  elettorale  residenza  di  Heidelberga  .  .  . 
Heydelherga,  Michaele  Franz,  1687.     9  p.  I.,  161  p.     SO'^'^. 

Three  acts.  Dedication  by  the  author,  conte  Nicol6  Minato,  argument^  scenario. 
The  composer,  Sebastiano  Moratelli,  is  not  mentioned.  German  half-title,  "Das 
edelgestein  Ceraunia  von  Uli8sij)one  jetzo  Ijisbona,"  title-page,  "Das  kleinod  Ceraimia 
von  Ulissipone  jetzo  genannt  Lisbona  .  .  ."  and  text  face  Italian. 

First  performed,  as  indicated,  July  1,  1687.  ML  50.2. G25     j 

•^Le  generose  gare  tra  Cesare  e  Pompeo.  Drama  per  musica  da 
rappresentarsi  nel  famoso  rinovato  Teatro  Vendramino  di  S.  Salva- 
tore  I'anno  1686  ,  .  . 

Venetia,  Francesco  NicoUni,  1686.     71,  [1]  p.     13^'"'. 
Three  acts.     By  Rinaldo  Cialli,  who  signs  the  dedication.     Notice  to  the  reader, 
with  name  of  Domenico  GabrieU  as  the  composer,  argument,  and  scenario. 

Schatz  3403 

La  generosita  d'Alessandro  ossia  Apelle  e  Campaspe,  ballet.  See 
Zingarelli's  II  Pirro. 

La  generosita  di  Tiberio.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassiano  I'autuno  dell'  anno  1729  .  .  . 

Venezia,  Carlo  Buonarrigo,  1729.     58,  [1]  p.     15'^. 

Three  acts.  By  conte  Niccol6  Minato,  who  is  not  mentioned.  Publisher's  dedica- 
tion, argument,  cast,  scenario,  and  names  of  Santo  Lapis  as  composer  of  acts  I-II,  of 
Bortolo  Cordaus  of  act  III.  Minato's  text  was  originally  called  "La  prosperity  di 
Elio  Sejano."  Schatz  5431 

La  generosita  politica.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  San  Samuele  nella  fiera  deU'  Asccnsionc  dell' 
anno  1736  .  .  . 

Venezia,  Marino  Rossetti,  1736.     46  p.     16'^. 

Three  acts.  By  Domenico  Lalli  &  Carlo  Goldoni,  according  to  Schatz,  but  by  Gol- 
doni  alone  according  to  Wiel.    The  text  is  the  same  as  that  of  Goldoni 's  ' '  Pisistrato  " 


550  LIBRARY   OF   CONGRESS 

La  generosita  politica — Continued. 

but  with  arias  like  the  substitute  for  I,  9  "Chi  mai  saper  desia"  which  are  not  by 
Goldini.  Domenico  Lalli's  dedication,  argument,  cast,  scenario,  and  name  of  Gio- 
vanni Maria  Maxchi  as  the  composer.  Schatz  5936 

II  generoso  perdono,  ballet.     See  Anfossi's  La  maga  Circe. 

II  generoso  perdono,  ballet.     See  Cimarosa's  I  due  supposti  conti. 

The  generous  Free-mason:    or,   The  constant   lady.     With  the 
humours   of  Squire  Noodle,   and  his   man  Doodle.     A  tragi-comi- 
farcical  ballad  opera.     In  three  acts.     With  the  musick  prefix'd  to 
each  song.     By  the  author  of  the  Lover's  opera. 
London,  J.  Roberts,  1731.     2  p.  I.,  51,  [1]  p.     19^"^. 

Three  acta.  Dedication  signed  by  "the  author  A  Free  Mason."  He  is  known  to 
have  been  William  Rufus  Chetwood.  Largely  a  ballad  opera,  but  some  of  the  25  airs 
have  indication  of  their  composer.  Thus,  airs  9  ("Tho'  danger's  allarm  me"),  12 
("Oh!  come  to  my  arms"),  and  25  ("By  Masons  art")  are  marked  as  composed, 
reap,  set  by  Henry  Caxey;  14  ("Great  Amurath  all  hearts  obey")  as  by  Mr.  Charke; 
and  23  ("Be  still,  you  monsters")  and  24  ("Neptune  from  all  ills")  as  by  J.  Sheeles. 
The  last  (unnumb.)  p.  contains  publisher's  proposals. 

"Said  to  have  been  acted  at  Bartholomew  Fair,  1731"  (Squire);  "acted  for  the 
third  time  at  the  Haymarket,  January  1,  1731"  (Genest).  ML  50.5. C4 

Second  copy.     Longe  49 

The  generous  Portuguese.     A.  T.  of  The  island  princess. 

La  Geneviefa.      Drama  per  musica  cantato  nelle  vacanze  del  car- 
nevale  I'anno  1685.     Da'  Signori  Convittori  del  Nobil  Collegio  Tolo- 
mei  di  Siena  nell'  aprimento  del  loro  nuovo  teatro  .  .  . 
SieTia,  Stap.  del  Pull.,  n.  d.     5  p.  I.,  62  p.     IJ/P^. 

Three  acts.  Dedication  by  the  convittori,  dated  Siena,  February  1,  1685,  ar^" 
ment,  cast  and  note  by  "Gli  attori  del  drama  a  chi  legge"  in  which  they  say: 

"Fii  composto  adattato  alia  musica  perche  dovendosi  quest'  anno  la  prima  volta 
aprire  il  teatro  di  questo  Nobil  Convitto,  ebbemo  genio  di  onorarlo  con  qualche  cosa 
di  singolare,  &  ambimmo  la  gloria,  che  il  Collegio  Tolomei  di  Siena  fosse  il  primo  fr^ 
tanti  che  ne  se  conta  1' Italia  h,  dar  trattenimento  di  musica  su  le  scene.  rerci5  fr^ 
gli  attori,  niuno  ammettemmo  che  non  fosse  del  numero  de'  convittori.  L'aver 
potuto  eseguire  pensier  si  nobile  e  un  debito  che  ci  corre  col  Sig.  Girolarao  Gigli  che 
alle  nostre  richieste  copose  il  drama  ...  II  Sigr.  Giuseppe  Fabrini  (Fabbrini),  che 
ha  data  I'anima  al  verso  con  I'armonia  della  musica,  e  da  cui  apprldiamo  questo 
nobile  divertimento  vi  dira,  che  solamente  poche  ore  delle  nostre  ricreazioni  abbiamo 
impiegata  in  esercitarci  nel  canto  .  .  ."  ML  50.2.G29 

Gengis-Kan.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  camovale  del  1777  ... 

Torino,  Onorato  Derossi,  n.  d.     viii,  56  p.     19'^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Pasquale  Anfossi  as  composer, 
but  not  of  librettist,  who  is  unknown  to  Schatz.  On  p.  49-55,  description,  with  cast 
and  argument,  of  the  ballet,  "II  r^  pastore;"  on  p.  56,  titles  of  the  two  other  ballets, 
"Li  due  avari"  and  "II  matrimonio  cinese."  These  ballets  were  {see  p.  vi)  by  Paolo 
Franchi,  and  the  music  was  composed  by  Vittorio  Amedeo  Canavasso.     Schatz  260 

I  geni  riuniti,  ballet.     See  Caruso's  II  matrimonio  in  commedia. 
I  geni  riuniti,  ballet.     See  Gassmann's  L'amore  artigiano. 


OPERA   LIBRETTOS  551 

Le  genie  Asouf,  ou  Les  deux  coffrets,  feerie  melo-dramatique,  en 

1)rose  et  en  deux  actes,  melee  de  pantomime,  chants  et  danses;  par 
e  c®°  Cuvelier;  representee,  pour  la  premiere  fois,  k  Paris,  le  4  niv6se 
an  4,  sur  le  Theatre  de  la  Cite;  et  remise  en  vendemiaire  an  8,  sur 
celui  de  rAmbigu-comique.  Deuxieme  edition. 
Paris,  A  Vimprimerie  a  prix-Jlxe,  an  VIII.  [1799-1800].  23  p.  £0'='^. 
Cast  and  dedication.  A  pasticcio,  made  up  as  indicated  in  the  libretto  from 
Pleyel,  Cherubini,  Othon  Joseph  Vanderbroeck,  Paisielio,  Grfitry,  Monsigny, 
Kreutzer,  Le  Sueur. 

First  performed,  as  indicated,  December  25, 1795.  Schatz  10591 

Les'genies,  ballet  represents  pour  la  premiere  fois,  par  I'Academie 
royale  de  musique;  le  jeudy  dix-huit  octobre  1736. 

[Paris],  Jean  Baptiste  CJiristophe  Ballard,  1736.     xii,  38,  [1]  p.    24'^'^. 

Prologue  and  four  entries:  "Les  nymphes,"  "Les  gnomes,"  "Les  salamandres," 
"Les  eylphes."    Cast  and  Avis  in  which  the  author,  Fleury  (not  mentioned),  says: 

"Pour  mieux  meriter  la  curiosity  du  public,  je  fais  paroltre  sur  la  scene  ime  nou- 
velle  Muse  qui  a  mis  cet  opera  en  musique." 

He  means  Mile  Duval.  ML  52.2.G3 

—  Les  genies,  ballet  represente  par  I'Academie  royale  de  musique 
Tan  1736.  Paroles  de  M'  Fleuri,  musique  de  M«"«  Duval.  CXXVII 
opera. 

n.  i.,  n.  d.     371-428  p.     l^Y'^-    (Recueil  general  des  opera,  Paris, 

1740,  t.  xvi.) 

Detached  copy.  Prologue  and  entries  "Les  nymphes,"  "Les  gnomes  ou  L'amour 
ambitieux,"  "Les  ealamandres  ou  L'amour  violent,"  "Les  sylphes  ou  L'amour 
leger."    Text  preceded  by  same  Avis.  ML  48. R4 

I>es  genies  du  feu.     Entree  in  Brassac's  L'empire  de  l'amour. 

II  genio  tutelare.     A.  T.  of  the  ballet  La  costanza  premiata. 

II  Genserico.  Melodrama  da  rappresentarsi  nel  famoso  Theatro 
Grimano  a  SS.  Gio.  e  Paolo,  I'anno  1669  .  .  . 

Venetia,  Francesco  Nicolini,  1669.    front.,  80  p.     14"^. 

Three  acts.  By  conte  Niccol6  Beregani,  with  publisher's  dedication  dated  Venice, 
January  31,  1669,  argument,  and  scenario.  Neither  the  author  nor  the  composer, 
Marc'  Antonio  Cesti,  is  mentioned.  Schatz  1780 

Gensericus.  See  Conradi's  Der  grosse  koenig  der  afrikanischen 
Wenden  .  .  . 

Le  gentilhoninie  de  campagne,  bouffonnerie  dansSe  durant  les 
Vendanges. 

n.  i.,  n.  d.     7  p.     21^"^. 

Eight  entries,  preceded  by  r^cit.  Title  page  apparently  wanting.  Possibly 
danced  in  "Les  Vendanges,'^  comedy  by  Dancourt,  September  30,  1694.  Not 
recorded  by  Parfaict  or  De  La  Vallifere.  ML  52.2.G33 

The  gentle  shepherd,  a  Scots  pastoral  comedy.  By  Allan  Ram- 
say ..  . 

London,  A.  Miller,  1763.     iv,  63,  [5]  p.     17^. 

The  [51  p.  contain  a  glossary.  Five  acts.  Dedication  dated  Edinburgh,  June, 
1725.    Ballad  comedy,  the  airs  of  the  21  songs  being  indicated  by  title. 

First  performed  1729  at  Edinburgh.  Longe  69 


552  LIBRARY  OF   CONGRESS 

The  gentle  shepherd — Continued. 

—  The  gentle  shepherd.     A  Scots  pastoral  comedy,  As  written  by- 
Allan  Ramsay.     To  which  is  added,  a  complete  glossary  .  .  . 

London,  George  Cawthom,  1796.  front.,  1  p.  I.,  xi,  [2],  1 4.-120  p. 
Id*^.     (J.  BeU,  British  Theatre,  London,  1791-1797,  v.  25.) 

At  end  the  note:  "This  play  was  originally  published  June,  1725."  The  front, 
represents  Miss  Leaks  as  Peggy  and  the  1  p.  1.  is  an  added  engraved  title  page  with  a 
scene  from  the  play.     It  is  dated  January  9,  1795. 

Ramsay's  dedication  of  this  ballad  comedy  to  Susanna,  countess  of  Eglinton, 
dedicatory  poem  to  her,  signed  H.  W.,  Ramsay's  poem  to  Josiah  Burchet. 

PR  1241.B4 


The  genuine  Grub-street  opera.     See  The  Welsh  opera. 

an  im  acte.     R6pres 

jra  comique  de  la  foire  Saint 


Geoi^et  et  Georgette,  opera-comique  en  im  acte.     R6present6  pour 
la  premiere  fois  sur  le  Thefi.tre  de  1  Op^ra 


Laurent,  le  28  juillet  1761. 

Avignon,  Louis  Chamheau,  1768.     28  p.     19'^^. 

Neither  the  author,  Harney  de  Guerville,  is  mentioned,  nor  the  composer,  Charles 
Guillaume  Alexandre.  Yudin  PQ 

Gesaenge  aus  dem  singspiele:  Die  geplagten  ehemaenner,  in  zwey 
aufzuegen,  eine  fortsetzung  des  singspiels  LHla.  In  musik  gesezt  von 
Schak. 

Hamburg,  J  oh.  Matthias  Michaelsen,  1792.     48  p.     16^'^. 

By  Schikaneder. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  October  1,  1792;  at 
Vienna,  Theater  auf  der  Wieden,  1789,  as  "Der  fall  ist  noch  viel  seltener  oder  Die 
geplagten  ehemanner."  Schatz  9569 

Der  geraubte  eimer.     Tr.  of  Zingarelli's  La  secchia  rapita. 

Der  geraubte  eymer.     Tr.  of  Salieri's  La  secchia  rapita. 

Die  gerechtfertigte  liebe.     Tr.  of  Naumann's  Amore  giustificato. 

Das  gerettete  Troja.     A.  T.  of  Joh.  Ad.  Hiller's  Poltis. 

Germanico.  Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1744  alia  presenza  di  Sua  Maestk. 

Torino,  Pietro  Giuseppe  Zappata  e  jigliuolo,  n.  d.     4  V'  ^-t  ^^  V' 

loY"^. 

Three  acte.  By  Niccol6  Coluzzi.  Ailment,  cast,  scenario  and  name  of  com- 
poser, Andrea  Bemasconi,  but  not  of  librettist.  Alessio  Rasetti  is  mentioned  as 
composer  of  the  ballet  music.  Schatz  865 

Germanico.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno  1797. 

Venezia,  Modesto  Fenzo,  1797.     ^5  p.     17 Y"^- 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Ailment,  cast, 
scenario,  and  name  of  Gaetano  Marinelli  as  the  composer. 

First  performed  on  February  4,  1797,  as  indicated.  Schatz  3955 


OPEEA   LIBRETTOS  553 

II  Germamco.  Drama  per  musica  da  rappresentarsi  nel  famosimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo.     Nel  carnevale  dell'  anno 

iviDcx:;xvi .  .  . 

Venezia,  Marino  Rossetti,  MDCCXI.  [!]    2  front,  60  p.     IS""^. 

The  title  is  not  on  the  title  page,  but  on  the  second  front.  Three  acts.  By  conte 
Pietro  Giorgio  Barziza,  who  is  not  mentioned.  Impresario's  dedication  dated  Venice, 
January  24,  1716,  argument,  notice  to  the  reader,  with  name  of  Carlo  Francesco  Pol- 
laroU  ae  the  composer,  cast,  and  scenario.  Schatz  8294 

II  Germanico  al  Reno.     Festa  teatrale. 

G.  A.  Moniglia,  Poesie  drammatiche,  seconda  parte,  Firenze,  Cesare 
e  Francesco  Bindi,  1690,  p.  [217]-293.     24'^'^. 

Three  acts.  Scenario,  argument.  No  composer  or  performance  mentioned.  Not 
recorded  by  Schatz.  ML  49.A2M7 

Germanico  in  Germania.     O.  T.  of  Coluzzi's  text  Arminio. 

Germanico  in  Germania.     Dramma  per  musica  da  rappresen- 
tarsi  nel   nobilissimo   Teatro   delle   Dame   il   carnevale   dell    anno 
1770  .  .  . 
Roma,  Lorenzo  Corradi,  1770.     60  p.     16""". 

Three  acts.  By  Nicola  Coluzzi,  who  is  not  mentioned.  Dedication,  ailment, 
scenario,  cast,  and  name  of  Carlo  Monza  as  the  composer.  According  to  the  argu- 
ment, this  is  a  retouched  version  of  the  text  written  originally  for  Rome,  1732. 

Schatz  6609 

Germanico  in  Germania.     Drama  per  musica  di  Niccolo  Coluzzi. 

Da  rappresentarsi  nella  Sala  degl'  illustrissimi  Signori  Capranica  nel 

carnevale  dell'  anno  1732  .  .  . 

Roma,  Antonio  de^  Rossi,  n.  d.     64,  [1]  p.     15Y^- 

Three  acts.     Impresario's  dedication,   argument,   cast,   scenario,   and  name  of 

Nicole  Antonio  Porpora  as  composer.    At  end,  the  substitute  scene,  II,  11,  "O  del 

mio  caro  ben  voci  gradite."  Schatz  8358 

Germanico  in  Germania,  baUet.     See  Rossetti's  Olimpiade. 

II  Germanico  Marte.  Drama  per  musica,  da  rappresentarsi  nel 
Teatro  di  corte  .  .  .  Per  ordine  di  S.  A.  R.  Monsignor  Francesco 
Antonio,  arcivescovo  e  prencipe  di  Salisburgo  .  .  .  Musica  del  Sig. 
Antonio  Caldara  .  .  . 

Salisburgo,  Giovanni  Gioseppe  Mayr,  n.  d.     100,  {3\  p.     15'^^. 

Three  acts  and  licenza.  By  unknown  author  (Schatz).  Argument  and  scenario. 
On  p.  38-43,  69-72,  the  intermezzo,  in  two  parte,  of  "Grespilla  e  Fanfarone,"  by 
unknown  author.  Schatz  1482 

t^Grermanico  sul  Reno.  Drama  per  musica  da  rappresentarsi 
nel  famosissimo  Teatro  Vendrammo  di  San  Salvatore  I'anno 
MDCLXXVI.     Di  Giulio  Cesare  Corradi  .  .  . 

Venetia,  Francesco  Nicolini,  1676.    front.,  68  p.     IS^i*^^. 
Three  acts.    Author's  dedication,  dated  Venice,  January  27,  1676,  argument, 
scenario,  and  name  of  Giovanni  Legrenzi  as  the  composer.  Schatz  5536 

Second  copy.    ML  48.M2  0 

Germanicus,  roemischer  general.  A.  T.  of  Grunewald's  Die 
errettete  unschuld. 


554  LIBRARY   OF   CONGRESS 

Germondo.  Dramina  di  tre  atti  per  musica.  Rappresentato  per 
la  prima  volta  in  Venezia  il  carnovale  dell'  anno  MDCCXXXIX. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  36, 
[67]-101  p.     ISY"^. 

Not  recorded  by  Schatz,  Wiel,  or  Allacci.    Traetta's  opera  was  later,  PQ 

Gterone  tiranno  di  Siracusa.     Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  del  Falcone  di  Genova  nelP  autunno  1700  .  .  . 
Genova,  Gio.  Batt.  Scionico,  n.  d.     4  V-  ^-f  ^^  V-     14¥'"^' 
Three  acts.    By  Aurelio  Aurelj,  who  is  not  mentioned.     Publisher's  dedication, 
dated  Genova,  November  3,  1700,  ailment,  cast,  scenario,  and  name  of  Carlo  P>an- 
cesco  Qasparini  as  the  "maestro  di  capella,"  or  composer.  Schatz  3588 

Gterone  tiranno  di  Siracusa.  Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  S.  Bartolomeo  il  di  19.  novembre  di  questo  cor- 
rente  anno  1727.  Festeggiandosi  il  nome  glorioso  di  S.  M.  C,  e  C. 
Elisabetta  Cristina  imperatrice  regnante  .  .  . 

Napoli,  Francesco  Ricdardo,  1727.     60  p.     l^Y'^. 

Three  acts.  According  to  Schatz  an  altered  version  of  Aurelio  Aureli's  "Hierone, 
tiranno  di  Siracusa."  Dedication,  argument,  scenario,  casts  of  the  opera  and  of  the 
three  intermezzi  "Porsugnacco  e  Grilletta  (p.  22-26,  41-45,  54-58)  and  name  of 
Joh.  Ad.  Hasse  as  composer  of  opera  and  intermezzi.  ML  50.2. G3H2 

Genisalemnie  distrutta.  Dramma  sacro  per  musica  da  rappre- 
sentarsi  nel  Regio  Teatro  di  via  della  Pergola  la  quadragesima  del 
MDCCXCIV  .  .  . 

Firenze,  Stamperia  Albizziniana,  1794-     39  p.     16"'^. 

Two  acts.  Brief  argument,  cast,  and  names  of  Antonio  Simone  Sografi  aa  author, 
of  Nicola  Antonio  Zingarelli  as  composer.  Schatz  11244 

Das  gespenst,  eine  operette  in  zwey  auf zuegen  von  Ludwig  Ysenburg 
von  Buri. 

Neuwied,  Gehra  und  Haupt,  1789.     56  p.     17""^. 

Dedicatory  poem.    Text  and  music  by  the  above. 

First  performed  at  Neuwied,  Hoftheater,  1789.  Schatz  1421 

Das  gespenst  mit  der  trommel.     Ein  deutsches  komisches  sing- 
spiel  in  zwey  aufzuegen,  nach  Goldoni's  Conte  Caramella  frey  bearbei- 
tet.     Die  musik  ist  vom  herrn  von  Dittersdorf . 
Oels,  Samuel  Gottlieb  Ludwig,  n.  d.     79  p.     15^'^. 

Author  unknown  to  Schatz. 

First  performed  at  Oels,  Hoftheater,  August  16,  1794.  Schatz  2591 

Der  gestuerzte  und  wieder  erhoehte  Nebucadnezar,  koenig  zu 
Babylon,  unter  dem  grossen  propheten  Daniel  in  einem  singe-spiel 
auf  dem  grossen  Hamburgischen  Schau-platze  vorgestellet  im  jahr 
1704. 

Theatralische,  galante  und  geistliche  gedicMe  von  Menantes  [Christ. 
Fr.  Hunold],  Hamburg,  1706,  p.  [137]-196.     16\<'^. 

Three  acts.     In  prefatory  remarks  Menantes  says  (on  p.  136): 

Zwar  gestehe  gem,  dass  die  music  des  herrn  capell-meisteis  Mens.  ICaeysers  [Rein- 
hard  Keiser]  ein  ungemeines  zu  ihrer  approbation  gethan;  allein  ohne  der  compo- 
sition eines  solchen  vortreflichen  virtuosen  wuerde  auch  schwerlich  eine  zeile  von 
meiner  arbeit  auf  dem  hiesigen  theatre  habe  absingen  lassen.  In  dem  es  zuweilen 
ein  guter  verfasser  mit  einem  ungeschichten  componisten,  wie  ein  geschickter  musicus 
mit  einem  unverstaendigen  verss-macher  entgelten  muss."  ML49.A2H9 


OPERA   LIBRETTOS  555 

Die  getheilte  liebe.  A.  T,  of  Mattheson's  Die  geheimen  begeben- 
heiten  Henrico  IV,  Koenigs  von  Castilien  und  Leon. 

Die  getreue  braut.     Tr.  of  P.  Guglielmi's  La  sposa  fedele. 

Der  getreue  freund  Hercules  und  Theseus.  A.  T.  of  Graupner's 
II  fido  amico. 

Die  getreuen  Oesterreicber,  oder  Das  aufgeboth.  Ein  volks- 
stueck  mit  gesang  in  drey  aufzuegen,  fuer  die  K.  K.  priv.  Marinellische 
schaubiihne  bearbeitet  von  Karl  Friedrich  Hensler.  Nebst  einem 
mit  dem  stueck  verbimdenen  militaerischen  kontratanz  von  Johann 
Sartory.     Die  musik  ist  von  Wenzel  Mueller,  kapellmeister. 

Wien,  Joseph  Kamesina,  1797.     92  p.     16'='^. 

Dedication  by  the  author  to  Prince  Ferdinand,  herzog  zu  Wuertemberg  und  Teck. 

First  performed,  as  indicated,  October  4,  1797.  Schatz  6929 

Die  gezwungene  bestaendigkeit  oder  Die  listige  rache  des  Sueno. 
See  Reiser's  La  costanza  sforzata. 

La  ghinghetta,  ballet.     See  Fabrizj's  opera  L'amore  per  interesse. 

La  ghinghetta,  ballet.     See  Tarchi's  L'tnipostm-a  poco  dura. 

Giaccona,  ballet.     See  Rossetti's  Olimpiade. 

Den  giaerrige.     Tr.  of  Anfossi's  L'avaro. 

Qianguir. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744f  i-  '^if  V-  [183]- 
280.     19^. 

Five  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo,"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1724.  (First  per- 
formed November  4,  music  by  Caldara.)  ML49.A2Z3 

—  Gianguir.     Pubblicato  per  la  prima  volta  in  Vienna  1724. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  vi,  p.  79-168. 

91  cm 

Five  acts  and  licenza.    Argument.    No  composer  is  mentioned.        ML49.A2Z4 

Gianguir.  Dramma  per  musica  da  rappresentarsi  in  Copenhagen 
il  camevale  dell'  anno  1755. — Janguir  .  .  . 

Ki(f)benhavn,  Andreas  Hartvig  Godiche,  n.  d.     129  p.     15^"^. 

Three  acts.  Cast,  argument,  name  of  Apostolo  Zeno  as  author,  and  note:  "La 
musica  ^  di  diversi  autori."     Danish  text  faces  Italian.  Schatz  11337 

Gianguir.     O.  T.  of  Caldara's  Pharao  und  Joseph. 

Gianguir.  Dramma  per  musica  da  rappresentarsi  nel  famoso  Teatro 
di  Grimani  di  S.  Benedetto,  il  carnovale  dell'  anno  MDCCLX. 

Venezia,  Antonio  Comino,  1760.     67  p.     ^^i*^™- 

Five  acts.  By  Apostolo  Zeno  (not  mentioned).  Argument,  cast,  scenario,  and 
name  of  the  composer,  Vincenzo  Legrenzio  Ciazupi. 

First  performed  Dec.  26,  1759,  as  indicated.  Schatz  1881 


556  LIBRARY   OF   CONGRESS 

Gianguir.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassano  I'airno  MDCCXXIX  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     59  p.     Ij^Y^- 

Three  acts..  By  Apostolo  Zeno,  who  is  not  mentioned.  Impresario's  dedication, 
dated  Venice,  September  26, 1728,  argument,  scenario,  cast,  and  name  of  the  composer, 
Geminiano  Qiacomelli.  Schatz  3812 

Gianguir.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  in  San  Gio.  Grisostomo  nel  camovale  dell'  anno 
1738  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     60  p.     HY™- 

Three  acta.  By  Apoetolo  Zeno,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  and  name  of  Giovanni  Antonio  Giai  as  the  composer. 

Schatz  3814 

La  Giannetta  o  sia  L'incognita  perseguitata,  L.  T.  of  Anfossi's 
L'incognita  perseguitata. 

Giannina  e  Bemadone.     Dramma  giocoso  per  mnsica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  puhl,  1785.     135  p.     16^"^. 

Two  acts,  with  name  of  the  composer,  Domenico  Cimarosa.  German  title-page 
"Hannchen  und  Bemardon,"  and  text  face  Italian.  The  author,  Filippo  Livigni,  is 
not  mentioned. 

First  performed  at  Dresden,  January  4,  1785;  at  Venice,  Teatro  di  S.  Samuele, 
fall  of  1781.  Schatz  1926 

—  Giannina,  e  Bernadone.     Commedia  per  musica  da  rappresen- 
tarsi nel  Teatro  de'  Fiorentini  in  quest'  anno  1795. 
Napoli,  n.  puhl.,  1795.     48  p.     W"^. 

Two  acts.  By  Filippo  Livigni,  who  is  nofmentioned.  Cast  and  name  of  Domenico 
Cimarosa  as  the  composer.  ML  50.2.G33C3 

Giannina  e  Bernadone  ossia  II  geloso  sincerato,  ballet.     See  Cima- 

rosa's  Artemisia. 

The  giant's  causeway.     A.  T.  of  Arnold's  Harlequin  Teague. 

La  giardiniera  brillante.  Intermezzo  per  musica  a  quatf  ro  voci. 
Da  rappresentarsi  in  Lisbona  nel  Teatro  della  rua  dos  Condes  nell' 
estate  dell'  anno  1773. 

[LishoTw],  Stamperia  reale,  n.  d.     72  p.     W'^^. 

Two  parts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Giuseppe  Sarti  as  the  composer.  With  the  opera  were  performed  (composers 
of  the  music  not  mentioned)  Vincislao  de  Rossi's  ballet,  "Le  due  sultane  rivali "  and 
Alessandro  Guglielmi's  "Li  pescatori." 

First  performed  at  Rome,  January  3,  1768,  Teatro  Valle.  Schatz  9469 

La  giardiniera  contessa.     L.  T.  of  Latilla's  La  finta  cameriera 

II  giardiniere  convinto  da  Amore,  baUet.  See  Galuppi's 
L'amante  di  tutte. 

II  g^ardino  delle  Tuillerie  in  Parigi,  ballet.     See  Cimarosa's  Circe. 


OPEKA   LIBRETTOS  557 

Giasone.  Drama  musicale,  del  D.  Hiacinto  Andrea  Cicognini, 
Academico  Instancabile.  Da  rappresentarsi  in  Venetia  nel  Theatro 
di.San  Cassano  nell'  anno  1649  .  .  . 

Venetia,  Giacomo  Batti,  I649.  118  p.  {incl.  front.) .  ^^i*""- 
Three  acts,  with  prologue.  Scenario,  a  notice  to  the  reader,  the  argument,  an 
"Applause  poetico  .  .  .  Ode  di  Aurelio  Aureli,  Ac.  Ins.,"  a  "Sonetto"  by  Bort. 
Castore,  and  the  author's  dedication,  dated  January  5,  1648  (1649  n.  St.).  Pietro 
Francesco  Cavalli,  the  composer,  is  not  mentioned.  II,  4  begins,  "Per  qual  nuovo 
vigore."  Schatz  1751 

—  II  Giasone.  Dranuna  musicale  del  dottor  Giacinto  Andrea 
Cicognini  Fiorentino. 

Venetia,  Niccolo  Pezzana,  I664.     108  p.     14""^. 

Three  acts,  with  prologue.  Argument,  notice  to  the  reader,  and  scenario,  but 
without  name  of  the  composer,  Cavalli.  The  text  seems  to  be  the  same  as  in  the 
1649  ed. 

Replica  first  performed  at  Venice,  Teatro  di  S.  Cassiano,  February  23,  1666. 

ScHATZ  1722 

—  II  Giasone.  Drama  per  musica  di  D.  Hiacinto  Andrea  Cicognini 
...  da  rappresentarsi  nel  Teatro  di  San  Cassano  I'anno  1666  .  .  . 

Venetia,  CamiXlo  Bortoli,  1666.     90  p.     i.^^"». 

Prologue  and  three  acts.  Publisher's  dedication,  dated  Venice,  February  23, 1666, 
argument,  scenario,  and  notice  to  the  reifcder,  from  which  it  appears  that  "II  Giasone" 
waa  reAdved  and  substituted  in  a  hurry  for  an  opera  called  ' '  La  Semiramide, ' '  text  by 
Moniglia,  and  which  was  actually  in  preparation.  Cavalli  is  not  mentioned.  II,  4 
b^ns,  ' '  Per  qual  nuovo  vigore, ' '  and  the  third  act  has  only  nineteen  scenes.  ' ' Sotto 
11  tremulo  ciel"  is  III,  1,  as  in  the  "Novello  Giasone,"  instead  of  III,  2,  and,  as  in 
that  version,  the  character  of  "Rosmira  giardiniera"  is  absent.         ML  50.2.G36  CI 

—  II  Giasone.  Drama  musicale  di  D.  Giacinto  Andrea  Cicognini 
Academico  Instancabile.  Di  nuovo  riveduto,  e  con  aggiunte  ristam- 
pato  .  .  . 

Milano,  Gioseffo  MareUi,  n.  d.     96  p.     1^^^. 

Prologue  and  three  acts.  Text  preceded  by  the  Argument;  a  sonnet,  "In  lode 
del  Sig.  dottor  Giacinto  Andrea  Cicognini.  Nuovo  auttore  del  bellissimo  Giasone 
I'anno  1650,"  by  Giulio  Strozzi;  and  dedication,  by  Emanuel  di  Meschita,  in  which 
he  says: 

' '  Se  mai  alcuna  dramma  ha  havuto  credito,  ed  applause  pel  suo  utilizzante  costume, 
uno  n'^  il  Giasone  del  Sig.  Cicognini,  il  quale,  dovendo  di  nuovo,  uscir  dalle  stampe, 
e  scena  fare  di  se  stesso  ..." 

The  composer,  Cavalli,  is  not  mentioned.  II,  4  begins,  "Effetti  siiigolari,"  and 
there  are  other  striking  differences  between  this  ed.  and  that  of  1649.  For  instance, 
the  last  act  now  has  twenty  scenes  instead  of  twenty-two.  "Sotto  il  tremulo  ciel,"  aa 
in  the  "Novello  Giasone,"  is  III,  1  instead  of  III,  2,  and,  a^  there,  the  character  of 
"Rosmira  giardiniera"  has  been  dropped.  I  conjecture  that  this  Milan  edition  ia 
even  later  than  the  Rome  "II  novello  Giasone."  ML  50.2.G36C2 

—  II  novello  Giasone.  Dramma  per  musica  recitato  nel  Teatro 
Novo  di  Roma  in  Tordinona  I'anno  1671   .  .  . 

Roma,  il  success,  al  Mascardi,  1671.     6  p.  I.,  80  p.     13^'^'^. 

According  to  Schatz,  the  opera  was  actually  revived  at  Rome  during  the  carnival 
of  1671;  but  Wotquenne,  in  the  Brussels  catalogue,  says  that,  according  to  Ademollo, 
the  revival  did  not  take  place.  A  later  issue  (in  three  acts,  with  prologue  and  ail- 
ment) of  Cicognini's  "Giasone,"  published  by  Bartolomeo  Lupardi,  who  says  in 
his  dedication,  dated  January  17,  1671,  of  this  libretto: 

"Esce  preeentemente  da  miei  torchi,  e  ch'havr^  k  recitarsi  ne'  giomi  correnti  nel 
nuovo  theatro." 

The  Rome  version  is  considerably  altered  from  the  original.  For  purpoeee  of 
identification,  it  may  be  noted  that  the  character  of  "Rosmina  giardiniera  "  does  not 
appear  in  the  "Novello  Giasone."  Its  third  act  has  nineteen  instead  of  twenty-two 
scenes,  the  first  of  which  beginning,  "Sotto'l  tremulo  ciel,"  which  had  been  III,  2. 
II,  4  begins,  "Qual  'ardir,  qual  valore."  On  p.  53-54  of  the  Rome  version  there  is  an 
"Intermedio.    Satiro  &  Amore."  Schatz  1750 


658  LIBRARY   OF   CONGRESS 

Giasone  e  Medea,  ballet.  See  Andreozzi's  L'Arbace. 

Giasone  e  Medea,  ballet.  See  Borghi's  L'Olimpiade*. 

Giasone  e  Medea,  ballet.  See  Giordani's  Osmane. 

Giasone  e  Medea,  ballet.  See  Martin  y  Soler's  L'arbore  di  Diana. 

La  Gierusalemme  liberata.  Drama  da  rappresentarsi  in  musica 
nel  famosissimo  Teatro  Grimano  di  SS.  Gio.  e  raulo  Tanno  1687.  Di 
Giulio  Cesare  Corradi  .  .  . 

Venetia,  Francesco  Nicolini,  1687.     71,  [1]  jp.     14"^. 

Three  acts.    Author's  dedication,  notice  to  the  reader  with  name  of  Carlo  Palla- 
vicino  as  the  composer,  and  scenario. 

First  performed  in  January,  1687,  as  indicated.  Schatz  7725 

1  gfiganti  abbattuti.     See  M.  Curzio. 

La  gigantomachie.     A.  T.  of  Piron's  text  Le  mariage  de  Momus. 

n  G^e  in  Lidia.     Drama  per  musica  del  dottore  Giovambattista 
Neri  da  recitarsi  nel  Teatro  Formagliari  I'anno  1683  .  .  . 
Bologna,  per  Verede  del  Barhieri,  n.  d.     60  p.     13'^^. 

Three  acts.     Author's  dedication  and  notice  to  the  reader  with  the  name  of 
Domenico  Gabrieli  as  composer,  imprimatur,  argument,  and  scenario.    Schatz  3398 

Gilles,  gargon  peintre  z'amoureux-t-et  rivaL  Parade,  repre- 
sentee pour  la  premiere  fois  sur  le  Th6fi,tre  de  la  Foire  S.  Germain,  le 

2  mars  1758. 

Paris,  N.  B.  Duchesne,  1758.     48  p.     16\<^^. 

One  act.    Cast  and  dedicatory  poem  by  the  author,  Poinsinet  le  jeune.    The  com- 
poser, Jean  Benjamin  de  La  Borde,  is  not  mentioned.  Schatz  5348 

Ginevra.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  San 
Samuelle  [!]  I'autunno  dell'  anno  MDCCLIII. 
Venezia,  Angiolo  Geremia,  n.  d.     4^  p.     15'^'^. 

Three  acts.    Argument,  cast,  scenario,  and  name  of  composer,  Ferdinando  Giu- 
seppe Bertoni,  but  not  of  librettist,  Antonio  Salvi.  Schatz  913 

Ginevra.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  San 
Samuele  nella  Fiera  dell'  Ascensione  I'anno  1733  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     59  p.     15^^. 
Three   acts   by  Antonio    Salvi    with    modifications   (marked  with   an    asterisk), 
dedicatory  preface  by  the  impresario,  Domenico  Lalli,  notice  to  the  reader,  cast, 
name  of  the  composer,  Giuseppe  SeUitti,  and  scenario. 

First  performed  on  May  13,  1733,  as  indicated.  Schatz  9826 

La  Ginevra  degli  Almieri,  ballet.  See  Cimarosa's  L'apprensivo 
raggirato. 

Ginevra  di  Scozia,  ballet.     See  Gnecco's  L'indolente. 

Ginevra  di  Scozia,  ballet.     See  Mayr's  Lodoiska. 

La  Ginevra  infanta  di  Scozia.  Dramma  per  musica  do.  rappre- 
sentarsi in  Ferrara  I'anno  1690  nel  Teatro  del  Sig.  Co.  Pinamonte 
Bonacossi  .  .  . 

Ferrara,  Bernardino  PomateUi,  n.  d.     72  p.     14'"^- 
Three  acts.     Dedication  signed  by  the  author,  Giulio  Cesare  Grazzini,  argument, 
scenario,  and  notice  to  the  reader  about  "queeto  nuovo  dramma,"  and  with  name  of 
Giovanni  Battista  Bassani  as  composer.  Schatz  632 


OPERA   LIBRETTOS  559 

La  Giocasta.     Drama  musicale. 

G.  A.  Moniglia,  Poesie  drammatiche,  seconda  parte,  Fireme,  Cesare 
e  Francesco  Bindi,  1690,  p.  [81]-148.     J?^''". 

Three  acts.     Argument  with  remark: 

"Questo  componimento  fu  chiesto  dal  Sig.  cavaliere  Antonio  [Marc'  Antonio] 
Cesti  al  eerenissimo  principe  Mattias  di  Toscana,  e  1' A.  S.  mo8tr6  all'  autore  desiderio 
di  gratificare  il  Sig.  cavaliere  Cesti,  laonde  ne  venne  servita;  ma  partendosi  poiil 
Sig.  cavaliere  dal  servizio  di  S.  M.  C.  e  trattenendosi  in  Firenze  alia  corte  di  Toscana, 
si  stmarri  I'occasione  di  farlo  compaiire  sii  le  scene,  la  quale  (mancando  la  vita  del 
Sig.  Cesti)  non  s'e  mai  ritrovata,  riserbatasegli  non  di  meno  tra  le  sue  disavventure  la 
gran  fortuna  di  comparire  presentemente  alle  stampe  ..." 

Accordingly,  Cesti  cannot  have  composed  this  opera,  which  is  not  mentioned  as 
extant  by  Eitner,  after  1669,  nor  before  1666,  the  years  of  his  activity  at  Vienna. 

ML  49.A2M7 

Giocasta.  Drama  musicale  da  rappresentarsi  nel  Nuovo  Teatro  del 
serenissimLO  elettor  Palatino  nel  carnovale  dell'  anno  MDCXCVI. 

Dusseldorf,  Gio.  Christiano  Schleuter,  n.  d.      Unpaged.     18Y'^. 

Threeacts.  Argumentand  scenario.  German  title-page,  "Giocasta,"  and  textface 
Italian.  At  the  end  of  the  libretto  is  a  notice  to  the  reader,  in  which  he  is  informed 
that  the  text  is  by  Gio.  Andrea  Moniglia  with  alterations  and  substitute  verses,  that 
it  was  composed  "mit  kuenstlich  einstimmender  music  des  hr.  Joh.lJgo  Vilderer 
[Johann  Hugo  Wilderer],  geistreichen  ubereinstifiiungen  ["epiritose  sinfonie"!]  des 
hr.  Georgio  Krafft,"  and  that  the  text  "damit  auch  ermelte  Giocasta  denen  so  in 
der  italianischen  sprache  nicht  erfahren  ihre  anmuth  nicht  gaentzlich  vorenthalten 
moege"  was  translated  by  the  "raht  imd  referendarius  Godfrid  Rulant  .  .  .  ins 
teutsche."  Schatz  11014 

►Giocasta,  regina  d' Armenia.    Drama  per  musica  del  Signer  dottor 
Gio.  Andrea  Moniglia  Fiorentino  riformata  all'  uso  di  Venetia  per  11 
Teatro  Zane  a  S.  Moise  I'anno  MDCLXXVII  .  .  . 
Venetia,  Frencesco  Nicolini,  1677.     60  p.     ISY"^. 

Three  acts.  Publisher's  dedication  dated  Venice,  December  16,  1676,  argument, 
scenario,  and  notice  to  the  effect  that  after  Moniglia's  death  the  text 

"pervenne  in  mano  ad  amico  suo  parzialissimo,  che  lo  destinb  a  far  pompa  di  se 
medesimo  in  loco  piii  riguardevole,  col  fine  di  non  renderlo  dieuguale  agr  altri  parti 
di  sua  felicissima  penna,  che  in  piu  tepi,  &  in  molto  numero  hanno  saputo  acquistarsi 
gl'applausi  e  I'ammiratione  de  theatn  piu  cospicui  d'Europa.     La  congiontura  non 

10  permise  .  .  .  Sappi  che  per  addattarlo  al  genio  &  all'  uso  di  questo  cielo,  non 
meno  che  alia  rietrettezza  del  loco,  h  stato  necessario  abbreviarlo  in  modo,  che  si 
eono  tralasciati  non  solo  molti  versi,  e  forse  de  piii  belli,  m^  le  scene  intiere,  &  le 
parti  istesse,  col  riguardo  per6  dovuto  fatto  osservare  a  tutto  potere  dall'  amico  suo 
sudetto  di  sempre  valersi  di  versi  dello  stesso  autore,  oltre  alcuni  poche  per  la  neces- 
sita  d'unime  il  sentimento  aggiustato  ne  luochi  concisi.  Alcune  arie  per6  che  vi 
restano  aggiiite  per  maggiore  abbellimento  come  parti  per  se  stesso  disgiunte  dall' 
eesenza  del  drama  si  sono  fatte  scrivere  dalla  pena  non  men  vaga  che  erudita  del  Sig. 
Giacomo  Castoreo  .  .  .  e  le  vedrai  nella  stampa  contrasegnate  con  li  versi  ancora 
con  questo  segno  ,,." 

Accordingly,  for  instance,  the  entire  sixth  scene,  first  act,  "Ogni  bravo  /  Sen 
vadi  alle  mura,"  was  added  by  Castoreo.  The  composer,  Carlo  Grossi,  is  not  men- 
tioned. Schatz  4217 

11  giocator  fortunato.     A.  T.  of  Piccinni's  L'astratto. 

II  giocatore.     L.  T.  of  II  marito  giogatore  e  la  moglie  bacchettona. 

II  giocatore,  baUet.     See  Anfossi's  II  curioso  indiscrfeto. 

Tl  giocatore,  ballet.     See  Mortellari's  Le  astuzie  amorose. 

II  giocatore  burlato.  A.  T.  of  Pietro  Guglielmi's  La  contadina 
superba. 


560  LIBBABY  OF  CONGRESS 

I  giochi  olimpici  overo  Che  fingendo  si  prova  un  vero  affetto. 
Drama  destinato  per  lo  giorno  del  nome  della  serenissima  Anna 
elettrice  Palatina  .  .  .  rosto  in  musica  dal  Sig.  D.  Sebastiano 
Moratelli  .  .  .     Dusseldorf  li  26.  luglio  1694. 

n.  pi.,  Per  Gio.  Christiano  Schleuter,  stampatore,  n.  d.     Unpaged. 

Three  acts  with  an  "Intermedio  alhisivo  al  giomo  del  nome  .  .  ."  between  second 
and  third  act.     Dedication  signed  by  the  author,  Giorgio  Maria  Raparini. 

ScHATZ  6628 

II  gioco  del  pichetto.     See  II  giuoco  di  picchetto. 

Gioconda,  ballet.     See  Cimarosa's  Artaserse. 

Giorgio  principe  della  Servia,  ballet.  See  Portugal's  Gli  Orazi  e  I 
Curiazi. 

II  giorno  di  notte.  Drama  per  musica.  Da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  in  S.  Gio.  Grisostomo  1  anno  1704.  Di 
Matteo  Noris. 

Venezia,  Marino  Rossetti,  1704.     70  p.     14^™. 

Three  acts.  Notice  to  the  reader  and  scenario.  The  composer,  Carlo  Francesco 
PoUaroli,  is  not  mentioned.  Schatz  8295 

II  giorno  di  salute  ovvero  Demetrio  in  Athene.  Dranmia  per 
musica  da  rappresentarsi  nei  giorni  del  camovale  dell'  anno  1697. 
Per  comando  del  serenissimo  elettore  Palatino. 

Dusseldorf,  Gio.  Christiano  Schleuter,  n.  d.     Unpaged.     18^'^'^. 

Three  acts.  German  title-page,  "Der  tag  des  hey  Is  oder  Demetrius  in  Athen,"  and 
text  face  Italian.    Argument,  scenario,  and  notice  to  the  reader,  which  reads: 

"Fu  questo  componimento  poetico  destinato  dalla  Regia  Magnificenza  del  serenis- 
simo elettor  Palatino  mio  signore  per  eolennizzare  il  ^omo  natale  della  serenissima 
elettrice  consorte  .  .  .  Ma  perchfe  cade  questo  felicissimo  giomo  nei  giorni  piii 
caldi  d'Agosto,  tempo  mal  a  proposito  per  i  chiusi  teatri,  fu  perci5  stimato  molto  piti 
proprio  di  aprime,  6  per  dir  meglio,  fame  nascere  uno  in  campagna  sii  le  rive  del  Reno, 
e  nel  Reno  medesimo,  con  tanta  preetezza  fii  fabbricato;  dove  comparve  a  meraviglia 
bene  la  grandezza  del  animo  di  chi  I'ordinb,  e  I'arte  meravigliosa  di  chi  I'esegui, 
riuscendo  sopra  d'ogni  credenza  la  festa  vaga,  e  magnifica.  Fii  egli  per  cio  riserbato 
a  comparir  eii  la  scena  in  questo  tempo  del  camevale.  Dove  se  ik  pompa  di  qualche 
vaghezza,  sappi  o  lettore,  che  tutta  la  gloria  si  deve  all'  indefessa  applicazione,  e  buon 
gusto  deir  illustriss.  Signore  baron  di  Demanstein,  cameriere  e  gran  falconiere  de 
S.  A.  E.  P.  .  .  .  Parte  ancor,  se  ne  deveal  Sign.  Gio.  Hugo  Wilderer  oi^anista  di 
questo  Serenissimo  Elettore,  il  quale  se  ben  di  lingua  e  di  nazione  tedescha  possiede 
non  di  meno  tutta  I'arte  di  far  comparir  sii  le  scene  con  tutta  la  loro  forza,  e  gentilezza 
le  nostre  muse  toscane.  L'ariette  per  i  balli  furono  invenzione  del  Signore  Giorgio 
Crafft  [Krafft] :  e  fii  studio  di  Mons.  Rodier  I'intreccio,  e  la  vaghezza  di  essi ;  che  anno 
tanto  di  parte  nell'  adomamento  dell'  opera.  E  la  bella,  e  capricciosa  disposizione 
tielle  scene  6  tutta  gloria  del  pennello  del  Sign.  Antonio  Bemardi  ..." 

It  follows  from  this  preface  that  Schatz  is  entirely  mistaken  if  he  attributes  the  text 
to  baron  Demanstein,  who  was  merely  the  manager.  Schatz  11015 

La  giovane  scaltra.     A.  T.  of  Paisiello's  Amore  ingegnoso. 

Giovanna  d'Arco  o  sia  La  pulcella  d'Orleans.  Dramma  serio  per 
musica  del  cittadino  Sografi  da  rappresentarsi  nel  Teatro  La  Fenice 
Testate  dell'  anno  1797. 

Venezia,  Stamperia  Valvaseniz,  n.  d.    4^  V-     1'^'^^- 
Three  acts.    Cast  and  name  of  the  composer,  Gaetano  Andreozzi.    The  opera  was 
followed  by  Zemira  e  Azor,  ballo  pantomime  in  quattro.  atti,  composto  dal  cittadino 
Francesco  Clerico.    La  musica  sar&,  del  sudetto  autore"  (p.  43-46  of  libretto,  with 
argument). 

First  performed  at  Vicenza,  Teatro  Eretenio,  summer  of  1789.  Schatz  196 


OPEEA  LIBRETTOS  561 

II  Giove  di  Creta.  Dramina  giocoso  per  musica  da  rappresentarsi 
nel  nobile  Teatro  Tron  di  San  Cassiano  nelF  autunno  dell'  anno 
1776  .  .  . 

Venezia,  Gio.  Battista  Casali,  1776.     62  p.     17^"^- 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Dedication,  cast, 
Bcenario,  and  name  of  Giacomo  Bust  as  the  composer.  Schatz  9171 

Giove    in   Argo.     Melodrama   pastorale  ...  da    representarsi   in 
musica  nella  Sala  del  Ridotto  in  Dresda,  I'autimno  del  1717. 
Dresda,  Giovan  Riedel,  n.  d.     Unpaged.     19'^™. 

Three  acts.  Dedication  signed  by  the  author,  Antonio  Maria  Luchini,  and  dated 
Dresda,  novembre,  1717,  argument,  cast  (with  changes  after  libretto  had  been  printed 
on  slip  pasted  over  the  original  cast) ,  and  name  of  Antonio  Lotti  as  composer.  French 
title  page,  "Jupiter  en  A^os,"  and  text  face  Italian.  The  text  of  the  opera  is  fol- 
lowed, also  in  Italian  and  French,  by  the  text  of  "  Vespetta  e  Milo,"  the  three  "In- 
termedi  cantati  .  .  .    Dresde,  che'z  Jean  Riedel,  1717,"  and  this  notice  to  the  reader: 

' '  La  musica  del  primo  e  del  secondo  intermezzo  e  composizione  del  Signore  cavaliere 
Alessandro  Scarlati.  La  musica  del  terzo  intermezzo  e  composizione  del  Signore 
Francesco  Conti  o  Contino,  maestro  di  capella  di  Sua  Maest^  Cesarea. 

"Li  versi  del  primo  e  secondo  intermezzo  sono  fatti  intieramente  dall'  illustre 
penna  del  Signore  Silvio  Stampiglia,  poeta  di  Sua  Maeetk  Cesarea,  tutte  le  opere  di 
questo  celeb  re  poeta  sono  come  li  quadri  di  Tiziano,  e  di  Vandec  [!]...  H  terzo 
intermezzo  e  composizione  del  Signore  baron  Francesco  Ballerini  ...  Le  aria  che 
eono  tradote  in  francese,  di  Vespetta  e  di  Milo,  si  possono  cantare  come  le  italiane. 
Adio." 

These  intermezzi  do  not  seem  to  be  mentioned  in  Dent's  Scarlatti  biography.  For 
a  separate  ed.  of  the  libretto,  see  under  title  (Schatz  9522).  The  date  of  first  per- 
formance is  given  by  Schatz  for  these  intermezzi  and  the  opera  as  October  25,  1717. 
This  would  seem  to  contradict  the  inference  from  the  date  of  the  dedication. 

Schatz  5719 

The  gipsies.     A  comick  opera,  in  two  acts.     As  it  is  performed  at 
the  Theatre-Royal  in  the  Hay-Market. 
London,  T.  Cadell,  1778.    2  p.  I.,  30,  [2]  p.     21<^^. 

The  [2]  p.  contain  book-lists  of  the  publisher. 

Cast.  Neither  the  author,  Charles  Dibdin,  is  mentioned,  nor  Samuel  Arnold,  the 
composer.    The  piece  is  based  on  Favart's  "La  Boh^mienne." 

First  performed  August  3,  1778,  as  indicated.  Longe  102 

II  giramondo.  Intermezzi  da  rappresentarsi  in  Venezia  nel  carno- 
vale  1749  nel  Teatro  di  S.  Cassiano. 

Venezia,  Modesto  Fenzo,  1749.    front.,  18  p.     15^^. 

Two  parts.  Cast.  Neither  the  author  (imknown  to  Schatz)  is  mentioned,  nor 
Leonardo  Leo,  the  composer.    (Leo  does  not  list  this  opera.)  Schatz  5561 

►^11  Girello.     Drama  per  musica  da  rappresentarsi  nel  loco  ove  era  il 
Theatro  a  San  Moise  I'anno  MDCLXXXII. 

Venetia,  Gio.  Francesco  Valvasense,  1682.     69  p.     IJf.'^'^. 

Pages  3-4,  with  the  dedication  are  missing. 

Three  acts.    Argument,  scenario,  and  notice  to  the  reader,  which  reads  in  part: 

"Hora  ti  presento  una  bizzaria  dramatica,  dico  una  bizzaria,  perche,  elV^  una 
terza  entity  partecipante  del  Coroico  e  de  Drammatico.  Quest'  e  il  Girello  parto 
d'ingegnosissima  penna,  altre  volte  veduto  campeggiare  con  indicibile  applause  sti 
le  scene  d'ltalia.  Vi  troverai  in  esse  qualche  alteratione  nella  nova  tessitura  del 
verso,  m^  non  per6  variera  il  suo  essere  sostantiale.  II  tutto  h6  fatto  per  conformarmi 
alio  stile  corrente,  che  sempre  inclina  alia  novita.  S6,  che  il  genio  di  Veneti^  h 
tutto  capricio;  ama  assaissimo  le  bizzarie  ..." 

Neither  the  original  author^  Filippo  Acciajuoli,  is  mentioned,  nor  Francesco 
Antonio  Pistocchi,  who  according  to  Schatz  was  the  composer.  The  opera  was  per- 
formed by  wax  figures  on  the  stage  with  the  singers  behind  the  scenes.    Schatz  8198 

72251°— VOL  1—14 36 


562  LIBRARY   OF   CONGRESS 

La  Gismonda.  Commediaper  musica  di  Antonio  Palomba  Napole- 
tano  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nella  primavera  di 
quest'  anno  1750. 

Napoli,  Domenico  Langiano,  1760.     72  p.     15'^^. 

Three  acts.     Cast  and  name  of  the  composer,  Gioacchino  Cocchi.     Schatz  2039 

Gismondo  re  di  Polonia.     Dramma  per  musica  da  rappresentarsi 
nel  Teatro  detto  delle  Dame  nel  carnevale  dell'  anno  1727  .  .  . 
Roma,  Bemaho,  n.  d.     76  p.     15'^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Leonardo  Vinci  as  the  composer.  Schatz  107.47 

II  giudice,  e  padre,  ballet.     See  Borghi's  Egilina. 

II  giudicio  di  Paride.     Pastorale  per  musica  in  un  atto  da  rappre- 
sentarsi .  .  .  per  le  felicissime  nozze  di  Sua  Altezza  Reale  Feclerico 
Enrico,  principe  di  Prussia  ...  e  ...  la  principessa  Wilhelmina  di 
Hassia  Cassel  .  .  . 
Berlino,  Haude  e  Spener,  n.  d.     39  p.     17"^. 

One  act.  Carl  Heinrich  Graun  is  mentioned  as  the  composer  and  Leopoldo  di 
Villati  as  the  author,  though  it  is  known  that  Frederick  the  Great  and  count  Algarotti 
collaborated  with  him.  Argument.  German  title  page,  "Das  urtheil  des  Paris," 
and  text  face  Italian. 

First  performed  at  Charlottenburg,  Theater  der  Orangerie,  June  25,  1752. 

Schatz  4099 

Giudizio  di  Paride,  ballet.     See  Calderara's  Ricimero. 

U  giudizio  di  Paride,  ballet.     See  Galuppi's  Cajo  Mario. 

II  giudizio  di  Paride,  ballet.     See  Monza's  Sesostri. 

Giugurta.     A.  T.  of  C.  F.  PoUaroli's  II  demone  amante. 

Giuletta  e  Romeo,  fatto  patrio  Veronese  ballet.  See  Tarchi's 
L'Arminio. 

Giulia  e  Blinval,  ballet.     See  Bianchi's  II  chinese  in  Italia. 

Giulietta  e  Pierotto.     Dramma  giocoso  per  musica.     Da  rappre- 
sentarsi negl'  Imperiali  Regj  Teatri  di  Corte.     L'anno  1794. 
Vienna,  Mattia  Andrea  Schmidt,  n.  d.     135  p.     W^. 

Two  acts.  Giovanni  de  Gamerra  is  mentioned  as  author,  Giuseppe  Weigl  as 
composer  in  the  "protesta."  German  title-page,  "Giulietta  e  Pierotto,"  and  text 
face  Italian. 

First  performed  October  16,  1794,  as  indicated.  Schatz  10934 

—  GiuUetta  e  Pierotto.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1796.     151  p.     15^"^- 

Two  acts.  Joseph  Weigl  is  mentioned  as  the  composer.  German  title-page,  "  Jul- 
ohen  und  Peter,"  and  text  face  Italian,  which  seems  to  follow  de  Gamerra's  original 
Vienna  version  closely. 

First  performed,  as  indicated,  October  8,  1796.  Schatz  10955 

Giulietta  e  Romeo,  ballet.     See  Bianchi's  Ijc  viUanelle  astute. 
Giulietta  e  Romeo,  ballet.     See  Tarchi's  Antioco. 


OPERA    LIBRETTOS  563 

Giulietta  e  Romeo,  ballet.     See  Tritto's  Nicaboro  in  Jucatan. 

Giulietta  e  Romeo.     Tragedia  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  il  came  vale  dell'  anno  1796  .  .  . 
Milano,  Batista  Bianchi,  n.  d.     68  p.     loY^. 

Three  acts.  By  Giuseppe  Foppa,  who  is  not  mentioned.  Impresario's  dedication 
dated  Milan,  January  30,  1796,  argument,  cast,  scenario,  and  name  of  Nicola  Antonio 
Zingarelli  as  the  composer.  On  p.  [55}-68  prefatory  note,  ar^ment,  description  of 
Gaspare  Ronzi's  "Astarbea,  ballo  eroico-tragico-pantomimo,  the  composer  of  the 
music  not  being  mentioned.  Schatz  11247 

Second  copy.    ML  48 .A5    v. 9 

—  Giulietta,  e  Romeo.  Tragedia  per  musica  da  rappresentarsi 
nel  Regie  Teatro  di  S.  Carlo  della  Principessa  Testate  dell  anno  1798. 

Lisboa,  Simone  Taddeo  Ferreira,  1798.     Ill  p.     15'^^. 

Three  acts.  By  Giuseppe  Foppa,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Nicola  ZingareUi  as  the  composer.     Portuguese  text  faces  Italian. 

ML  50.2.G43Z3 

—  Julie  und  Rom.eo.  Ein  singspiel  in  drey  aufzuegen.  Dem 
geehrtesten  publikum  der  stadt  Botzen  von  den  hierortigen  ton- 
Kuenstlern  gewiedmet  ini  fasching  des  jahres  1798  .  .  . 

Botzen,  Zu  Tiahen  hey  dem  eingange  des  saals,  n.  d.     50  p.     16*^^. 

With  name  of  Zingarelli  as  the  composer.    The  translator  is  not  mentioned. 

Schatz  11248 

Giulietta  ed  Armidoro.     L.  T.  of  Cimarosa's  L'amor  costante. 

Giulio  Cesare.     L.  T.  of  Bianchi's  La  morte  di  Cesare. 

Giulio  Cesare  in  Egitto. 

Opera  in  three  acts.  Text  by  Nicola  Francesco  Haym,  music  by  Geoi^  Friedrich 
Handel. 

First  performed  at  London,  Haymarket,  February  20,  1724. 
Not  in  L.  of  C. 

—  Julius  Caesar  in  Aegypten.  In  einem  sing-spiele  auf  dem 
Hamburgischen  Schau-Platze  vorgestellet  im  jahr  1725. 

{Harriburg],  GedrucTd  mit  Stromerschen  schrifften,  n.  d.      Unpaged. 

Three  acts.  Dedication,  dated  Hamburg,  November  12,  1725,  by  the  translator, 
Thomas  Lediard,  cast,  scenario,  and  "Vorbericht,"  which  reads,  in  part: 

"Endlich  konmit  die  so  lang  versprochene  praechtige  opera,  "Julius  Caesar  in 
Aegypten,"  zum  vorschein  .  .  .  Diese  opera  ist  anfaenglicn  von  dem  beruehmten 
italiaenischen  poeten  Haym,  zum  behuef  des  Koeuigl.  theatri  auf  dem  Hay-Market  in 
London,  in  italiaenischer  sprache  geschrieben,  und  daselbst  g^en  ende  des  1724, 
jahres  .  .  .  aufgefuehrt  worden  .  .  .  Der  hiesige  uebersetzer,  der  eowohl  das 
italiaenische  originel,  als  the  englische  translation  davon,  vor  sich  gehabt,  hat  sich 
weder  an  das  erne,  noch  an  die  andere,  sclavisch  gebunden  .  .  .  auch  vielleicht 
zuweilen  von  alien  beyden  abgewichen;  jedoch  hat  er  allezeit  das  hauptwesen  und 
den  verstand  dieses  geschickten  autoris  zum  grund  geleget.  Die  von  dem  welt- 
beruehmten  .  .  .  George  Friedrich  Hendel  (Handel)  componirte  music  ist  in  alien 
arien  und  italiaenLschen  accompagnements  unveraendert  geblieben.  Die  compo- 
sition des  teutschen  recitativ,  una  der  teutschen  accompagnements,  wie  auct  der 
simphonien,  ist  von  dem  hertzogl.  Weissenfelschen  concert-meister  hr.  J.  G.  Ldnike 
.  .  .  die  uebersetzung  .  .  .  ist(aus8erdemteutschenchor,  bo  yoneinerweitgeschick- 
terer  hand  hergegeben  und  an  einen  dazu  bequemen  ort  eingemeckt  worden)  ein 
versuch  von  T.  Lediard." 

The  Italian  text  of  the  arias  is  added  to  the  German 

First  performed,  as  indicated.  Theater  beim  Gaensemarkt,  November,  1725. 

Schatz  4478 


564  LIBRARY   OF   CONGRESS 

Giulio  Cesare  in  Egitto — Continued. 

—  Julius  Caesar  in  Aegypten,  in  einem  Sing-spiele  auf  dem  Ham- 
burgischen  Schau-platze  vorgestellet  im  jalir  1733. 

[Hamburg],  mil  Spieringischen  schriften,  n.  d.      Unpaged.     18'^^. 
Three  acts.     Cast,  scenario.    The  Italian  text  added  to  many  of  the  arias.    A  later 
edition  of  the  above.  Schatz  11690 

^Giulio  Cesare  in  Egitto.  Drama  per  musica  nel  famoso  Teatro 
Vendramino  di  S.  Salvatore.  L'anno  MDCLXXVII.  Del  Bus- 
sani  .  .  . 

Venetia,  Francesco  Nicolini,  1677.     69  p.  (incl.  front.)     i5i'="». 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
with  the  name  of  Antonio  Sartorio  as  the  composer.  Schatz  9489 

'^Giulio  Cesare  trionfante.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  l'anno  MDCLXXXII  .  .  . 

Venetia,  Francesco  Nicolini,  1682.    front.,  60  p.     14^™. 
Three  acts.     By  Luigi  Orlandi,  who  dates  his  dedication  Venice,  January  10,  1682. 
Scenario  and  notice  to  the  reader,  mentioning  Giovanni  Domenico  Freschi  as  com- 
poser. Schatz  3349 

—  Cesare  trionfante.     Dramma  per  musica  da  rappresentarsi  in 
Bologna  nel  Teatro  Malvezzi  l'anno  1694. 

BologvM,  Giulio  Borzaghi,  n.  d.     65  p.     \ZY^- 

Three  acts.     Scenario  and  notice  to  the  reader: 

"Eccoti  il  Giulio  Cesare  Trionfante,  che  duoi  lustri,  e  piu  fu  rapresentato  in 
Venetia  con  quel  applause  che  sino  al  giomo  d'oggi  di  lui  risuona.  Non  ti  spiaccia 
vederlo  can^ato  in  molti  luoghi  dal  suo  primiero  intreccio,  poiche  fix  necessario 
Tuniformarsi  al  costume  di  dove  ora  si  rapresenta,  come  ancora  la  diversity  delle  voci 
de'  virtuosi  cantanti  obligb  chi  lo  direg^e  a  variame  molte  ariette  per  vietarne  gl'  in- 
comodi,  che  nella  musica  sariano  insorti,  e  maggiormente  f  ii  fatto  ci6  col  pensiere  di 
renderlo  piu  dilettevole  con  la  novit^  di  quelle  ..." 

Author  and  composer  unknown  to  Schatz,  but  the  note  quoted  above  furnished  a 
clue.  Comparison  showed  that  this  is  merely  a  somewhat  altered  version  of  Luigi 
Orlandi 's  text.  For  instance,  I,  6  is  now  "Che  d'impudica  fiamma— iVb6i7yiaTOnia 
del  mio  Sole"  instead  of  "Sicuro  di  mia  fede — E  gran  pena  amar"  and  to  I,  9  an  aria 
"Sveglia  in  sen"  has  been  added.  Presumably  in  1694  Freschi's  music  was  largely 
used.  ML  50.2  C  37 

Giul.  Flavio  Crispo.     Tragedia  da  cantarsi  nel  celebre  Teatro  Gri- 
mani  in  S.  Gio.  Grisostomo  nelle  notti  carnovalesche  MDCCXXII  .  .  . 
Venezia,  Marino  Rossetti,  1722.     5  p.  I.,  62  p.     17""^. 

Five  acts.  By  Benedetto  Pasqualigo,  who  signs  the  dedicatory  sonnet  with  his 
Arcadian  name  Merindo  Fesanio.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser, Giovanni  Maria  Capello.  Schatz  1591 

Giulio  Sabino,  ballet.     See  Bianchi's  Alessandro  nell'  Indie. 

Giulio  Sabino.     Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  San  Benedetto  il  carnovale  delP  anno  1781. 
Venezia,  Modesto  Fenzo,  1781.     56  p.     17'"^. 

Three  acts.  Pietro  Giovannini,  the  author,  is  not  mentioned.  The  title  of  his 
text  originally  was  "Epponina."  Argument,  cast,  scenario,  and  name  of  Giuseppe 
Sarti  as  the  composer.  On  p.  [21}-36,  argument,  cast,  description,  without  name  of 
the  composer  of  the  music  of  Sebastiano  Gallet's  "11  re  pastore,  ballo  eroico  panto- 
mime in  cinque  atti."  His  second  ballet  was  called  "II  trionfo  dell'  Amore  fra  i 
dastori . ' '  Schatz  9438 


OPERA   LIBRETTOS  565 

Giulio  Sabino — Continued. 

—  Giulio  Sabino.  Dramma  per  musica  in  tre  atti  da  rappresen- 
tarsi  nel  Teatro  Imp.  presso  la  porta  d'ltalia. 

Vienna,  Giuseppe  nob.  de  Kurzhek,  1785.     58  p.     16Y^- 
Three  acts.     Argument  and  name  of  Giuseppe  Sarti  as  the  composer.     German 
title-page,  "Julius  Sabrinus,"  and  text  face  Italiaii,  which  is  not  quite  the  same  aa 
in  the  original  Venice  1781  edition.     For  instance,  "Un  dolce  content©"  (I,  10)  has 
become  "Frema  pur  awerso  il  fato."  Schatz  9439 

—  Giulio  Sabino.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  da  S.  Agostino  la  primavera  dell'  anno  1781  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     68  p.     1^'^'^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name,  of 
Giuseppe  Sarti  as  tne  composer.  The  text  is  practically  the  same  as  in  the  original 
Venice,  1781  edition,  but  Pensieri  funesti"  has  been  dropped  from  I,  1.  On  p. 
[55J-68  cast,  prefatory  note,  and  description  without  name  of  the  composer  of  the 
music  of  Luigi  Bardotti's  ballet,  "Carolina  e  Mexicow."  Schatz  9440 

—  Giulio  Sabino.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  via  della  Pergola  la  primavera  del  MDCCLXXXV  . . , 

Firenze,  Stamperia  gia  Albizziniana,  1785.     28  p.     16^'^. 

Two  acts.  Argument,  cast,  and  name  of  Giuseppe  Sarti  as  the  composer.  With 
the  opera  was  performed,  composer  of  the  music  not  mentioned,  Fedengo  Terradea' 
ballet,  "II  trionfo  di  Rodrigo.  Schatz  11747 

—  Giulio  Sabino.  A  new  serious  opera,  in  two  acts.  As  per- 
formed at  the  King's  Theatre  in  the  Hay-Market.  The  music  entirely 
new,  by  the  celebrated  Signor  Giuseppe  Sarti,  under  the  direction  of 
Mr.  Mazzinghi. 

London,  J.  Stevenson,  1788.     1  p.  I.,  51,  [6]  p.     20'^'^. 

The  6  p.  at  the  end  contain  "A  list  of  the  subscribers  to  the  boxes  at  the  King's 
Theatre,  1788."  Argument,  cast,  and  English  prose  translation.  Though  "Pen- 
sieri funesti"  has  been  dropped  from  1, 1,  and  "Lungi  del  caro  bene"  has  been  added 
to  the  first  scene,  the  text  of  the  first  act  is  practically  the  same  as  in  the  original 
Venice  edition,  of  which  the  second  and  third  act  with  omissions  make  up  the  second 
act  of  the  London  version. 

First  performed,  as  indicated,  April  5,  1788.  Schatz  9441 

—  Giulio  Sabino.  Dramma  j)er  musica  da  rappresentarsi  nel  Regio 
Teatro  di  S.  Carlo  della  Principessa  in  occasione  di  solennizzare  il 
felicissimo  giorno  natalizio  di  Sua  Altezza  Reale  il  Serenissimo  Signore 
Don  Giovanni,  principe  del  Brasile,  etc,  li  13  maggio  dell'  anno  1798. 

Lishona,  Simone  Taddeo  Ferreira,  1798.     103,  [2]  p.     15'^'^. 

Two  acts  and  licenza.  The  author,  Pietro  Giovannini  is  not  mentioned.  Prefatory 
note,  argument,  cast,  scenario,  and  name  of  Giuseppe  Sarti  as  composer.  Portu- 
guese translation  faces  Italian.  ML  48.C6xxii 

—  Julius  Sabinus.  Eine  emsthafte  oper  in  drei  aufziigen.  Nebst 
einem  anhange  das  hochgraefl.  Erdoedische  Operntheater  betreffend; 
fuer  welches  diese  oper  uebersetzt,  und  zum  drucke  befoerdert  ist  von 
Johann  Nepomuck  Schueller,  mitglied  der  graeflichen  Operngesell- 
schaft  in  Pressburg. 

Pressburg,  gedruckt  mit  Weherischen  schriften,  1785.     52  p.     17*^^. 

The  "Anhang"  does  not  appear  in  this  copy. 

Three  acts.  Cast,  name  of  Giuseppe  Sarti  as  the  composer  and  "Vorrede,"  in 
which  the  opera  is  promised  ' '  tmter  der  f  uhrung  dee  herm  Kumpf  den  zweiten  Janner, 
ale  anfangsoper  der  1786eten  jahres."  Schatz  9442 


566  LIBRABY   OF   CONGRESS 

Giulio  Sabino  —Continued. 

—  Julius  Sabinus.     Ein  ernsthaftes  singspiel  in  drey  akten.     Nach 

dem  italienischen  frey  bearbeitet. 

Nuernberg,  im  Verlag  der  aeUem  Christoph  WeigeVschen  Jcunst  und 
huchhandlung,  1791.    xii,  68  p.     IdY"^- 

The  "Vorrede"  is  dated  Nuernberg,  February  1,  1791,  and  initialed  N[ikolau8j 
A[dam]  H[eiden].  Heiden  first  comments  on  the  success  of  Sarti's  "Meisterwerk, 
then  on  the  typically  Italian"  make-up  of  the  original  text  showing  "weni^  aufmerk- 
samkeit  fuer  die  poesie,  sondern  ganz  allein  fuer  composition,"  on  the  impossibil- 
ity of  remedying  certain  defects  without  altering  the  music,  adds  an  ai^ument, 
and  then  makes  these  interesting  remarks: 

"nach  einem  Neumann,  Eschenbure  und  Cramer  die  produkte  der  auslaendischen 
dichtkunst  und  musik  fuer  unsere  landsleute,  durch  zweckmaesige  bearbeitung 
geniessbar  zu  machen,  heisst  in  der  that  nicht  wenig  gewagt.  Wem  die  hartnaecki- 
gen  schwierigkeiten,  die  sich  einem  uebersetzer  italienischer  opern;  die  nicht  im 
geschmacke  eines  Pleissners  oder  anderer  aehnlicher  uebersetzer  arbciten  will, 
haufenweise  entgegen  stellen,  nur  einigermassen  bekannt  sind,  der  wird  mir  sehr 
gerne  zugestehen,  dass  es  nicht  leicht  ein  muehsameres  und  nicht  selten  undank- 
bareres  geschaefte  giebt,  als  die  unterlegung  des  deutschen  textes  unter  fremde, 
besonders  italienische  musik."  Schatz  9479 

Giulio  Sabino.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  carnovaie  del  1790  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  4-8  p.     i5|<="*. 

Three  acts.  By  Pietro  Giovannini,  who  is  not  mentioned  and  whose  title  originally 
was  "Epponina.  Argument,  cast,  scenario,  and  name  of  Angelo  Tarchi  as  the 
composer.  On  p.  44-48  brief  descriptions  of  Gaspare  Angiolini's  (who  also  composed 
the  music)  ballets,  "L'orfano,"  "II  r6  alia  caccia."  and  "II  tutoresorpreso." 

Schatz  10220 

Giulio  Villenvelt,  o  sia  L'assassino  di  Scozia,  ballet.  See  G.  Gior- 
dani's  Aspasia. 

Giunio  Bruto.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
da  S.  Agostino  Testate  dell'  anno  1782  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     60  p.     13^"^. 

Two  acts.  Argument,  cast,  scenario,  and  name  of  composer,  Cimarosa.  The 
author  is  unknown  to  Schatz.  On  p.  [51]-60,  description  of  Onorato  Vigand's  "Ar- 
mida  e  Rinaldo,  ballo  eroico  pantomime."  Neither  of  this  nor  of  Vigano's  other 
ballet,  "II  misantropo  o  sia  II  poter  delle  donne,"  is  the  composer  of  the  music  men- 
tioned. Schatz  1992 

Giunone  placata.  Componimento  dramatico  da  cantarsi  per  le 
felicissime  nozze  dell'  Eccellenze  Loro  il  Si^nor  D.  Filippo  Bernualdo 
Orsini  ...  e  la  Signora  D.  Teresa  Caracciolo  .  .  .  [vignette] 

RoTYia,  Generoso  Salomoni,  1762.     28  p.     27^"^. 

Vignettes.  Two  parts.  "Nidastio  Pegeate,  P.  A."  [real  name  not  given  by 
Wotquenne]  is  mentioned  as  the  author,  Antonio  Axirisicchio  as  the  composer. 

ML  50.2.G44A8 

Giunone  repacificata.     A.  T.  of  Manelli's  La  Filo. 

II  giuocatore  fortunate.     A.  T.  of  Piccinni's  L'astratto. 

I  g^uochi  d'Agrigento.  Dramma  per  musica  del  conte  Alessandro 
Pepoli  da  rappresentarsi  nell'  apertura  del  nuovo  Teatro  detto  La 
Fenice. 

Venezia,  CuHi,  1792.     1  p.  I.,  86  p.,  front,  and  If.  ports.     18^"^. 

The  front,  represents  the  facade  of  La  Fenice;  the  portrait  (between  p.  [6]-7), 
Giovanni  PaisieUo,  who  is  mentioned  as  composer.  The  other  ports,  represent 
Brigida  Banti  (at  p.  19),  Giacomo  David  (at  p.  54),  and  Gaspare  Pachiarotti  (at  p.  68). 
Prefatory  note,  argument,  scenario,  and  cast. 

First  performed  at  Venice,  as  indicated,  May  16,  1792.  Schatz  7629 

Second  copy.    Lacks  the  ports,  of  Paisiello  and  Bantu  ML  48.M2N 


OPERA  LIBRETTOS  567 

I  giuochi  d'Agrigento — Continued. 

—  Giuochi  d'Agrigento.     Dramma  per  musica  da  rappresentarsi 
nel  Regie  Teatro  di  S.  Carlo  della  Principessa  nel  4  novembre  1799. 
Lishona,  Simone  Taddeo  Ferreira,  MDCCLXXXXVIX  [!]     109  p. 

Three  acts.  By  conte  Alessandro  Pepoli,  who  ia  not  mentioned.  Ailment,  cast, 
scenario,  and  name  of  Giovanni  Paisiello  as  composer    Portuguese  text  faces  Italian. 

ML  50.2.G45P2 
Second  copy.    ML  48. C6    III 

II  giuoco  de'  matti.  Dramma  scherzoso  per  musica.  Da  rappre- 
sentarsi nel  Teatro  di  Malta  neU'  autunno  di  quest'  anno  1755  .  .  . 

Napoli,  Domenico  Lanciano,  1755.    4  V-  ^-j  ^^  P-     15^^. 
Three  acts.    Impresario's   dedication  and   cast.    Neither  the    author,   Antonio 
Palomba,  is  mentioned,  nor  Gaetano  Latilla,  the  composer. 

First  performed  at  Naples,  Teatro  Nuovo,  summer  of  1754.  Schatz  5453 

II  giuoco  dell'  arco,  ballet.     See  Pasque's  Arianna  e  Teseo. 

II  giuoco  di  picchetto.  Divertimento  per  musica  da  rappresentarsi 
alia  Corte  Elettorale  palatina. 

Mannheim,  Stamperia  elettorale  ed  a,ccademica,  n.  d.     23  p.     15^"^. 

Our  copy  is  interleaved,  contains  ms.  corrections  and  other  indications  that  it  was 
used  for  preparation  of  a  performance.  The  pagination  is  faulty,  as  13-H  are  repeated. 
The  real  p.  13  begins  with  a  repetition  of  the  first  four  lines  of  the  aria  "  Heureuse  paix, 
tranquille  indifference  "  ffrom  Destouches'  "Iss^"  of  1708, 1,  3)  and  p.  14  contains  the 
aria  "Del  destin  non  vi  lagnate "  (from  Metastasio's  "Olimpiade "  text).  The  second 
p.  13,  which  should  have  been  p.  15,  begins  with  the  aria  "Lorsque  I'amour  dans  ses 
noeuds,"  and  the  second  p.  14  contains  the  aria  "D'uninfeliceamante."  Other  arias 
are:  "No:  non  dicsti  il  vero,"  "Ah  Teseo!  Ah  del  mio  cor,"  "Gi^  fucina  b  questo 
petto,"  "  lo  sono  stata  in  Ascoli."  A  German  lied,  "  Ich  bin  ein  musikant,"  is  not  in 
this  1  ibretto .  The  charac  ters  are ,  ' '  Gioconda , "  "  Placido , "  "  Se verino . ' '  Neither  the 
author  is  mentioned,  nor  the  composer. 

As  "  II  gioco  del  pichetto,  scherzo  giocoso  per  musica,"  this  one-act  opera  was  per- 
formed at  Coblenz,  Hoftheater,  1772,  and  an  Italian-French  libretto,  without  com- 
poser's or  author's  name,  was  published  at  Confluenza,  1772.  In  May,  1773,  the  opera 
was  then  performed  at  Schwetzingen,  Hoftheater.  It  is  apparently  for  this  perform- 
ance that  our  libretto  was  printed.  Pichler  attributed,  without  stating  his  reasons, 
the  music  to  Pietro  GugUelml  but  Schatz,  and  later  Piovano,  ascribe  the  music  to 
Joramelli  on  the  ground  that  the  text  is  the  same  as  that  of  Jommelli's  "La  conversa- 
zione," Lisbona  1775.  Furthermore,  Schatz  refers  to  a  score  of  the  opera  (advertised 
by  Bertling  in  his  catalogue  no.  28),  in  which  there  is  a  note  to  the  effect  that  JommelU 
composed  the  music. 

In  his  Jommelli  biography  (p.  426-428)  Abert  deals  with  a  score  by  Jommelli  called 
"La  critica,"  which,  he  says,  was  performed  at  Stuttgart  in  1766  and  which  has  been 
preserved  at  the  Conservatory,  Naples,  as  a  "Cantata."  In  his  analysis  of  the  plot 
Abert  mentions  as  characters:  Placido,  Severino,  Lesbia,  Gioconda,  Siface,  Acamante, 
Palmira.  In  his  ms.,  " Chronologische  Folge  der  .  .  .  Jommelli  .  .  .  Werke," 
Schatz  has  an  entry,  while  referring  to  the  score  at  Naples,  under  "La  critica.  Anfang 
des  Jahres  1767  "  (first  he  had  the  date  1766),  with  this  cast: 

Placido Arcangelo  Cortoni. 

Severino Francesco  Ouerrieri. 

Lesbia Maria  Masi-Giura  delta  la  Morsarlna. 

Gioconda Monaca  Buonani. 

Siface Giuseppe  Aprile. 

Acamante Giovanni  Maria  Rubinelli. 

Palmira     Anna  Cesari-Seemann. 

In  other  words,  Schatz  adds  a  sixth  character,  yet  he  plainly  gives  the  cast  of  the 
Stuttgart  production  of  "I-a  critica,"  since  the  artists  mentioned  (comp.  Sittard) 
belonged  to  the  Stuttgart  opera  "  Etat "  of  1767. 

The  text  of  "La  critica''  Abert  is  inclined  to  ascribe  to  Gaetano  Martinelli,  who 
supplied  Jommelli  at  Stuttgart  with  other  texts.  It  is  plainly  to  a  large  extent  the 
same  as  that  of  Jommelli's  "La  conversazione  "  and  of "  II  giuoco  di  picchetto."  Under 
all  these  circumstances  it  is  fairly  safe  to  assume  that  "II  giuoco  di  picchetto,"  as  per- 
formed at  Coblenz  and  Schwetzingen,  was  Jommelli's  "La  critica''  reduced  t«  <.hree 
characters.  ML  50.2G47 


568  UBRARY   OF   CONGRESS 

II  giuramento  alia  vendetta.  Dramma  per  musica  da  rappresen- 
tarsi  nel  tempo  della  fiera  in  Treviso  I'anno  1744  nel  Teatro  di  S.  E. 
Dolfino  .  .  . 

Venezia,  Modesto  Fenzo,  1744.     44  V-     ^^'^"*- 

Three  acts.  Dedication,  argument,  cast,  and  name  of  Girolamo  Micheli  as  the 
comj)08er.  Text  by  conte  Angelo  Schietti  (who  is  not  mentioned),  originally  under 
the  title  ' '  La  pace  per  amore.  Schatz  6482 

II  Qiustino.     Tragedia. 

[449]-520  p.  19"^.  (Pietro  Metastasio,  Opere  drammatiche,  Ven- 
ezia,  Giuseppe  Bettinelli,  1733-37,  v.  3.) 

Five  acts.    Argument.    No  composer  mentioned  and  none  recorded  by  Schatz. 

ML  49.A2M4 

—  Giustino. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  ix,  [289]-419  p. 

Five  acts.    Argument.  ML  49.A2M42 

—  Giustino. 

[251\-360  p.  26"'^.  {Metastasio,  Opere,  t.  x,  Parigi,  vedova  Heris- 
sant,  1782.) 

Five  acts.  ML  49.A2M44 

II  Giustino.     Drama  per  musica  da  recitarsi  nel  Teatro  Formagliari 
la  primavera  delF  anno  MDCCXI  .  .  . 
Bologna,  Costantino  Pisarri,  n.  d.     76,  [1]  p.     16^'^. 

Five  acts.  By  conte  Nicol6  Beregani,  who  is  not  mentioned.  Dedication  by 
Giuseppe  Filippo  Calderini,  dated  Bologna,  April  19,  1711,  ailment,  cast,  scenario, 
name  of  Tommaso  Albinoni  as  composer,  and  notice  to  the  reader  to  the  effect  that 
this  is  a  version  of  Beregani's  text,  as  modernized  by  Pietro  Pariati       Schatz  129 

^  Giustino.     Melodrama  da  rappresentarsi  nel  celebre  Teatro  Ven- 
dramino  di  San  Salvatore.     L'anno  MDCLXXXIII  .  .  . 
Venetia,  Francesco  Nicolini,  1683.    front.,  69,  [2]  p.     14'^^. 

Three  acts.  Publisher's  dedication,  alluding  to  conte  Nicol6  Beregani  as  the 
author,  ai^ument,  brief  notice  to  the  reader,  and  scenario.  The  composer,  Giovanni 
Legrenzi,  is  not  mentioned.  Schatz  5544 

Giustino.  Dramma  per  musica  da  recitarsi  nel  Teatro  deU'  illmo 
Sig.  Federico  Capranica  nel  carnevale  delF  anno  1724  .  .  . 

Rorna,  Bemaho,  1724.     68  p.     14^"^- 

Three  acts.  By  Nicolo  Beregani  (not  mentioned),  with  alterations.  Federico 
Capranica's  dedication,  argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as 
the  composer.  Schatz  10769 

Der  gleichgueltige  ehemann.     Tr.  of  Schuster's  II  marito  indolente. 

La  gloria  d'Amore.  Spettacolo  festivo  fatto  rappresentare  dal 
serenissimo  Sig.  duca  di  Parma  sopra  I'acque  dell  gran  peschiera 
novamente  fatta  nel  suo  giardino  per  gl'acclamati  sponsali  del  sere- 
nissimo Sig.  principe  Odoardo  suo  primo  genito  con  la  serenissima 


OPERA   LIBRETTOS  669 

La  gloria  d'Amore — Continued. 

Signora  principessa  Dorotea  Sofia  di  Neoburgo  .  .  .     Poesia  d'Aurelio 
Aureli  .  .  .  e  musica  di  D.  Bernardo  Sabadini,  mastro  di  capella 
della  medesima  A.  S. 
Parma,  Stampa  ducale,  1690.     viii,  30  p.     20""^. 

Three  acts.  Dedication  by  the  author,  his  prefatory  note,  cast,  and  scenario. 
This  copy  lacks  the  15  plates  which  accompany  the  copy  in  the  Royal  Conservatory 
Library'  at  Brussels  showing  "les  appareils  th^atraux,  d'une  hardiesse  et  d'une  mag- 
nificence incroyables  "  ( Wotquenne)  as  invented  by  the  brothers  Gasparo,  Pietro,  and 
Domenico  Mauro,  of  Venice,  whose  merits  are  extolled  in  the  notice  to  the  reader 
mentioned  above. 

First  performed  May  24,  1690,  as  indicated.  Schatz  9198 

La  gloria  d'Orfeo.     Dramma  musicale. 

Girolamo  Bartolommei  Smeducci,  Drammi  musicali  moraM,  Firenze, 
1656,  V.  i,  p.  [233]-288.     23'^'^. 

Prologue  and  three  acts.  Argument,  allegoria  and  dedication  to  Francesco  d'Este, 
duca  di  Modona  e  R^gio,  in  which  Bartolomei  saye: 

"Ritoma  il  mio  Orfeo  dalla  stampa  riformato  a  rinnovare  a  V.  A.  S.  la  divota 
offerta,  nella  quale  Egli  per  prima  8'affrett6  per  giimgere  opportuno  nel  tempo  delle 
felicissime  nozze  di  V.  A.  con  auguri  di  desiderata  prosperity  ..."     ML  49.A2B3 

La  gloria  trionfante  d'amore.  Drama  per  musica.  Da  rappre- 
sentarsi  nel  Teatro  di  Sant'  Angelo  I'autunno  dell'  anno  1712.  Del 
dottor  Grazio  Braccioli  .  .  . 

Venezia,  Marino  Rossetti,  1712.    front.,  60  p.     .?5<="*. 

Three  acts.  Author's  dedication  dated  Venice,  November  16,  1712,  argument 
cast,  scenario,  and  name  of  Giacomo  Bampini  as  the  composer.  Schatz  8596 

The  glorious  first  of  August.  A.  T.  of  Attwood's  The  mouth  of 
the  Nile. 

Der  glueckliche  betrug.  A.  T.  of  Reiser's  Der  Hamburger  jahr- 
marckt. 

Der  glueckliche  schatzgraeber,  ein  komisches  singspiel  von  einem 
aufzuge. 

Wien,  J  oh.  Thorn,  edler  v.  Trattnern,  1773.     20  p.     16^"^. 

Neither  the  author,  Paul  Weidmann,  mentioned^  nor  the  composer  (unknown  to 
Schatz).  Schatz  11455 

Die  glueckliche  unschuldige.  Tr.  of  Paisiello's  L'innocente  for- 
tunata. 

Der  glueckliche  zufall.     A.  T.  of  Lange's  List  imd  ungefaehr. 

Die  gluecklichen  jaeger.  Ein  singspiel  in  dre}'^  aufzuegen.  In 
musik  gesetzt  von  hrn.  Umlauf. 

n.  i.,  n.  d.  p.  [69]-132.  W^*^"^.  {Gottlieb  Stephanie  d.jung.,  Sing- 
spiele,  Liegnitz,  1792,  no.  2.) 

Detached  copy.  First  performed  at  Vienna,  Kamthnerthor  Theater,  February 
17,  1786  (Schatz);  February  17,  1785  (Haas).  Schatz  10525 

Die  gluecklichen  reisenden.     Tr.  of  Anfossi's  I  viaggiatori  feUci. 

Der  gluecks  wechsel  oder  Mutter  Natur  in  ihren  kindern.  Tr.  of 
Piccinni's  Le  vicende  della  sorte. 


570  LIBRARY   OF   CONGRESS 

Das  gluekliche  bauern  maedchen.  A.  T.  of  Dieter's  Das  frey- 
schiessen. 

Die  gnade  des  Titus.     Tr.  of  Hasse's  La  clemenza  di  Tito. 

Gneo  Marzio  Coriolano.  Drama  musicale  fatto  rappresentare  da' 
Signori  Accademici  del  Casino  sotto  la  protezione  del  sereniss.  prin- 
cipe  cardinale  Francesco  Maria  di  Toscana. 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Firenze,  Vincen- 
zio  Vangelisti,  1689,  p.  [299]-378.     ^4'="'. 

Three  acts.    Argument  and  prefatory  note,  which  reads  in  part: 
"Fu  questo  drama  composto  dail'  autore  per  servirne  la  sereniss.  ^randuchessa 
Vittoria  sua  signora,  la  quale  dopo  un'  anno  ne  fece  regalo  al  serenissimo  principe 
Francesco  Maria  oggi  cardinale  de'  Medici,  e  I'A.  S.  sotto  I'autorevole  sua  protezione 

10  espose  alle  scene  de'  Sig.  Accademici  del  Casino,  posto  in  musica  dal  padre  Lorenzo 
Cattaxd  Agostiniano,  maestro  di  cappella  dell'  illustriss.  e  sacra  religione  de'  cava- 
lieridi  S.  Stefanoin  Pisa  .  .  .  Ben  dodici  volte  fu  recitata,  e  I'istesso  numerosissimo 
concorso  v'intervenne  la  prima,  che  I'ultima  volta,  adoprando  ciascheduno  industria 
nel  ritrovar  mezzi  per  essere  ammesso  all'  udienza  ..." 

First  performed  as  indicated,  summer  1686.  ML  49.A2M7 

Les  gnomes  ou  L' amour  ambit ieux.     Entree  in  Duval's  Les  g^nies. 

I  gobbi.     A.  T.  of  Portugal's  La  somiglianza. 

Qolconda  libera ta  dalla  tirannide  di  Scour-Malou.  A.  T.  of 
the  ballet  La  Galzeuca. 

The  golden  pippin :  an  English  burletta,  in  three  acts.     As  it  is  per- 
formed at  the  Theatre  Royal,  Covent  Garden.     By  the  author  of 
Midas. 
London,  T.  Becket,  1773.     2  p.  I.,  51  p.     20'"^. 

By  Kane  O'Hara.  The  music  is  a  pasticcio  made  up  partly  of  ballad  airs,  partly 
from  Francesco  [di  Majo?],  Galuppi,  Giordani,  Diini,  Philidor,  Fiscluetti, 
Fisher,  Monsigny,  Heendel,  Bryan,  Bates,  Vivaldi,  and  especially  Thomas 
Augustin  Ame,  who  selected  and  arranged  the  music. 

First  performed,  as  indicated,  February  6,  1773.  Longe  26 

—  The  golden  pippin.     In  two  acts.     By  Kane  O'Hara,  Esq. 

19'^'^.  [67]-79  p.  {Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  Hi,  Edinburgh,  1792.) 

Covent-Garden  and  Edinburgh  (1776)  casts.    Names  of  the  composers. 

ScHATz  11753C 

Das  goldene  gefaess.     A.  T.  of  Kauer's  Bitter  Willibald. 

Golpone  e  Birina,  intermezzi.     See  Oiacomelli's  Achille  in  Aulide. 

11  gondoliere  ossia  Gli  sdegni  amorosi.  Intermezzo  di  due  parti  per 
musica.  Rappresentato  per  la  prima  volta  in  Milano  nell'  anno 
MDCCXXXIL 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  eflgli,  1788-95,  v.  35, 
[39^50  p.     ISY"^. 

Two  parts. 

First  performed  at  Milan  in  January,  1733,  according  to  Schatz,  who  does  not 
know  the  composer.  PQ 


OPERA   LIBRETTOS  571 

II  gondoliere — Continued. 

—  Gli  sdegni  amorosi.     Intermezzo. 

[247]-^56  p.  16^'^'^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  iv,  Torino,  1757.) 

Two  parts.  • 

U  Gonzalvo,  ballet.     See  Anfossi's  Le  gelosie  fortunate. 

Gonzalvo  in  America,  ballet.     See  Nicolini's  Gli  Sciti. 

"^  II  Gordiano.     Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Vendramino  di  San  Salvatore  I'anno  1688  .  .  . 
Venetia,  Francesco  Nicolini,  1688.     60  p.     l^Y^- 

Three  acts.  By  Adriano  Morselli,  who  is  not  mentioned.  Publisher's  dedication, 
notice  to  the  reader  with  name  of  Domenico  Gabrieli  as  composer,  argument,  and 
scenario.  Schatz  3404 

II  Gordiano  Pio.  Drama  per  musica  nel  felicissimo  giomo  nata- 
lizio  della  S.  R.  M*.*  di  Giuseppe  I.  re  de'  Romani  .  .  .  Rappresen- 
tata  nella  citta  di  Neustatt  1  anno  MDCC.  Posto  in  musica  dal  Sig. 
Marc' Antonio  Ziani  .  .  .  conTarie  perli  ballettidelSig^Gio.  Gioseno 
Hoffer  .  .  . 

Vienna  d' Austria,  Susanna  Cristina,  vedova  di  Matteo  Cosmerovio, 
n.  d.     6  p.  l,  101  p.     ;4i<=™. 

Three  acts  and  licenza.  Dedication  by  the  author,  Donato  Cupeda,  dated  Vienna, 
July  26,  1700,  argument,  scenario,  and  notice  to  the  reader,  in  which  Cupeda  says: 

' '  Questo  drama  composto  nella  convalenza  da  una  lunga  infirmity,  no  poteva  riuscire 
che  un'  aggregato  di  debolezze  ...  La  sua  lunghezza,  che  nella  rappresentazione 
avrebbe  portato  assai  piii  di  tempo,  che'l  prescritto  da  sovrano  comando,  m'h^  obbli- 
gato  a  seguire  il  costume,  che  corre  ne'  teatri  d' Italia,  cio5  d'abbreviarlo  per  la 
musica,  con  lasciarlo  intero  alia  stampa.  I  versi  che  in  quella  si  tralascieranno,  sono 
segnati  con  le  due  virgolette  ";  mk  perche  tal  volta  accade,  ch'alcuno  no  si  toglia 
interamente,  ei  6  aggiunto  un  picciolo  asterismo  *,  che  dinoter^  quella  parte  di  esso, 
che  rester^  ancora  nella  musica  ..." 

Accordingly,  for  instance,  the  whole  scene  I,  6,  "Se  di  Roma  per  I'impero,"  was 
dropped  and  in  I,  12,  the  aria,  "Per  le  svele  erra,  e  si  lagna,"  was  followed  by  the 
words  "Amata  Oronta,"  etc.  Schatz  11188 

Gott  Mars  oder  Der  eiseme  mann.  Ein  komisches  singspiel  in  zwey 
aufzuegen.     Text  und  musik  ist  vom  herrn  von  Dittersdorf. 

Oels,  Ludwig,  n.  d.    96  p.     16""^. 

First  performed  at  Oels,  Hoftheater,  May  30,  1795.  Schatz  2592 

Der  gouverneur  der  canarischen  inseln.  Tr.  of  Ghinassi's  II 
governatore  dell'  isole  canarie. 

II  governadore.  Commedia  per  musica  di  Domenico  Canick.  Da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo,  nel  camevale  di  quest' 
annp  1747. 

Napoli,  Domenico  Langiano,  e  Domenico  Vivenzio,  1747.  80  p. 
15"^. 

Three  acts.  Cast,  name  of  "Niccol6  Croscino"  (Nicola  Logroscino)  as  composer, 
and  "protesta"  reading  in  part: 

"Comparisce  in  istampa,  e  suUe  scene  la  preeente  commedia  molto  di  versa  da 
quella.  cne  gii  da  prima  I'autore  ideata,  e  scritta  I'avea."  Schatz  5673 


572  LIBRARY   OF   CONGRESS 

La  governante.  Intermezzo  in  musica  a  cinque  voci  da  rappresen- 
tarsi  nel  Teatro  Valle  dell'  illmi  Signori  Capranica  nel  camevale  dell' 
anno  1777  .  .  . 

Roma,  Arcangelo  Casaletti,  1777.     65  p.     15^^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication,  impri- 
matur, cast,  and  name  of  Michele  Mortellaxi  as  the  composer.  Schatz  6686 

II  governatore  dell'  isole  Canarie.  Intermezzo  in  musica  a  cinque 
voci  da  rappresentarsi  nel  Teatro  Valle  degl'  illustriss.  Sigg.  Capra- 
nica nel  camevale  dell'  anno  1785  .  .  . 

Roma,  Agostino  Palomhini,  n.  d.     51^.  p.     15'^'^. 

•Two  acts.  By  Catterino  Mazzol^,  who  is  not  mentioned.  Cast  and  name  of 
Agostino  Accorimboni  as  composer.  ML  50.2.G6A2 

H  governatore  dell'  isole  Canarie.     Intermezzo  in  xnusica  da  rap- 
presentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  puhl,  1786,  n.  d.     143  p.     16^"^. 

Two  acts.  By  Caterino  Mazzol^,  who  is  not  mentioned.  Stefano  Ghinassi  is 
named  as  the  composer.  German  title  page,  "Der  gouvemeur  der  canarischen 
insehi,"  and  text  face  Italian.  Schatz  3802 

The  governess,  a  comic  opera:  As  it  is  performed  at  the  Theatre- 
Royal  in  Crow-street. 

DuUin,  n.  puhl.,  1777.     2  p.  I.,  40  p.     16^"^. 

Three  acts.  Cast.  A  pirated  version  by  Ryder  who  took  the  part  of  Enoch  Issachar 
of  "The  duenna,"  text  by  Sheridan,  music  by  Thomas  Linley,  father,  and  Thomas 
Linley,  son.    According  to  Tufts,  a  1793  Dublin  ed.  calls  Sheridan  the  author. 

LONGE  148 
Second  copy.    Lonoe  323 

Das  grab  des  Mufti  oder  Die  zwey  (zwei)  geizigen.  Tr.  of  Gr^try's 
Les  deux  avares. 

Das  grab  des  Mufti,  oder  Die  zwey  geizigen.     Eine  komische  oper 
in  zwey  akten  von  A.  G.  Meissner. 
Leipzig,  Dijlcische  huchhandlung,  1776.     4  V-  ^-j  ^^>  t-^l  V-     l^'^^- 

Dedication  by  the  author,  dated  Leipzig,  March  8,  1776,  and  his  "  Vorbericht,"  in 
which  he  concedes  the  impossibility  of  avoiding  all  the  defects  of  the  French  original 
["Les  deux  avares"]  by  Falbaire,  and  says: 

"Ob  es  mir  im  gegentheil  gelungen  sey,  durch  ganz  neue  gesaenge,  durch  ein 
drittheil  neuer  scenen,  durch  mehrem  dialog,  anstatt  des  bey  nan  immer  fortdauem- 
den  singens,  und  durch  gaenzliche  umarbeitung  von  Karls  und  Wilhelminens  charak- 
ter  das  stueck  selbst  zu  verbessem,  das  mag  das  urtheil  der  kenner  entscheiden; 
wenn  sie  anders  diese  kleinigkeit  der  muehe  werth  schaetzen,  sie  mit  dem  urbilde, 
oder  wenigstens  mit  der  woertlichen  uebersetzung  des  herm  Andre  zu  vergleichen. 
Der  beyfall  einiger  meiner  freunde  .  .  .  und  beynahe  noch  mehr  als  dies,  das  ver- 
sprechen  eines  unsrer  grossten  tonkuenstler,  des  herm  [Johann  Adam]  Hiller,  der 
diese  arbeit  in  der  handschrift  sah,  und  ihr  naechstens  durch  seine  komposition 
vorzuege  zu  geben  versprach,  die  sie  jetzt  noch  nicht  besitzt,  haben  mich  zu  idiesen  [!] 
Bchritt  ermuntert  ..." 

First  performed  at  Leipzig,  Theater  am  Rannstadter  Thore,  January  17,  1779. 

Schatz  4720 

—  Das  grab  des  Mufti,  oder  Die  zwey  geizigen.     In  zwey  akten. 

Nach  Falbaire. 

A.  G.  Meissner,  Operetten,  Leipzig,  1778.     6  p.  I.,  96,  [1]  p.     17''^. 

Same  as  the  1776  edition,  the  first  p.  1.,  with  the  title  page  for  the  collection,  having 
been  added.  ML  49.A2M3 


OPERA  LIBRETTOS  573 

Ein  grab  in  Arkadien.  L.  T.  of  Schmittbauer's  Lindor  und 
Ismene. 

Les  Graces,  ballet  en  action,  tir6  de  la  piece  de  M.  de  Sainte-Foix; 
de   la    composition   de    M.  Gardel   Tame  .  .  .      Represents   devan 
Leurs  Majestes  a  Versailles  le  4  fSvrier  1779. 
[Paris],  P.  R.  C.  Ballard,  1779.     16  p.     W^^. 

One  act.  Cast.  Not  recorded  by  Lajarte.  Composer  of  the  music  imknown 
tome.  ML52.2.G7 

The  Graces:   an  Anacreontic  ballet. 

Jean  George  Noverre  Worlcs.  Tr.  from  the  French,  London,  1783, 
V.  3,  p.  [93]-144.     21^"^. 

One  act.     Preface,  argument,  and  detailed  description  of  the  eleven  scenes. 

GV  1787. N8 

The  Graces.  An  intermezzo ;  in  one  act.  As  it  is  performed  at  the 
Royal  Circus  in  St.  George's  Fields. 

London,  G.  Kearsly,  1782.     24  p.     21'^'^. 

One  act.     Text  and  music  by  Charles  Dibdin,  who  is  not  mentioned. 

LoNGB  256 

Les  Graces,  ballet-heroique,  represente  par  I'Academie  royale  de 
musique,  I'an  1735.  Paroles  de  M"".  Roy.  Musique  de  M""  Mouret. 
CXXII.  opera. 

n.  i.,  n.  d.  75  p.  14h'^-  (Recueil  general  des  opera,  Paris,  t.  xvi, 
1745). 

Prologue  and  the  entr^s,  "L'ingenue,"  "La  melancholique,"  "L'enjou^e." 
Avertissement. 

First  performed,  as  indicated,  May  5,  1735.  ML  48. R4 

Les  Graces  vengees.  Tr.  of  Metastasio's  libretto  Le  Grazie 
vendicate. 

Die  graefinn  von  Amalfi.     Tr.  of  Weigl's  La  contessa  di  Amalfi. 

Graf  Albert.     Tr.  of  Gretry's  Le  comte  d'Albert. 

Graf  Balbarone  oder  Die  maskerade.  O.  T.  of  Gerl's  Der  bestrafte 
hochmuth. 

Der  graf  bey  guterlaune.  Tr.  of  Bemardini's  II  conte  di  bell' 
umore. 

Der  graf  Caramella.     Tr.  of  Galuppi's  II  conte  Caramella. 

Gesaenge  aus  dem  singspiele :   Graf  von  Waltron  oder  Die  subordi- 
nation, in  vier  aufzuegen.     In  musik  gesezt  von  Ignaz  Walter. 
Hamburg,  J  oh.  Matthias  Michaelsen,  1792.    31  p.     W''^. 

The  author,  Johann  Baptist  Bergobzoomer,  is  not  mentioned. 

First  performed  at  Riga,  Vietinghoff' sches  Theater,  Dec.  31/Jan.  11, 1785/1786. 

SCHATZ  10860 

II  gran  Cidde.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1769  alia  presenza  di  S.  S.  R.  M. 

Torino,  Onorato  Derossi,  n.  d.     xii,  50  p.     16'^^. 

Three  acts.  Argument,  cast,  scenario,  name  of  the  author,  Giovacchino  Pizzi,  and 
of  the  composer,  '"Carlo  Defranchi"  (Franchi).  The  ballet  airs  were  composed  by 
Giuseppe  Antonio  Le  Messier  and  "Paolo  Ghebart." 

First  performed,  as  indicated,  December  26,  1768.  Schatz  3328 


574  LIBRARY   OF   CONGRESS 

II  g^an  conte  di  Cordanova.     Farsetta  in  musica  atre  vocida  rap- 
presentarsi  nel  Teatro  a'  Saponari  nel  carnevale  dell'  anno  1754  .  .  . 
Roma,  Puccinelli,  1754.     24  p.     IS^^^^. 

Two  parts.  Author  not  mentioned  and  unknown  to  me.  Possibly  Girolamo 
Aureli  wrote  the  text.  Cast,  name  of  Giovanni  Massi  as  composer  and  impresario's 
dedication  which  begins: 

"La  mira  principale  di  quest'  intermezzi,  che  vi  offeriamo,  b  stata,  come  bene 
apparisce  di  notare  e  pungere  la  ridicola  ambizione  di  taluni;  che  quantunque  da 
bassi  natali  traggan  I'origin  loro,  vogliono  tuttavia  epacciarsi  par  nobili  e  generosi." 

ML  50.2.G68M2 

II  Gran  Costanzo  ...  da  rappresentarsi  nel  Teatro  di  Mantova. 

Mantova,  Gio.  Batt.  Grana,  1706.     72  p.     W"^. 

Three  acts.  Dedication  and  argument.  Neither  author  nor  composer  mentioned. 
Work  unknown  to  Schatz,  Allacci,  etc.  ML  50.2.G7 

II  gran  Macedone.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  San  Casciano  I'anno  1690  .  .  . 

Venetia,  Girolamo  Alhrizzi,  1690.     69  p.     12°. 

Three  acts.  Impresario's  dedication,  dated  "[blank]  November,  1690,  scenario, 
argument,  notice  to  the  reader,  with  name  of  the  composer,  Giuseppe  Boniventi,  but 
not  of  the  librettist,  Giulio  Pancieri.     On  p.  69,  this  notice  to  the  reader: 

"Se  nell'  opera  scorgerai,  che  in  una  medesima  scena,  come  quella  delle  Loggia 
dirupate  vengono  personaggi  piii  d'una  volta,  compatisci,  perche  non  vi  e  stato  com- 
modo  di  raddoppiar  le  mutazioni  di  scene."  Schatz  1191 

II  gran  Mogol.     O.  T.  of  Lalli's  text  L'Argippo. 

II  gran  Mogol.  Drama  per  musica  di  Domenico  Lalli.  Da  rappre- 
sentarsi nel  Teatro  di  S.  Bartolomeo  nel  giorno  26.  di  decembre 
1713  .  .  . 

Napoli,  Michele  Luigi  Muzio,  1713.     6  p.  Z.,  56  p.     14"'^. 

Three  acts.  Dedication  by  the  impresario,  Nicola  Serino,  argument,  scenario, 
cast,  names  of  Francesco  Mancini  as  composer  and  of  Angiolo  Birini  as  author  of  the 
buffo  scenes  and  of  certain  designated  arias.  Schatz  5879 

II  gran  Tamerlane.     Dramma  per  musica  da  rappresentarsi  nel 
Regio-Ducal  Teatro  di  Milano  nel  carnovale  dell'  anno  1772  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     76  p.     14Y^- 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Dedication,  argu- 
ment, cast,  name  of  Joseph  Misliweczck  as  the  composer,  and  avvertimento: 

"Le  scene,  le  arie  ec.  contrassegnate  col  seguente  asterisco  (*)  sono  aggiunte,  o 
cambiate.  Un  tale  arbitrio  non  recher^  maraviglia  a  chi  sk,  che  il  Tamerlano,  o  sia 
il  Bajazet  fe  stato  sformato  tante  volte,  quante  h  comparso  sopra  le  scene.     Qualunque 

Eer5  egli  siasi  al  presente,  non  si  toglierk  da  esso  il  merito  della  buona  volonta  a  chi 
a  stimati  necessari  simili  cambiamenti." 
First  performed,  as  indicated,  December  26,  1771.  Schatz  6530 

II  gran  Tamerlane.     Tragedia  per  musica,  da  rappresentarsi  sul 
Regio   Teatro   Danese,   nel   principio   dell'    anno    1764. — Den   store 
Tamerlan  .  .  .  oversadt  paa  dansk,  af  R.  Soelberg  .  .  . 
Ki^henTiavn,  Lars  Nielsen  Svare,  n.  d.     103  p.     W^. 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Ailment,  cast, 
and  name  of  Giuseppe  Saxti  as  the  composer.     ("La  musica  h  tutta  nuova.") 

Schatz  9445 


OPERA   LIBRETTOS  575 

n  gran  Tamerlano.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimano  di  SS.  Gio.  e  Paulo  I'anno  1689  di 
Giulio  Cesare  Corradi  .  .  . 

Venetia,  Nicolini,  1689.     80  p.     l^Y"^- 

Three  acts.  Author's  dedication,  scenario,  and  ai^ument,  with  name  of  Marc' 
Antonio  Ziani  as  the  composer. 

First  performed,  as  indicated,  carnival,  1689.  Schatz  11189 

II  gran  Tamerlane  vincitore  di  Bajazet.     Da  rappresentarsi  nel 
Teatro  Vendramin  a  San  Salvatore.     L'autimno  del  1746. 
Venezia,  Alvise  Valvasense,  174.6.     15  p.     17 Y^. 

One  act.  By  "Sig.  Verdacchio  Predamosche,  fra  Disperati  il  Satirico."  Cast, 
argument,  and  name  of  Daniel  Baxba  as  composer.  Schatz  598 

La  grand-mere  amoureuse,  parody.     See  Lully's  Atys. 

La  grandezza  d'animo  oder  Arsinoe  [vignette].  In  einem  singe- 
spiel  auf  dem  grossen  Hamburgischen  Schau-platze  vorgestellet.  Im 
jahr  1710. 

n.  i.,  n.  d.      Unpaged.     19^^. 

Five  acts.  Scenario  and  "vorbericht,"  with  name  of  Reinhard  Keiser  as  the 
composer.  The  author,  resp.  translator,  Breymann,  is  not  mentioned.  The  Italian 
text  has  been  added  to  some  of  the  arias.  Schatz  5093 

Le  Grazie  vendicate.  Componimento  drammatico  rappresentato 
in  musica  nell'  Imperial  Favorita  il  di  28.  agosto  1735  per  resteggiare 
il  felicissimo  giorno  natalizio  della  augustissima  imperadrice. 

11  p.  19'^'^.  (Pietro  Metastasio,  Opere  drammatiche,  Veneziaj 
Giuseppe  Bettinelli,  1733-37,  v.  4.) 

One  act.     No  composer  mentioned.  ML  49.A2M4 

—  Le  Grazie  vendicate. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  vii,  [241]-257  p. 

One  act.  ML  49.A2M42 

—  Le  Grazie  vendicate.  Azione  teatrale,  scritta  dall'  autore  in 
Vienna,  I'anno  1735,  .  .  .  rappresentata  la  prima  volta  con  musica 
del  Caldara  negl'  interni  privati  appartamenti  dell'  Imperial  Favorita 
dalle  reali  arciduchesse  Maria  Teresa  (poi  imperatrice  regina)  e 
Marianna  di  lei  sorella,  e  da  una  dama  della  Cesare  corte,  per  festeg- 
giare  il  di  28  agosto,  giomo  di  nascita  dell'  imperatrice  Elisabetta. 

[393]-406  p.  26'^'^.  {Pietro  Metastasio,  Opere,  t.  Hi,  Parigi,  vedova 
Herissant,  1780.) 

One  act.  ML  49.A2M44 

—  Les  Graces  vengees.  Drame  en  musique,  ex^cut6  au  Palais  de 
la  Favorite,  pour  cel^brer  le  jour  de  la  naissance  de  I'imp^ratrice, 
epouse  de  Charles  VL 

Metastasio,  Tragedies-opera,  Vienne,  1751,  t.  iv,  19  p.     14^^ 


'cm 


One  act.     Richelet's  translation.  ML  49.A2M47 


576  •  LIBRARY   OF   CONGRESS 

Die  Qrazien,  ein  prolog.  Zur  hoechsten  geburtsfeyer  des  prinzen 
Heinrichs  Koeniglicher  Hoheit,  von  C.  L.  Hempeln,  geb.  Karschin. 

9-18  p.  IS'^^.  {Theater  Journal  fuer  Deutschland,  Sechstes  stueck, 
Gotha,  1778.) 

The  composer,  Johann  Andr6,  is  not  mentioned. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  January  18, 1778.     Schatz  187 

Second  copy.    Schatz  11754 

Di  Greci  festegg^ianti  la  riconciliazione  d'Achille  e  d'Agamenpone, 
ballet.     See  Bianclii's  Briseide. 

I  Greci  in  Tauride,  dramma  per  musica  in  tre  atti  da  rappresentarsi 
nel  Regio  Teatro  di  Berlino  per  ordine  di  Sua  Maesta  nel  carnovale  del 
MDCCLXXIII. 

Berlino,  Haude  e  Spener,  1772.    91  p.     16^"^. 

By  Antonio  Landi,  who  is  not  mentioned.  Argument,  scenario,  and  name  of  the 
composer,  Johann  Friedrich  Agricola.  German  title-p^e,  "Die  Griechen  in 
Taurica,"  and  text  face  Italian.  A  footnote  on  p.  [8]  informs  the  reader  that  certain 
arias  were  taken  from  the  same  composer  and  author's  ' '  Oreste  e  Pilade  "  of  the  pre- 
vious season.  The  facts  are  these,  according  to  Schneider's  history  of  opera  in  Berlin: 
The  second  opera  of  the  carniveval  season  of  1772  was  this  "Oreste  e  Pylade,"  which 
displeased  Frederick  the  Great  so  much  that  he  ordered  a  revision  of  the  work. 
This  revision  was  first  performed  on  March  24,  1772,  under  the  title  of  "I  Greci  in 
Tauride,"  at  Potsdam.  Schatz  68 

II  Greco  in  Troia.  Festa  teatrale  rappresentata  in  Firenze  per  le 
nozze  de'  serenissimi  sposi  Ferdinand©  Terzo,  principe  di  Toscana,  e 
Violante  Beatrice,  principessa  di  Baviera. 

Firenze,  Stamperia  di  S.  A.  S.,  1688.     7  p.  I.,  96  p.     16'^'^. 

Three  acts.  Dedication  by  the  author,  Matteo  Noris,  dated  December,  1688, 
scenario,  and  notice  to  the  reader.     Composer  not  mentioned,  and  unknown  to  Schatz. 

Schatz  11339 
The  green-room  controversy.     A.  T.  of  The  rivals. 

The  Greshamite.     A.  T.  of  Harlequin-Hydaspes. 

Grespilla  e  Fanfarone,  intermezzi.  See  Caldara's  II  Germanico 
Marte. 

Gretna  Green,  a  comic  opera,  in  two  acts.  As  performed  at  the 
Theatre  Royal,  Smoke-Alle}^.     * 

[Dublin],  Printed  for  the  booksellers,  n.  d.     22  p.     17 1*^"^. 

Neither  the  author,  Charles  Stuart,  is  mentioned,  nor  the  composer,  Samuel  Arnold. 

No  ballad  airs  indicated  in  the  text,  though  the  opera  consisted  mostly  of  "Italian, 
French,  Irish,  English  &  Scotch  music"  as  the  title  page  of  Preston's  vocal  score 
tell  us  The  airs  used  are  indicated  in  the  vocal  score,  which  contains  two  numbers 
headed  as  by  Giordajoi  and  only  one  number  "September  the  thirteenth"  besides 
the  overture  as  composed  by  Arnold. 

First  performed  at  London,  Haymarket,  August  28, 1783.  Longe  233 

The  grey  mare  the  better  horse.     A.  T.  of  The  Welsh  opera. 

Die  Griechen  in  Taurica.     Tr.  of  Agricola's  I  Greci  in  Tauride. 

Grille tta  e  Pimpinone.  Intermezzi  by  Conti  in  his  opera  Sesostri 
r^  di  Egitto,  Vienna,  1717. 

Schatz  2198 


OPEBA  LIBRETTOS  577 

Griselda. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744)  ^-  ^'^'^i  V-  ^^-     l^*^^. 

Three  acts.  Prefatory  note  and  argument.  No  composer  is  mentioned.  In  the 
"Catalogo,"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  "in  Venezia  1701. 
E  in  Vienna  1725 . "  ML  49 . A2Z3 

—  Griselda.     Pubblicata  per  la  prima  volta  in  Venezia  1701. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  II,  p.  137- 

216.    21'''". 

Three  acts.    Argument.     No  composer  is  mentioned.  ML  49.A2Z4 

Griselda.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassiano  nel  carnovale  1728  ... 

Venezia,  Andrea  Rumieri,  1708  [/]    55  p.    iJ^Y^. 

Three  acts.  Publisher's  dedication  dated  Venice,  January  26,  1728,  argument, 
scenario,  cast,  name  of  Tommaso  Albinoni  as  composer,  and  notice  to  the  reader,  in 
which  this  is  called  an  altered  version  of  Zeno's  "Griselda."  Schatz  120 

Griselda. 

{142]-186p.  17*^^.  (Rolli,  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  1744-) 

Three  acts,  based  on  Zeno.  Argument  and  dedication.  The  composer,  Giov. 
Batt.  Bononcini,  is  not  mentioned. 

First  performed  at  London,  Haymarket,  February  22,  1722.  ML  49.A2R7 

Griselda.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
S.  Cassiano  I'autunno  dell'  anno  MDCCLI. 
n.  i.,  n.  d.     66  p.     14\"". 

Three  acts.  Argument,  scenario,  cast,  name  of  Gaetano  Latilla  as  the  composer, 
and  note  that  this  drama  by  Apostolo  Zeno  has  been  kept  intact  "a  scena  per  scena," 
except  "di  qualche  arietta,  e  di  qualche  parola,  per  maggior  comodo  della  musica." 

First  performed  at  Venice,  1751,  as  indicated.  Schatz  5460 

Griselda,  ballet.    See  Martin  y  Soler's  Ifigenia  in  Aulide. 

Griselda.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Grimani 
di  S.  Samuele  nel  mese  di  maggio  dell  anno  1720  .  .  . 

Venezia,  Marin  Rossetti,  1720.    60  p.     14Y'^- 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  name  of  Gioseppe 
Maria  Orlandini  as  the  composer,  and  notice  to  the  reader,  whic*h  is  characteristic : 

"II  presente  dramma  rappresentato  in  Venezia  nel  1701  nel  Teatro  Tron  di  S. 
Cassano  .  .  .  composto  dall'  incomparabile  penna  del  celeberrimo  letterato,  Sig. 
Apostolo  Zeno  .  .  .  questo  adunque  se  in  qualche  parte  adulterate  si  vede,  per  il 
cambiamento  dell'  arie,  nomi  di  personag^,  ed  altre  picciole  mutazioni,  ad  altro 
attribuir  non  si  deve,  che  alia  pura  necessity  di  averlo  dovuto  stampare,  come  per 
I'apunto  h  stato  ultimamente  recitato  in  Mantova  nel  1718  dopo  1 'applause,  che  per 
quasi  tutti  li  teatri  d'ltalia  ha  riportato  ..." 

First  performed  with  Orlandini's  music  at  Brescia,  Teatro  dell'  Accademia  degli 
Erranti,  1716?  Schatz  7330 

—  La  virtu  nel  cimento.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  arciducale  di  Mantova  nel  carnovale  dell'  anno  MDCCXVII 

Mantova,  Alberto  Pazzoni,  n.  d.    63  p.    15^^. 

Three  acts.  By  Apostolo  Zeno  who  is  not  mentioned.  Impresario's  dedication 
dated  Mantova,  January  16,  1717,  argument,  cast,  scenario,  and  name  of  Giuseppe 
Maria  Orlandini  as  the  composer.  Most  of  the  dialogue  and  a  number  of  arias  are 
identical  with  Schatz  7330,  but  many  arias  are  different.  For  instance,  that  of  I,  5, 
in  the  Mantova  version  reads  "Nella  crudel  mia  sorte,"  in  the  Venice  version,  "Non 
h  colpa  del  cor."  Schatz  7331 

72251°— VOL  1—14 37 


578  LIBRARY   OF   CONGRESS 

La  Griselda.  Dramma  eroicomico  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  San  Samuele  per  la  prima  opera  dell'  autunno 
1793  .  .  . 

Venezia,  Modesto  Fmzo,  1793.    2  pi,  83  f.    20<^. 

The  plates  are  designed  by  F.  Galimberti,  engraved  by  G.  Zatta.  Two  acta. 
Dedication  by  the  autnor,  Angelo  Anelli,  who  is  not  mentioned,  argument,  cast, 
scenario,  and  name  of  Niccol6  Piccinni  as  the  composer.  With  the  opera  were  per- 
formed Guieeppe  Canciani's  ballets,  "Piramo  e  Tisbe"  and  "II  tnidiniento  punito." 
The  composers  of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  October  8.  1793.  Schatz  8095 

—  La  Griselda.  Dramma  eroicomico  per  musica  da  rappresentarsi 
negl'  Imperiali  ifegi  teatri  di  corte.     Vienna  1794. 

[Vienna],  Mattia  Andrea  Schmidt,  n.  d.     119  p.     16^'^. 

Two  acts.  Niccol5  Piccinni  is  mentioned  as  composer.  German  title-page, 
"Griselda,"  and  text  face  Italian. 

First  performed,  as  indicated,  August  30, 1794.  Schatz  8096 

Griselda.  Drama  per  musica,  da  rappresentarsi  nel  Teatro  di  S. 
Casciano.     L'anno  MDCJCI  ... 

Venezia,  Niccolini,  1701.     72  p.     15""^. 

Three  acts.  Dedication  by  A[po8tolo]  Zfeno]  as  the  author  ("questo  mio  drama "), 
argument,  scenario,  and  notice  to  the  reader,  in  which  Zeno  points  out  the  differ- 
ences between  his  plot  and  the  sources.  The  composer,  Antonio  Pollaroli,  is  not 
mentioned.  Schatz  8266 

Griselda.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  A.  S.  E.  di  Baviera.     Nel  carnevale  dell  anno  1735. 
Moncbco,  Giovanni  Giacomo  Votter,  n.  d.     85  p.     15'^^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  scenario,  cast. 
Pietro  Torri,  the  composer,  is  not  mentioned. 

First  performed  at  the  same  theater,  October  12, 1723.  Schatz  10365 

Griselda.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Grimani 
di  S.  Samuel  nella  fiera  dell'  Ascenssione  l'anno  1735  .  .  . 
Venezia,  Marino  Rossetti,  1735.     ^7  p.     15^"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Dedication,  argument, 
cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  composer.  Schatz  10770 

Der  grosse  konig  der  afrikanischen  Wenden  Gensericus  als 
Roms  und  Karthagos  ueberwinder.  O.  T.  of  Conradi's  Sieg  der 
schoenheit. 

Das  grosse  loos.  Eine  komische  oper  in  zwe^  aufzuegen.  Fuer  das 
herzogl.  Weimarische  Hof-Theater.  Die  musik  ist  vom  herrn  capell- 
meister  Wolf. 

Weimar,  Carl  LudolfHofmann,  1774.     112  p.     15""^. 

By  Friedrich  Just  Bertuch  (not  mentioned)  after  Favart's  Le  cocq  de  village. 

First  performed  at  Gotha,  Schloss-Theater  im  Ballhause,  September  2,  1774. 

Schatz  11080 

Der  grossmuethige  bassa.     Tr.  of  Bernardini's  II  bassa  generoso. 


OPERA  LIBRETTOS  579 

Der  grossmuethige  Roland  in  einem  singe-spiel  auff  dem  Ham- 
burgischen  Theatre  vorgestellet.     Im  jalir  1695. 
n.  i.,  n.  d.     Unpaged.     18'^'^. 

Three  acts.  Gottlieb  Fiedler  (not  mentioned  or  Ludwig  Postel,  according  to 
Neieser),  the  translator  says  in  the  prefatory  note,  which  contains  also  the  ailment: 

"Dieses  echau-spiel,  wie  imgleichen  La  superbia  d' Alessandro  sind  vormahla  auff 
den  praechtigen  tlieatro  zu  Hannover  mit  so  grossen  vergnuegen  der  Durchlauch- 
tigsten  Herrschaft  als  auch  aller  hohen  anwesenden  auffgefuehret  worden,  dass  man 
sich  endlich  erkuehnet  sie  nunmehr  in  teutscher  eprache  vorzustellen.  Ea  hat  aber 
die  imvergleichliche  musique,  die  zu  beyden  von  einem  der  beruehmtesten  virtu- 
osen  dieser  zeit  gesetzt  worden,  verursacht,  dass  die  gantze  version  durchgehends 
nach  selbiger  eingerichtet  imd  so  viel  moeglich  auch  nicht  die  geringste  expression 
uebergangen  ist." 

These  remarks  refer  to  Agostino  Steffani,  whose  "Orlando  generoso,"  text  by 
Ortensio  Mauro,  had  first  been  performed  at  Hanover,  1691,  in  December. 

First  performed  at  Hamburg,  Opemhaus  beim  Gansemarkt,  Januarv,  1696. 

SCHATZ  10034 

Der  grossmuethige  Scipib  Africanus,  in  einem  singe-spiel  auf 
dem  Hamburgischen  schau-platz  vorgestellet  1694. 

n.  i.,  n.  d.     Unpaged.     18'^'^. 

Three  acts.  Argument.  Neither  Gottlieb  Fiedler,  the  author,  is  mentioned,  nor 
Johann  Sigismund  Kusser,  the  composer.  Text  based,  according  to  Schatz,  on 
conte  Niccol6  Minato's  "Scipione  Affncano."  Schatz  2285 

Der  grossmuethige  seefahrer.     Tr.  of  Piccinni's  Gli  stravaganti. 

Der  grossmuethige  Spanier.  Tr.  T.  of  the  ballet  L'Espagnol 
genereiLX. 

Die  grossmuethige  Spartanerin  oder  Archidamia.  Tr.  of  Basse's 
La  Spartana  generosa. 

Die  grossmuethige  Tomjnis.     [vignette]     In  einem  sing-spiel  auf 
dem  Hamburgischen  schau-platz  fuergestellet  in  monath  JiSius,  1717. 
Hamburg,  Friedrich  Conrad  Grejlinger,  n.  d.     Unpaged.    19^^. 

Three  acts.  Scenario,  dedication  signed  with  the  initials  of  the  author,  Johann 
Joachim  Hoe,  historical  "vorbericht"  with  statement  that  the  text  is  based  on  one 
by  Domenico  Lalli  ["L'amor  di  figlio  non  conosciuto"],  and  note  that  this  is  the 
eixty-eighth  opera  by  Reinhard  Keiser.  To  some  of  the  arias  the  Italian  text  has 
been  added.  Schatz  5094 

Die  grossmuethigen  feinde.     Tr.  of  Cimarosa's  I  nemici  generosi. 

La  grotta  del  mago  Merlino.     Farsetta  per  musica  a  cinque  voci 

da  rappresentarsi  nel  Teatro  Valle  delF  illustrissimi  Signori  Capranica 

nel  carnevale  dell'  anno  1786  .  .  . 

Roma,  GioaccMno  PucdneUi,  1786.    51  p.     15Y^- 

Two  acts.    Cast  and  name  of  Antonio  Amiconi  (Amicone)  as  composer.    Author 

unknown  to  Schatz.  Schatz  175 

La  grotta  di  Trofonio.     Commedia  per  musica  da  rappresentarsi 
nel  Teatro  de'  Fiorentini  per  terza  opera  del  corrente  anno  1785. 
Napoli,  n.  puhl,  1785.    57  p.    15'='^. 

Two  acts.  Argument,  cast,  name  of  Paisiello  as  the  composer,  and  notice  by  the 
author  Giufleppe  Palomba,  in  which  he  admits  his  indebtedness  to  Casti's  libretto  of 
the  same  title  (music  by  Salieri),  though  protesting  that,  on  the  whole,  his  text  is  a 
different  treatment  of  the  subject.  The  ''^eruditi  versi "  of  Casti,  with  which  he  has 
enriched  his  o>ra  "debole  vereeggiatura,"  are  designated  by  aeteriske,  and  are:  "Orsii 


580  LIBRARY   OF   CONGRESS 

La  grotta  di  Trofonio — Continued. 

gik  compresi  il  vostro  desio "  (1, 1),  "Spirti  inviaibili "  (1, 5),  "Ma non  avTeete  appetito 
di  noi"  (II,  12),  "Trofonio,  Trofonio,  filosofo  Greco"  (II,  17),  "In  questo  minuto" 
(II,  18),  "L'umore  e  il  cervello"  (II,  18).  Schatz  7680 

—  Die  Trofomus-hoehle.  Ein  komisches  singspiel  in  zwey  aufziie- 
gen.  Aus  dem  italianischen  auf  die  musik  des  herrn  Paesello  iiber- 
setzt,  von  Stephanie  dem  juengem. 

[Wien,  n.  d.],hey  demlogenmeister.     109  p.     l?""^. 

First  performed,  with  Palomba's  Italian  text,  at  Vienna,  Burgtheater,  July  15, 
1787.  Schatz  7704 

La  grotta  di  Trofonio.  Opera  comica  da  rappresentarsi  nel  Teatro 
di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1786.     157  p.     W"^. 

Two  acts.  The  author,  Giambattista  Casti,  .is  not  mentioned.  The  composer, 
Antonio  Salieri,  is  mentioned.  German  title-page,  "Die  hoehle  des  Trophonius," 
and  text  face  Italian. 

First  performed  at  Vienna,  Burgtheater,  October  12,  1785;  at  Dresden  in  1786,  as 
indicated.  Schatz  9297 

—  La  grotta  di  Trofonio.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Parma  nel  R.  D.  Teatro  di  corte  it  carnevale  dell'  anno 
MDCCXCI  .  .  . 

Parma,  Stamperia  Carmignani,  n.  d.     viii,  60  p.     18''"*. 

Two  acts.  By  Giambattista  Casti,  who  is  not  mentioned.  Scenario  and  name  of 
Antonio  Salieri  as  the  composer.  Schatz  9296 

—  Die  zauberhoele  des  Trofonius,  eine  komische  oper  in  zwei 
akten  nach  der  italienischen  oper  La  grotta  di  Trofonio.  Die  musik 
ist  von  herrn  Salieri  .  .  .  Frei  uebersetzt  von  Johann  August 
Halbe,  schauspieler.  Aufgefuehrt  auf  der  K.  K.  priv.  Leopoldstadter 
Schaubuehne. 

[Wien],  Mathias  Andreas  Schmidt,  1789.     79  p.     /7i<^"». 

First  performed  1789,  as  indicated.  Schatz  9298 

—  Arien  und  gesaenge  aus  Trofons  szauberhoele.  Ein  komisches 
singspiel  in  zwey  aufzuegen.  Aus  dem  italienischen  uebersetzt. 
Die  musik  ist  von  Salieri. 

Riga,  Julius  Conrad  Daniel  Mudler,  1794.  20  p.  17""". 
Two  acts.  The  translator,  Christian  Gottlob  Neefe,  is  not  mentioned. 
First  performed  at  Riga,  Theater  i.  d.  Konigsstrasse  (Sept.  22)  October  3,  1794. 

Schatz  9299 

La  grotte  de  Versailles.     See  Lully's  L'eglogue  de  Versailles. 

Qrotte  di  Vulcano.     See  Scipione  Affricano. 

The  grove,  or  Love's  paradice.  An  opera,  represented  at  the  Theatre 
Royal  in  Drury-Lane  ...     By  Mr.  Oldmixon. 

London,  Richard  ParTcer,  1700.     4  p.  I.,  46,  [2]  p.    ^i  J<'"». 

Five  acts,  with  prologue  and  epilogue.  Cast,  dedication,  and  preface,  in  which 
the  author  says: 

"As  for  those  persons  who  .  .  .  thought  the  catastrophe  was  not  enough  prepar'd, 
and  that  the  discovery  in  the  last  act  was  huddled  and  in  confusion,  they  will  now  see 
if  what  he  had  writ  nad  been  spoken,  every  thing  wou'd  have  appear'd  clear  and 
natural,  which,  to  shorten  the  entertainment,  had  been  before  broken  and  disor- 


OPERA  LIBBETTOS  581 

The  grove — Continued. 

der'd  .  .  .  't  was  at  first  intended  for  a  pastoral,  tho  in  the  three  last  acts,  the  dignity 
of  the  characters  rais'd  it  into  the  form  of  a  tragedy  ...  As  to  what  relates  to  the 
composition,  no  man  ever  consulted  the  meaning  of  words  more  than  Mr.  [Daniell 
Purcel  has  done  ..." 

First  performed  1700,  as  indicated.  Longe  79 

Second  copy.    Longb  178 
Grub-street  opera.    See  The  Welsh  opera. 

Grullo  e  Dorina,  intermezzi.    See  Caldara's  L'Anagilda. 

Grullo,  e  Moschetta.  Intermezzi  in  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  nel  camovale  1732. 

Venezia,  Carlo  Buonarigo,  n.  d.     16  p.     ioj^™. 

Three  parts.  Author  not  mentioned,  and  unknown  to  Schatz.  The  composer, 
Giuseppe  Maria  Orlandini,  is  not  mentioned.  Schatz  7332 

—  Grullo  and  Moschetta.  An  interlude.  Performed  by  Sig. 
Aima  Maria  Faini,  and  Signor  Antonio  Lottini,  at  the  King's  Theatre 
in  the  Hay-Market.  The  musick  is  composed  by  Sig.  Giuseppe 
Maria  Orlandini,  chapel  master  to  his  Royal  Highness  the  Great 
Duke  of  Tuscany. 
London,  J.  Clirichley,  1737.     15  p.     16^"^. 

Not  only  condensed  to  two  instead  of  three  parts,  but  so  altered  as  to  be  largely  a 
different  text.    The  English  translation  is  added. 

First  performed  1737,  as  indicated.  .ScgATZ  7333 

The  guardian  out-witted.     A  comic  opera.     As  it  is  performed  at 
the  Theatre  Royal  in  Covent  Garden.     The  musick  composed  by 
Tho.  Aug.  Ame  .  .  . 
London,  J.  and  R.   Touson  and  T.  Lotvnds,  1764.    vii,  [1],  66  p. 

Three  acts.  Cast  and  preface,  in  which  Ame,  who  is  also  known  as  the  author, 
though  he,  "with  all  possible  caution,  endeavoured  to  conceal"  his  name,  calls  this, 
"the  fifth  dramatic  piece  I  have  written,"  but  "the  first  I  ever  presumed  to  offer 
as  a  candidate  for  public  approbation,"  and  continues  by  saying: 

' '  Should  I  have  failed  in  the  execution,  let  no  imjust  imputation  fall  on  the  system, 
which  (if  properly  treated)  is,  by  a  mutual  display  of  the  sister  arts,  more  various  and 
entertaining  than  mere  speech,  unrelieved  and  unassisted  by  the  power  of  harmony; 
for,  in  this  species  of  drama,  the  dillettanti  in  music  are  drawn  to  coincide  with  the 
lovers  of  plays,  having  every  charm  of  an  opera,  except  the  recitative,  which  (though 
it  raises  the  dignity  of  the  tragic  Muse)  is  not  so  proper  in  common  conversation  ..." 

He  then  gives  his  ideas  on  "recitative  in  senous  operas." 

First  performed,  as  indicated,  December  12,  1764.  Longe  36 

Guatimozin  ossia  La  conquista  del  Messico,  ballet.  See  Zingarelli's 
Ifigenia  in  Aulide. 

Der  guck  kasten,  oder  Das  beste  komt  zulezt.  Eine  komische 
operette  in  zwei  aufzuegen,  nach  einem  italienischen  text. 

n.  i.,  n.  d.  p.  {73]-126.  (J.  C.  Kaffka,  Sammlung  auserlesmer 
iheaterstucke,  Breslau,  1784.) 

Detached  copy.     Composed  by  the  author. 

First  performed  at  Breslau,  Neues  Wasersches  Theater,  1782.  Schatz  4984 


582  LIBBABV  OF  CONGKESS 

Gunther  von  Schwarzburg,  ein  singspiel  in  drei  aufziigen  fiir  die 
kui'pfalzische  Hofsingbiilme. 

Mannheim,  Kuhrfuerstl.  Hofbuchdruckerei,  n.  d.    6  y.  I.  {inch  port.), 
■83,  [1]  p.     le^"^. 

The  portrait  ia  that  of  Gunther  von  Schwarzburg. 

Three  acts.  Cast,  names  of  Anton  Klein  as  the  author,  of  Ignaz  Holzbauer  as 
the  compoeer  of  the  opera,  of  Cannabich  as  composer  of  Lauchery^'s  ballet  and  bio- 
graphical sketch  of  the  hero  of  the  opera,  which  begins  with  these  remarks,  revealing 
the  tendency  of  the  author  and  composer: 

"Deutsche  helden,  die  verdienten,  dass  ihr  bild  mitten  unter  dem  menschlichen 
geschlechte  aufgestellet  wiirde,  soUten  die  in  ihrem  vaterlande  vergesaen  werden? 
1st  nur  die  asche  Roms  und  Athens  allein  kostbar  und  verehrungswiirdig?  Und 
eind  dies  auch  noch  Romer  und  Griechenj  die  auf  unseren  schaubiihnen  erscheinen, 
oder  horen  wir  nur  ihren  namen  nennen?  Wir  werfen  unsere  augen  auf  fremde 
tugendmuster,  die  vielleicht  niemals  gewesen.sind,  und  sehen  nicht,  was  in  unserm 
schose  ist.  Ist  vielleicht  liebe  zum  fremden  der  hang  unserer  nation?  Nein;  ich 
bemerke,  dass  es  vielmehr  eine  unruhmliche,  ich^  konte  sagen,  eine  sklavische 
gewohnheit  vieler  deutschen  schriftsteller  ist,  die,  indem  sie  alle  zeiten  und  alle 
volker  kennen^  ihre  eigenen  schatze  zu  ubersehen  scheinen.  Wie  fruchtbar  ist  unser 
boden!  wie  reich  ist  das  gebiet  unserer  geschichte!  Ich  habe  mir  aua  derselben 
einen  der  vomehmsten  helden  gewahlet." 

First  performed  at  Mannheim  Churfuerstl.  Hoftheater,  January  5, 1777. 

ScHATz  4783 

La  guerra  aperta.  A.  T.  of  Delia  Maria's  II  matrimonio  per 
scomessa. 

La  guerra  aperta.  Commedia  per  musica  da  rappresentarsi  nel 
Real  Teatro  del  Fondo  di  Separazione  per  quart'  opera  del  corrente 
anno  1796  .  .  . 

Napoli,  n.  publ.,  1795.    47  p.    IS'^. 

Two  acts.  Author  not  mentioned  and  imknown  to  Schatz.  Impresario's  dedica- 
tion dated  Naples,  January  18, 1796,  cast,  and  name  of  Francesco  Rugg^  as  the  com- 
poser. With  the  opera  was  performed  (composer  of  the  music  not  mentioned)  Gio- 
vanni Battista  Giannini'e  "Inganno  ed  amor  van  sempre  insieme,  ballo  di  mezzo 
carattere."  Schatz  9144 

La  guerra  del  MDCLXXXm  fra  i  Turchi  e  gli  Austriaci,  ballet. 
See  Rust's  Artaserse. 

II  guerrier  generoso,  ballet.    See  Insangiune's  Motezuma. 

La  guerriera  Spartana.  Drama  di  Giacomo  Castoreo.  Per  rap- 
presentarsi in  musica  nel  Theatro  Novissimo  di  Sant'  Apolinare  .  .  . 

Venetia,  Giacomo  Batti,  166^.    95  p.  (incl.  front)     14'''". 

Prologue  and  three  acts.  Author's  dedication  dated  Venice,  January  6,  1654, 
argument,  and  notice  to  the  reader  with  name  of  Pietro  [Andrea]  Ziani  as  composer, 
and  this  remark : 

"La  mia  povera  Guerriera  e  stata  accusata  in  giuditio  come  rea  di  non  haver  a 
bastanza  lussingato  il  tuo  genio;  e  per  castigo  (oltre  I'haverli  in  piii  d'un  loco  amu- 
tilato  le  membra)  si  trattava  di  disperderli  il  proprio  nome.  Vi  fii  anco  chi  I'accusava 
di  furto  .  .  .  Mk  di  questo  non  se  ne  ^arli,  perche  potr5  io  bene  difenderla  quando 
occorresse."  Schatz  11216 

Die  guetigkeit  des  Titus.  Tr.  of  Bemasconi's  La  clemenza  di 
Tito. 

Die  guetigkeit  des  Titus.  Tr.  of  Camerlocher's  La  clemenza  di 
Tito. 


OPERA  LIBRETTOS  583 

Die  guetigkeit  des  Titus.     Tr.  of  Hasse's  La  clemenza  di  Tito. 

Guilt  makes  a  coward.     A.  T.  of  Lord  Blunder's  confession. 

The  Guinea  outfit.     A.  T.  of  The  sailor's  farewell. 

La  guirlande.  Opera-comique,  represent  e  pour  la  premiere  fois  sur 
le  Theatre  de  Koiien,  le  jeudi  24  mars  1757. 

Rouen,  De  Vimprimerie  de  Machuel,  1757.    32  f.     19\^. 

One  act.  Cast  added  by  contemporaiy  hand.  This  is  a  comedie  en  vaudevilles 
and  should  not  be  confused  with  Rameau'a  one  act  op^ra-ballet,  with  which  it  has 
nothing  to  do.    Unknown  to  the  lexicographers.  ML  50.2. G9 

Gustaf  Adolph  och  Ebba  Brahe,  lyrisk  drame  i  tre  acter.  First  a 
gangen  upf6rd  den  24  januarii  1788. 

n.  i.,  n.  d.    [81]-159  p.    17'='^.     Eellgrens  Saml.  SkrifU  Band.  I.) 

Detached  copy.  Dedication  signed  by  the  author,  Johan  Henric  Kellgren.  The 
composer,  Georg  Joseph  Vogler,  is  not  mentioned.  Schatz  10795 

Gustavo  Primo,  re  di  Svezia.  Dramma  per  musica  da  rappresen- 
tarsi  nel  Teatro  Grimani  di  S.  Samuele  in  tempo  della  Ascensione 
neU'  anno  1740  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.    IfS  p.     11^^^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  names  of  "il  Sig.  dottor 
Carlo  Goldoni  Veneto"  as  author,  and  of  Baldaasare  Galuppi  as  composer.  O.  T.  of 
the  following. 

First  performed  May  25,  1740,  as  indicated.  Schatz  3474 

Gustavo  Vasa.  Dramma  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  in  tempo  dell'  Ascensione  I'anno 
MDCCXL. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  36, 
[10S]-1U  V-     -^^i"'"- 

Same  as  "  Gustavo  Primo,  rh  di  Svezia."  PQ 

Gustavo  Vasa,  ballet.     See  Rust's  L'isola  capricciosa. 

Gustavo  Vasa,  ballet.     See  Sarti's  Adriano  in  Siria. 

Das  gute  maedchen.     Tr.  of  Piccinni's  La  buona  figliuola. 

Das  gute  maedel.     Tr.  of  Piccinni's  La  buona  figliuola. 

Das  gute  maegdchen.     Tr.  of  Piccinni's  La  buona  figliuola. 

Gute  menschen  lieben  ihren  fuersten,  oder  Die  Jakobiner  in 
Deutschland.  Ein  zeitstueck  in  drey  aufzue^en,  fuer  die  MarineUische 
schaubuehne  bearbeitet  von  Karl  Friedrich  Hensler.  Die  mili- 
tarische  symphonie  und  die  musik  zwischen  den  akten  ist  ganz  neu 
verfasst,  von  herrn  Ferdinand  Kauer  .  .  . 

Wien,  Mathias  Andreas  Schmidt,  1799.    84  p.     17'"". 

First  performed,  as  indicated,  July  18, 1799.  Schatz  5032 


584  LIBRABY   OF   CONGRESS 

Die  gute  mutter.     Eine  comische  oper  in  zwey  aufzuegen  .  .  . 
aufgefuehrt  auf  den  K.  K,  Hof-theatern  in  Wien. 
[Wien],  KuHzbeJc,  1795.    2  p.  l,  100  p.     15^"^. 

By  Johann  Baptist  von  Alzinger,  who  is  not  mentioned.  Name  of  Paul  Wranitzky 
as  composer,  and  dedication  tb  Maria  Theresia,  which  reads,  in  part: 

"Eure  Majestaet  geben  bey  alien  gelegenheiten  huldreichst  zu  erkennen,  wie 
eehr  Allerhoechst  Dieeelbe  deutechen  fleiss,  deutsche  kunst,  deutsche  verdienste 
hervoreezogen,  ermuntert,  belohnt  wissen  wollen.  Auch  daa  deutsche  eingapiel 
verdamrt  dempatriotischen  winke  Eurer  Majestaet  eein  dasq^;  denn  dieser  wink 
war  fuer  die  Hofdirection  ein  befehl_ ...  bo  wagt  es  die  Hofdirection  .  .  .  dieses 
erete  opembuch  .  .  .  zu  den  fueseen  ihrer  monarchinn  zu  legen." 

First  performed  at  Vienna,  Hoftheater  naechst  dem  Kaemtfinerthore,  May  11, 1795. 

SCHATZ  11110 

Ein  gutes  herz  ziert  jeden  stand.  A.  T.  of  Weigl's  Der  lumpen- 
sammler. 

Der  gutherzige  polterer.  Tr.  of  Martin  y  Solar's  H  burbero  di 
buon  cuore. 

Der  gutsherr.     A.  T.  of  Dittersdorf 's  Der  schiffspatron. 

Le  Guy  de  Chesne,  ou  La  feste  des  Druides,  comedie  en  un  acte  et 
en  vers  libres,  mesl6e  d'ariettes.     Representee  pour  la  premiere  fois 
par  les  Comediens  italiens  ordinaires  du  roi,  le  mercreoi  26  Janvier 
1763.     Avec  la  musique. 
Paris,  Duchesne,  1763.    37,  [1]  p.     17^. 

Neither  the  author,  Jean  Baptiste  de  Janqui^res,  is  mentioned,  nor  the  composer, 
resp.  arranger,  Jean  Louis  Laruette.  On  p.  34,  the  vaudeville,  "Avant  d'obtenir 
ma  bergfere,"  and  on  p.  36-37,  the  air,  "Amour,  entends  ma  voix"  (I,  8). 

SCHATZ  5439 

Hadrian  in  S3nien.     Tr.  of  Holzbauer's  Adriano  in  Siria. 

Die  haeuslichen  zwistigkeiten.    A  T.  of  Salieri's  Die  mode. 

La  haine  vaincue  par  la  force  du  sang.  Tr.  of  Lotti's  GPodj 
delusi  dal  sangue. 

The  hall  of  Fingal.     A.  T.  of  Oscar  and  Malvina. 

Das  Hallorenfest.  Ein  singeschanspiel  in  drei  akten.  Von  F.  G. 
Schlicht. 

Magdeburg,  Scheidhauerscher  verlag,  1783.     xvi,  12^  p.     16^""^. 

The  text  is  preceded  by  a  "Vorerrinnerung,"  in  which  the  author  describes  the 
"Halloren  "  of  Halle  a/S,  their  habits,  customs,  organisation,  etc.,  and  their  festivals 
called  "Hallorenstechen  "  and  "Pfingstbier."    No  comt»oser  recorded. 

ML50.2.H16 

Der  Hamburger  jahr-marckt  oder  Der  glueckliche  betrug.  In 
einem  schertzhafften  sing-spiele  auf  dem  Hamburgischen  Schau- 
platze  vorgestellet  im  jahr  1725. 

[Hamburg],  mit  Stromerischen  schrifften,  n.  d.     Unpaged.     19'''^. 

Five  acts.  Cast  and  prefatory  note  stating  that  his  text  had  to  be  written  in  a 
hurry;  that  it  is  not  meant  to  cast  reflections  on  any  particular  persons: 

"Das  gantze  werck  gruendet  sich  auf  einen  erlaubten  schertz,  der  doch  allemahl 
die  laster,  durch  vorstellung  ihrer  heeslichkeit,  stillschweigend  bestrafet.  Der  ver- 
fasser^  eo  zwar  ein  Nieder-Sachse,  aber  der  Hamburgischen  mund-arth  nicht  recht 
kimdig  iet  [Johann  Philipp  Praetorius],  verspricht  sich  ein  geneigtes  nachsehen  derer 


OPERA   LIBRETTOS  53§ 

Der  Hamburger  jahr-marckt — Continued. 

in  dem  niederteutschen  und  Bonst  mit  eingeschlichenen  fehlerj  den  dritten  auftritt 
der  vierten  handlung  hat  eine  fremde  hand  verfertiget  und  mit  eingeruecket.  Die 
.  .  .  music  haben  wir  dem  .  .  .  herm  capellmeister  Eeiser  zu  dancken." 

Italian  text  has  been  added  to  some  of  the  ariae.  Schatz  5095 

Der  handwercks-mann  ein  edel-mann.  Tr.  of  Hasse's  "  L'ar- 
tigiano  gentiluomo." 

Hannchen  Robert,  eine  operette  in  drey  aufzuegen  von  M  *  *  *   s. 
Gotha,  Carl  Wilhelm  Ettinger,  1779.     102  p.     i5«"». 
By  Jacob  Mattheeiue.    No  composer  mentioned  by  Schatz.  Schatz  11615 

Hannchen  und  Bemardon.  Tr.  of  Cimarosa's  Giannina  e 
Bemardone. 

Hannibal  in  Capua,  in  einem  sing-spiele,  auf  dem  Hamburgischen 
Schau-platze  vorgestellet. 

[Hamburg],  Gedruckt  mit  Sjneringischen  schrifften,  1735.  1  v. 
Unpaged.     lO""^. 

Three  acts.  Author  unknown  to  Schatz.  Some  Italian  arias  were  interpolated 
with  addition  of  German  translations  and  changes  in  the  recitative.  The  composer, 
Johann  Wolfgang  Franck,  is  not  mentioned.     ' '  Vorbericht "  (argument)  and  scenario. 

First  performed  at  Hamburg,  Opemhaus  am  Ganeemarkt,  February  21,  1735,  and 
in  the  original  version  1681.  "      Schatz  3335 

Hanns  der  schuhflicker.    Tr.  of  Philidor's  Blaise  le  savetier. 

Hanns  Klachl,  oder  Das  rendezvous  in  der  neuen  alee.  Ein 
komisches  singspiel  in  zwei  aufzuegen.  Die  musik  ist  vom  hm. 
Tuczek. 

n.  i.,  1797.    88  p.     15^'^. 

By  F.  G.  Quolfinger,  ritter  von  Steinsbei^,  who  is  not  mentioned. 

First  performed  at  Teplitz,  Schlosstheater,  1797.  Schatz  10500 

—  Hauns  KLachls  zweyter  theil.    Eine  komische  oper  in  zwey 
aufzuegen. 
n.  i.,  1797.    91  p.    16^^. 

Composed  by  Tuczek.    Neither  he  nor  the  author  (Quolfinger?)  is  mentioned. 

Schatz  10501 

Happiness,  at  last.     A.  T.  of  The  rover. 

The  happy  captive,  an  English  opera.  With  an  interlude,  in  two 
comick  scenes,  betwixt  Signor  Capoccio,  a  director  from  the  Canary 
Islands ;  and  Signora  Donnna,  a  virtuosa. 

London,  printed  for  the  author  and  sold  hy  J.  Brindley,  1741'  vi,  [2], 
40  p.     i^c™. 

Three  acts.  Dedication  by  the  author,  Lewis  Theobald,  and  Advertisement 
stating  that  the  subject  of  the  opera  is  "shadow'd  out  from  a  novel  in  Cervantes's  Don 
Quixote,  (book  lY,oi  the  Grst -part)  ca.]Vd,  The  history  of  the  slave  .  .  .  The  interlude, 
which  is  added  in  two  comick  scenes,  is  entirely  new  to  our  climate:  and  the  success 
of  it  is  submitted  to  experiment,  and  the  taste  of  an  audience." 

The  interlude  (intermezzo),  "Capocchio  and  Dorina,"  is  ascribed  by  Clarence  to 
Colley  Cibber,  who  is  said  to  have  abridged  it  from  "The  temple  of  dulness."  (See 
thiB.)    The  composer  is  not  mentioned,  and  no  performance  is  recorded. 

LONGE  191 


586  LIBRARY   OF   CONGRESS 

The  happy  lovers :  or,  The  beau  metamorphos'd.     A  ballad  farce. 
2  p.  I  Unci,  front.),  28  p.     18^'^. 

Lacks  title  pace.  Published  1736.  One  act.  Cast.  By  Henry  Ward,  who  is  not 
mentioned.    Ballad  opera,  the  16  airs  of  which  are  indicated  by  title. 

According  to  the  t.-p.,  acted  at  Lincoln's  Inn-Fields  in  1736  and  Genest  does  not 
deny  it  in  his  vol.  X.  Lonoe  159 

Happy  recess.     A.  T.  of  The  fugitive. 

Die  harfe.     Operette  von  Wilhelm  Schreiber. 
Offenbach,  Weiss  und  Brede,  1793.    62  p.     16^'='". 

Two  acts.  Prefatory  poem  and  "Vorredo''  dated  "Baaden,  im  Dezember  1792," 
in  which  Aloys  Wilhelm  Schreiber  mentions  Ignatz  Walter  as  the  composer,  and  says: 

"Ich  entwarf  die  gegenwaertige  operette,  weil  mir  das  sujet  eefiel,  und  weil  wir 
80  wenige  ertraeglicho  deutsche  singspiele  besizzen,  ohngeachtet  diese  gattung  immer 
mehr  einheimisch  auf  unsem  buehnen  wird.  Man  deute  mir  diese  aeussenmg  nicht 
als  eigenliebig,  denn  es  gehoert  in  der  that  wenig  dazu,  etwas  besseres  in  diesem  fache 
zu  lief  em,  als  die  herren  Eberl  und  konsorten. 

Schatz  records  no  performance.  Schatz  10861 

—  Die  zauberharfe.     Ein  singspiel  nach  August  La  Fontaine  bear- 
beitet,  vom  verfasser  des  Waldbruders  im  Eicnthale. 

Offenbach,  C.  L.  Brede,  1798.     62  p.     15<^'^. 

Same  as  "Die  harfe,"  as  comparison  showed.  Schatz  11664 

Harlequin  animated.     A.  T.  of  The  fairy  Favour. 

Harlequin  everywhere.     A.  T.  of  Dibdin's  The  mirror. 

Harlequin  forrester.     A.  T.  of  Reeve's  Merry  Sherwood. 

Harlequin-Hydaspes:  or,  The  Greshamite.    A  mock-opera.    As  it 
is  perform'd  at  the  Theatre  in  Lincoln's-Inn-Fields. 
London,  J.  Roberts,  1719.     vii,  [1],  55  p.     18"^. 

Three  acts.    Cast  and  preface  in  which  the  reader  is  informed  that  the  piece  is 

"principally  intended  as  a  burlesque  upon  the  famous  opera  of  Hydaspes:  and 
whoever  shall  think  it  worth  his  while  to  compare  'em,  will  find  it  work'd  up  accord- 
ingly. But  the  inventor  being  a  foreigner,  and  not  having  English  enough  to  put 
his  plan  in  execution  himself,  he  was  forc'd  to  call  in  another  gentleman  to  his  assist- 
ance; who  having  in  his  eye  the  present  humorous  dispute  between  some  members 
of  the  faculty,  could  not  but  think  it  an  excellent  incident  to  enliven  and  diversify 
the  design.  And  hence  it  is  that  the  performance  is  of  such  a  mixt  nature,  as  'tis 
hard  to  give  it  a  name,  being  half  opera  and  half  comedy  ..." 

Most  of  the  arias  are  simply  parodies  of  such  in  Francesco  Mancini's  "L'Idaspe 
fedele"  (London,  Hay-market,  May  23,  1710)  and  in  every  such  case  the  Italian 
text,  mostly  by  Giovanni  Pietro  Candi,  is  added  in  a  footnote.  The  parody  is 
ascribed  to  a  Mrs.  Aubert,  whose  musical  assistant  (perhaps  Pepusch?)  is  not  recorded. 

First  performed  May  22,  1719,  as  indicated.  Longe  200 

Harlequin  Mungo;  or,  A  peep  into  the  tower:  A  new  pantomimical 
entertainment,  in  two  acts:  as  performing  at  the  Royalty  Theatre, 
Well-street,  Goodman's-Fields.     The  pantomime  by  Mr.  Bates.     The 
music  composed  by  Mr.  Reeve  .  .  . 
London,  Printed  by  J.  Skirvenfor  J.  Griffth,  n.  d.     1  p.  I.,  6-32  p. 

Cast. 

First  performed  1789,  as  indicated.  Lonoe  102 

Harlequin  restor'd,  or  Taste  a  la  mode.     See  Ame's  The  fall  of 
Phaeton. 


OPERA   LIBRETTOS  587 

Songs,  airs,  etc.  in  the  entertainment  of  Harlequin  Teague;  or,  The 

fiant's  causeway.     As  it  is  now  performing  at  the  Theatre-Royal, 
[ay-Market. 

Londm,  T.  CadeU,  1782.    21,  [1]  p.    20'^^. 

One  act.  Cast  and  name  of  Samuel  Arnold  as  the  composer.  The  author,  George 
Colman,  is  not  mentioned. 

First  performed  August  18,  1782.        .  ML  52.2.H2A7 

Harlequin  traveller.     A.  T.  of  Dibdin's  The  touchstone. 

Songs,  chorusses,  etc.  As  they  are  performed  in  the  new  entertain- 
ment of  Harlequin's  Jubilee,  at  the  Theatre  Royal  in  Co  vent- 
Garden. 

London,  W.  Griffin,  1770.     3  p.  l,  13  p.     19^"^. 

Pantomime.  The  singers  mentioned  at  head  of  the  songs.  The  Advertisement 
dated  Clement's  Inn,  January  29,  1770,  begins: 

"Mr.  Woodward  claims  no  merit  in  this  trifling  production,  but  the  thought, 
which  arose  from  the  prologue  to  the  Jubilee  " 

of  which  this  a  burlesque  parody.  The  composer  is  not  mentioned  (Dibdin  com- 
posed the  Jubilee).  Lonoe  32 

Harlequin's  opera.     A.  T.  of  The  fashionable  lady. 

Harlequin's  wedding.     A.  T.  of  Linley's  The  triumph  of  mirth. 

Hartford -Bridge:  or,  The  skirts  of  the  camp.     An  operatic  farce  in 
two  acts.     Performed  at  the  Theatre-Royal,  Covent-Garden.     Writ- 
ten by  Mr.  Pearce. 
London,  T.  N.  Longman,  1793.     3  p.  l,  4I  p.    20^"^. 

Cast,  William  Pearce's  dedication,  dated  April  18,  1793,  and  his  prefatory  note 
with  name  of  William  Shield,  who  partly  compiled,  partly  composed  the  music. 
Of  his  "Heaving  of  the  lead  "  he  says: 

"The  ballad  in  question  was  written  on  ship-board  a  few  years  since,  and  given 
to  Mr.  Shield  preWous  to  his  late  visit  to  Italy  .  .  ." 

First  performed  November  3,  1792.  Lonoe  222 

Harvest-home.  A  comic  opera,  in  two  acts.  As  performed,  with 
universal  applause,  at  the  Theatre-Royal,  in  the  Hay-Market.  By 
Mr.  Dibdin. 

London,  Harrison  &  co.,  1787.     27  p.     20^"^. 

Cast.     Text  and  music  by  Charles  Dibdin. 

First  performed  May  16,  1787,  as  indicated.  Lonob  99 

Hass  und  aussoehnung,  oder  Die  verfolgte  und  triumphirende 
liebe.     Ein  schauspicl  mit  gesang  in  vier  aufzuegen. 

Glatz,  Ernst  Ferdinand  Rordorf,  1797.     139,  [1]  p.     W"^. 

Dedicatory  poem,  "vorbericht"  by  the  publisher,  who  was  also  the  author.  The 
composer,  Joseph  Grueger,  is  not  mentioned.  The  clavierauszug  was  published 
according  to  advertisements  on  the  last  page.  Schatz  4223 

Songs,  duets,  trios  and  chorusses,  in  The  haunted  tower.  A  comic 
opera,  in  three  acts,  as  performed  at  the  Theatre-Royal,  Drury-Lane. 

London,  J.  Jarvis,  1789.     2  p.  I.,  24  p.    21'='". 

Cast.  Neither  the  author,  James  Cobb,  nor  Stephen  Storace  is  mentioned, 
who,  according  to  Longman  and  Broderip's  vocal  score  "selected,  adapted  and  com- 
posed "  the  music.  "Tho'  pity  I  cannot  deny"  is  there  headed  as  by  Pleyel, 
"Whither  my  love"  ashy  Paisiello,  "What  blest  hours"  as  by  Linley,  "Love 


688  LIBKAKY   OF   CONGRESS 

The  haunted  tower — Continued. 

from  the  heart"  afl  by  Martini,  "Dangers  unknown  impending"  and  "Dread 
parent  of  despair"  as  by  Saxti. 

First  performed  November  24,  1789,  as  indicated.  Longe  203 

Second  copy.    Longe  223 

—  Songs,  duets,  trios  and  chorusses,  in  The  haunted  tower.  A 
comic  opera  in  three  acts,  as  performed  at  the  Theatre  royal,  Druiy- 
Lane. 

London,  J.  Jarvis,  1791.    2^  p.     20^"". 

Cast.    Without  names  of  Cobb  or  Storace.  ML  50.2.M2S8 

Second  (closely  trimmed)  copy.    Longe  218 

—  The  haunted  tower,  a  comic  opera  in  three  acts.  As  perfiirmed 
at  the  Theatre-Royal,  Drury  Lane.     Written  by  Mr.  Cobb. 

Dublin,  P.  Bume  and  J.  Jones,  n.  d.     56  p.     17^. 

Cast.     Stephen  Storace,  the  composer,  is  not  mentioned.  Schatz  10081 

Der  hausfreund.     Tr.  of  Gr^try's  L'ami  de  la  maison. 

Der  haushahn,  ein  faschingsstueck  in  zween  aufzuegen.     Aufge- 
fuehrt  im  K.  K.  Schauspielhause  am  Kaemtnerthore.     Die  musik  zu 
den  gesaengen  ist  von  herrn  kapellmeister  Hofmeister. 
Wien,  heym  Logenmeister,  1783.     1^6  p.     16'^^. 

In  his  "Vorrede"  the  author,  Johann  Rautenstrauch  (not  mentioned)  says: 
"Das  publikum  wird  ersucht,  dieses  stueck  fuer  nichts  anderes  anzuseheu,  als 
waaesist — fuer  eine  kinderey  ..." 

Composed  by  Franz  Anton  Hoffzneister,  and  first  performed  1783,  as  indicated. 

Schatz  4749 

He  wou*d  if  he  cou'd;  or,  An  old  fool  worse  than  any:  a  burletta. 
As  it  is  performed  at  the  Theatre  Royal  in  Drury-Lane.  The  music 
by  Mr.  Dibdin. 

London,  W.  Griffin,  1771.    2  p.  l,  27  p.    21^. 

Cast.    By  Isaac  Bickerstaffe,  who  is  not  mentioned. 

First  performed  as  indicated,  April  12,  1771.  I/Onge  251 

—  He  would  if  he  cou*d :  or.  An  old  fool  worse  than  any.  A  bur- 
letta.    In  two  acts.     By  Isaac  Bickerstaff,  Esq. 

[289]-306  p.    19*^^.    (Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  V,  Edinburgh,  1792.) 

Drury-Lane  cast.  Schatz  11753E 

Die  heimlich  geschlossene  ehe.  Tr.  of  Cimarosa's  II  matrimonio 
segreto. 

Heinrich  der  Loewe,  herzog  von  Braunschweig.     Ein  historisches 

schauspiel  mit  gesang  in  fuenf  aufzuegen,  fuer  die  buehne  bearbeitet 

von  B.  H.  C.  Reinhard,  Schauspieler, 

Braunschweig,  Carl  August  Schroeder,  1793.     133  p.     16Y^- 

2  unnumb.  p.  of  advertisements  bound  with  the  text.     No  composer  recorded  by 

Schatz.  Schatz  11618 

Heinrich  der  Lowe.  Ein  allegorisches  singspiel  in  zwei  aufzuegen 
von  D.  Schmieder.     Nach  einer  geschichte  Heinrich  des  Lowen.     Die 


OPERA   LIBRETTOS  589 

Heinrich  der  Lowe — Continued. 

musik  von  C.  D.  Stegmann,  Operndirektor  des  kurfuerstl.  Mainzischen 
Nationaltheaters. 
n.  L,  1792.    2  p.  I.,  7/,.  y.     IS'"". 

"Der  kroenungsfeier  Sr.  Majestaet  des  deutschen  kaisers  Franz  des  Zweiten 
geweiht." 

First  performed  at  Frankfurt  a/M,  Nationaltheater,  July  15, 1792.    Schatz  10039 

Heinrich  und  Lyda,  eine  scene  aus  dem  menschlichen  leben. 
Leipzig,  Christian  Gottloh  Hilscher,  1776.    32  p.     W"^. 

Neither  the  author,  Bemhard  Christian  d'Arien,  nor  the  composer.  Christian 
Gottlob  Neefe,  is  mentioned. 

First  performed  at  Berlin,  Dobbelin'sches  Theater,  March  26, 1776.     Schatz  7073 

Die  helden-muethige  schaefer  Romulus  und  Remus  auf  dem 

Hamburgischen   Schau-platze    in   einer  opera  vorgestellet  im  iahr 
MDCCXXIV. 

[Hamhurg],  Gedruckt  hey  Casper  Jdkhel,  n.  d.     Unpaged.     18^*^^. 

Three  acts.     Cast,  scenario,  and  "Vorbericht,"  which  reads,  in  part: 

"Diese  geschichte  auf  tmserm  Hamburgischen  theatro  in  einem  eing-spiel  anitzo 
aufzufuehren,  ist  man  durch  die  vortrefl.  music  dieser  von  dem  sehr  beruehmten 
componisten  Sign.  Giovanni  Porta  hierueber  in  Italien  verfertigten  und  nachgehends 
in  London  una  Braunschweig  unter  dem  nahmen  Rhea  Silvia,  mit  dem  groesten 
applausu  aufgefuehrten  opera,  veranlasst.  .  .  .  So  hat  man  bey  diesem  stuecke  nicht 
allein  einen  gantzen  recitativ,  sondem  auch  eine  neue  lustige  partie  des  Coridons 
nebet  vielen  andern  embellissements  der  angenehmen  music  des  Sign.  Porta  beylegen 
wollen. 

"  Die  mit  einem  etemchen  bezeichneten  italiaenischen  arien,  sind  vom  erstbenann- 
ten  Signore  Porta,  die  uebrige,  so  wohl  teutsch  als  italiaenische  arien  aber,  wie  auch 
der  gantze  Recitativ,  die  choere,  simphonien  und  entr^en,  der  composition  des  hm. 
Johann  Paul  Kuntz  wie  die  auffuehrung  dieser  opera  gaentzlich  anvertrauet  worden." 

All  the  Italian  arias,  by  far  the  most  of  them  starred  (and  therefore  by  Porta),  have 
added  German  text.    The  original  text  is  by  Paolo  Antonio  RoUi. 

The  opera  was  first  performed  as  "Numitore"  at  London,  Haymarket,  on  April  13, 
(Schatz),  April  2  (Fassini)  1720,  and  then,  as  "Rhea  Sylvia,"  at  Brunswick  in  1723. 


Helena.     See  Reiser's  La  forza  dell'  amore. 


Schatz  8381 


^Helena  rapita  da  Paride.  Dramaper  musica  nel  Teatro  Novis- 
simo  di  S.  Angelo.  L'anno  MDCLXXVII  .  .  . 
Venetia,  Francesco  Nicolini,  1677.  64  p.  l^Y^- 
Three  acta  and  prologue.  By  Aurelio  Aureli,  who  is  not  mentioned.  Publisher's 
dedication,  argument,  scenario  and  notice  to  the  reader  with  name  of  Domenico 
Freschi  as  composer.  This  original  edition  has  in  act  I  nineteen  scenes,  in  act  II 
twenty-six  and  in  act  III  seventeen,  whereas  the  second  ed.  of  1677  {see  below)  has 
twenty,  twenty-eight  and  twenty.  In  this  1, 14  has  aria  "  Voglio,  che  monij"  whereas 
the  first  ed.  has  "Con  la  scorta  de  la  vendetta."  In  this  the  prologue  begins  "Da  le 
rotanti  sfere,"  in  the  second  ed.  "Nubi  mie  tempestose."  I,  20  of  this  second  ed. 
begins  "Ho  vinto  Amori "  and  has  aria  "  Arcieri  alati  /  SU  brlllate."    ML  50.2.H3F7 

•^ —  Helena  rapita  da  Paride.  Drama  per  musica  nel  Teatro  Novis- 
simo  di  S.  Angelo.  L'anno  MDCLXXVII.  Seconda  impressione. 
Con  novo  aggionte  .  .  . 

Venetia,  Francesco  Nicolini,  1677.    68  p.     14"^. 

Three  acts,  with  prologue.  By  Aurelio  Aureli,  who  is  not  mentioned.  Pub- 
lisher's dedication,  author's  notice  to  the  reader,  with  name  of  Giovanni  Domenico 
Freschi  as  composer,  and  scenario.  Schatz  3351 


690  LIBRARY   OF   CONGRESS 

Helena  rapita  da  Paride — Continued. 

—  Elena  rapita  da  Paride.  Drama  per  musica  nel  Teatro  Zane  a 
S.  Moise  di  Aurelio  Aiireli.     Seconda  impressione  .  .  . 

Venetia,  Francesco  Nicolini,  1687.     71  p.     1^"^. 

Three  acts.  Author's  dedication,  dated  Venice,  January  18,  1687,  argument, 
ecenario,  notice  to  the  reader,  who  is  informed  that  Francesco  Navaxra  not  only 
comfKJsed  several  additional  arias  for  this  revival  of  Freschi's  opera,  but  also  changed 
some  of  the  latter's  ariaa  "per  aggiustarsi  all'  ability  de  mueici  cne  le  cantano."  This 
is  putting  it  very  mildly,  as  the  new  version  differs  considerably  from  the  old.  For 
instance,  the  prologue  has  been  dropped  entirely,  and  not  many  scenes  have  been 
left  intact.  Thus  in  I,  4  (in  the  onginal  ed.  incorrectly  numbered  as  fifth  scene), 
Enone  sang,  1677,  "Gelosia,  non  tormentarmi  /  Non  ti  voglio  nel  mio  core,"  but,  1687, 
"Gelosia,  non  posso  piti.  /  Tu  mi  laceri  quest'  alma."  Schatz  3358 

L'Helena  rapita  da  Theseo.  Dramma  musicale  da  recitarsi  nel 
Teatro  di  S.  Gio.  e  Paolo. 

Venetia,  MicTiiel  Miloco,  1653.    94  p.     W"^. 

By  Giacomo  Badoaro  after  suggestions  of  Giovanni  Faustini.  Three  acts  with 
prologue.  Argument  and  minute  Scenario"  on  p.  [77]^94.  The  composer,  Pietro 
Francesco  CavaJli,  is  not  mentioned. 

First  performed,  as  indicated,  carnival  1653.  Schatz  1735 

Helena  und  Paris,  ein  musikalisches  schauspijl  in  drei  aufzuegen, 
nach  dem  italienischen  frei  bearbeitet.  Die  musik  ist  von  herm 
Winter.     Aufgefuehrt  zu  Muenchen,  1782. 

n.  i.,  n.  d.     64  p.     15'^'^. 

Three  acts.  By  Carl  J.  Forg,  who  signs  the  "Vorerrinerung"  (argument)  with  his 
initials.  Scenario,  cast,  and  prefatory  dedication  by  Winter,  dated  Munich,  1782,  in 
which  he  says: 

"Schon  verschiedene  meiner  deutschen  landeleute,  und  kunstverwandten  unter- 
namen  es,  auch  in  dem  erhabnen  fache  von  theatermusik  ihre  faehigkeiten  zu  zeigen, 
und  sich  zu  dem  verdienste  der  in  dieser  gattung  beruehmt  gewordenen  auslaender 
hinauzuschwingen.  Ich  will  hier  nicht  untersucnen,  in  weit  eie  hierinn  ihren  ent- 
zweck  erreichet,  oder  nicht  erreichet  haben.  Soviel  kann  ich  aber  zur  ehre  der 
Deutschen  bezeugen,  dass  herr  Holzbauer  einer  der  ersten  diese  bahn  mit  ruhme 
betrat.  Ich  fuehlte  ebenfalls  den  trieb  in  mir,  dem  beispiele  dieser  maenner  zu 
folgen.  Ich  war  anfangs  misstrauisch  auf  mich  selbst,  una  wollte  diese  neigung  in 
mir  ohne  weiters  unterdruecken.  Allein  ich  war  zu  schwach,  und  so  enstimd  unter 
Bchwankender  unentechlossenheit  gegenwaertiges  werk  ..." 

First  performed  at  Munich,  National  Schaubuehne,  February  5,  1782. 

Schatz  11035 

—  Helena  und  Paris.  Ein  heroisches  singspiel  in  drei  aufzuegen. 
Die  musik  ist  vom  herm  Kapellmeister  Winter. 

Berlin,  n.  publ.,  1797.    23  p.     W"^. 

First  performed  at  Berlin,  Nationaltheater,  February  6,  1797.         Schatz  11036 

Heliates  und  Olympia.     A.  T.  of  Reiser's  Die  blut-durstige  rache. 

Helvetic  liberty;  or,  The  lass  of  the  lakes.  An  opera.  In  three 
acts.  Dedicated  to  all  the  archers  of  Great  Britain.  By  a  Kentish 
bowman  .  .  . 

London,  L.  WayUnd,  1792.     1  p.  I.,  vii,  [2],  4-64  p.     18^"^. 

The  text  is  preceded  by  the  unknown  author's  dedication  (in  form  of  an  address), 
"To  the  toxopnilites  for  iKent."    No  composer  or  performance  recorded  by  Clarence. 

LoNOE  276 


OPERA   LIBRETTOS  591 

Hemmeligheden,  et  comisk  syn^estykke  i  en  handling,  efter  Mr 
Quetant's  original.  Omarbeidet  til  det  Kongelige  Theaters  Burg  af 
Adam  Gottlob  Thoroiip,  sadt  i  musik  af  hr.  Kimtzen. 

Ki0benhavn,  P.  M.  Liunges  vorlag,  1796.     79  f.     16^'^. 

First  performed,  as  indicated,  November  22,  1796.  Schatz  5320 

Henri  IV,  drame  lyrique,  en  trois  actes  et  en  prose.  Par  M.  de 
Rozoy,  citoyen  de  Toulouse,  etc.,  etc.  Represente  pour  la  premiere 
fois  sur  le  Theatre  des  Comediens  italiens  ordinaires  du  roi,  le  14 
novembre  1774. 

Paris,  Vente,  1775.     54,  [1]  p.     18\^. 

On  p.  [3],  "Vers  au  Roi,  en  lui  pr^ntant  le  premier  exemplaire  imprim^  de 
Henn  IV,  drame  lynque."  Schatz  6039 

L'Heraclio.  Melodrama  da  rappresentarsi  nel  Theatro  Grimano  di 
SS.  Gio.  e  Paolo  I'anno  1671   .  .  . 

Venetia,  Francesco  Nicolini,  1671.    frmd.,  66,  \X\  p.     14*^. 

Three  acts.  By  conte  Nicol5  Beregani,  who  is  not  mentioned.  Publisher's  dedi- 
cation, dated  Venice,  January  17,  1671,  argument,  scenario.  The  composer,  Pietro 
Andrea  Ziaui,  is  not  mentioned.  Schatz  11217 

Heraclit  und  Democrit.     Tr.  of  Salieri's  Eraclito  e  Democrito. 

Texte  von  den  arien  und  gesaengen  aus  dem  Herbstabentheuer, 
oder:  Wer  viSigt,  gewinnt.  Ein  komisches  singspiel  in  zwey  auf- 
zuegen. 

n.i.,1790.     24  p.     16<=^.  Schatz  11678 

—  Das  herbstabendtheuer.  Oder:  Wer  wagt,  gewinnt.  Ein 
komisches  singspiel.  in  zwei  aufziigen,  nach  der  ersten  idee  des 
Finto  cavaliere  und  Ackorimboni  s  komposition,  von  [Johann 
Christoph]  Bock. 

147-219  p.     (Komische  Opern  der  Italiener,    Th.  II,  no.  3.) 
Detached  copy. 

First  performed  at  Dresden,  Hoftheater,  1779.  "II  Finto  cavaliere"  was  first 
performed  at  Rome,  Teatro  della  Pace,  1777.  Schatz  15 

Hercole  perseguitato.     See  M.  Curzio. 

Hercule  filant,  parody.     See  Omphale. 

Hercules.     A  masque.     Set  to  musick  by  Mr.  John  Eccles. 


As  it  is  acted  at  the  New-Theatre  in  Little  Lincolns  Inn-fields,  by  His  Majesty's 
servants.  Written  by  Mr.  Motteux,  and  other  hands,"  London,  Richard  Parker  and 
Peter  Buck,  1697.  From  Peter  Motteaux's  interesting  prefcice  it  apf)ears  that  the 
masque  was  finished  by  him  and  Eccles  first  and  the  other  "acts  were  later  on 
built  around  it,  as  it  were.    He  also  says: 

"The  foregoing  lines  were  published  as  a  preface  to  that  masque,  some  few  copies 
of  which  were  printed  for  the  use  of  the  audience,  the  first  day  of  the  novelty's  being 
acted.  I  have  nothing  to  add,  but  that  altogether  it  has  met  with  better  success 
than  I  cou'd  expect,  since  (thanks  to  my  friends^  it  was  not  only  beneficial  to  me  on 
the  third,  but  also  on  the  sixth  day,  and  that  in  a  season  when  the  town  is  most 
empty  ..."  Lonoe  127 


592  UBRARY  OF   CONGRESS 

Hercules.  A  musical  drama.  As  it  is  perform'd  at  the  Kings' 
Theatre  in  the  Hay-Market.     The  musick  by  Mr.  Handel. 

London,  J.  and  R.  Tonson  and  S.  Draper,  171^5.    Ifi  f.     lO*^"*. 

Three  acts.  This  is,  of  course,  Handel's  secular  "oratorio"  "Hercules,"  text  by 
Thomas  Broughton. 

First  performed  January  5,  1745.  LoNOB  306 

Hercules.     See  Reiser's  Die  verbindung  des  grossen  .  .  . 

Hercules  am  Thermodon.  Tr.  of  Schurer's  Ercole  sUl  Termo- 
donte. 

Hercules  unter  denen  Amazonen,  in  einer  opera  vorgesteUt,  im 
jahr  1694. 

Hamburg,  Conrad  Neumann,  n.  d.    2  p.  I.,  44  P-     1S^<^. 

Three  acts.    Argument  and  scenario.  Schatz  5272 

—  Hercules.     Anderer  theil. 

Hamburg,  Conrad  Neumann,  n.  d.     1  p.l.,  4^-90  p.     18^*^. 

Three  acts. 

This  opera,  text  by  Friedrich  Christian  Bressand,  music  by  Johann  Philipp  Krie- 
ger  (neither  of  whom  mentioned),  was  first  performed,  as  above,  on  two  evenings  at 
Hamburg,  Opemhaus  beim  Gansemarkt;  as  one  opera  of  five  acts;  at  Brunswick, 
Courttheatre,  1693.  Schatz  5273 

Les  heritiers  supposes.     Tr.  of  Sarti's  I  finti  eredi. 

Herkules  auf  dem  Oeta.     In  einem  aufzuge.     Komponirt  vom 
herrn  musikdirektor  Graefe  zu  Hannover. 
n.  L,  n.  d.    22  p.     16^-^. 

By  Johann  Benjamin  Michaelis,  who  is  not  mentioned. 

No  performance  recorded  by  Schatz.  Schatz  4061 

Herkules  auf  dem  Oeta.  Eine  operette  in  einem  aufsoige,  von 
J.  B.  Michaelis. 

Leipzig,  in  der  Dyckischen  Buchhandlung,  1772.     22,  [i]  p.     15*^. 

The  composer,  Joseph  Aloysius  Schmittbauer,  is  not  mentioned. 

First  performed  at  Hanover,  Schlosstheater,  June  4,  1771.  Schatz  9656 

Hero  et  Leandre,  ballet  pantomime,  en  un  acte,  represente,  pour  la 
premiere  fois,  k  Paris,  sur  le  Theatre  de  la  R^publique  et  des  Arts,  le 
6  frimaire  an  8  [November  27,  1799];  par  L.  J.  Milon,  artiste  de  ce 
thMtre. 

Paris,  A  VImprimerie  a  prix-fixe,  an  VIIL  [1799-1800.]  28  p. 
20"^. 

One  act.  Cast,  detailed  description  and  "Avertiesement,"  in  which  the  author 
defends  himself  principally  against  the  charge  of  a  plagiarism  on  Gardel's  "Ballet 
de  Paris."    The  composer  is  not  mentioned.  ML  52.2.H3 

Second  copy .    ML  48 .  B2 

Der  herr  als  bedienter.     Tr.  of  Schuster's  H  servo  padrone. 

Der  herr  doctor.     Tr.  of  Fischietti's  II  signer  dottore. 

Das  herrnrecht.     Tr.  of  Martini's  Le  droit  du  seigneur. 


I 


OPEEA   LIBRETTOS  593 

Hesione,  tragedie  representee  par  TAcademie  rojale  de  musique 
Tan  1700.  Les  paroles  de  M.  Danchet  &  la  musique  de  M.  Campra. 
LI.  opera. 

n.  i.,  n.  d.  front.,  109-166  p.  l^*^"*.  (Jtecueil  general  des  opera, 
Paris,  1703,  t.  vii.) 

Detached  copy.     Five  acts,  with  prologue. 

First  performed,  as  indicated,  Dec.  21,  1700.  Schatz  1555 

Second  copy.    ML  48. R4 

—  Hesione,  tragedie,  represents  par  I'Acad^mie  royale  de  musique, 
pour  la  premiere  fois  le  21  decembre  1700. 

[27]-82  p.     17^"^.     (Antoine  Danchet,  Theatre,  t.  ii,  Paris,  1751.) 
Prologue  and  five  acts.    The  composer,  Andr^  Campra,  is  not  mentioned. 

PQ  1972.  D2 

—  Hesione,  pai'odie.  Representee  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi,  le  28  octobre  1729. 

Les  parodies  du  Nouveau  Theatre  italien,  Nouv.  ed.,  Paris,  1738, 
t  iv,  [221]-269  p.     16^"^. 

One  act.  By  Dominique  and  Romagnesi  (see  t.  I).  The  airs  and  %-audeville  used 
are  printed  at  end  of  the  volume  in  the  "Table  des  airs  "  (92  p.).  ML  48. P3 

L'heureuse  nouvelle,  oom^die  en  un  acte,  mdl6e  de  vaudevilles, 
represents  sur  le  Theatre  de  Liege,  a  I'occasion  des  f^tes  donnSs 
pour  la   naissance  de  M«r  le  Dauphin  .  .  .     Par  M.  de     *     *     * 
Valbray. 
Liege,  F.  J.  Desoer,  1782.    38  p.     19<^. 

.Caet  and  dedication  by  Valbray,  the  author.  The  arranger  of  the  music  not 
recorded  by  Schatz. 

First  performed,  as  indicated,  January  2,  1782.  Schatz  11494 

Heyrath  aus  liebe.     Ein  nachspiel  mit  arien  und  gesaengen. 

Gotha,  Carl  WiUielm  Ettinger,  1781.    80  p.     16^"^. 

Two  acts.  Neither  the  author,  Schack  Hermann  Ewald,  nor  the  composer,  Johann 
Friedrich  Honicke,  is  mentioned. 

First  performed  at  Gotha,  Hoftheater,  July  9,  1777.  Schatz  4787 

Die  heyrath  durch  betrug.  Tr.  of  Anfossi's  II  matrimonio  per 
inganno. 

Hier  gehen  die  maedchen  auf  die  freierei  aus.     A.  T.  of  Spin- 

dler's  Die  liebe  in  der  Ukriine. 

Hierone  tiranno  di  Siracusa.  Drama  rappresentato  nel  nuovo 
Teatro  Ducale  in  Piacenza  .  .  .  Poesia  di  Aurelio  Aureli,  e  musica 
singolare  di  D,  Bernardo  Sabadini,  oi^anista  della  sudetta  A.  S. 

Parma,  Stamperia  Bucale,  1688.    92  p.     15^"^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  notice  to  the 
reader^  in  which  Aureli  speaks  of 

"gli  applausi,  che  benignamente  donasti  questo  carnevale  passato  in  Parma  alia 
mia  Olimpia,  ed  al  Teseo  in  Atene."  .  Schatz  9197 

Gesaenge  aus  dem  singspiele:  Hieronimus  Knicker,  in  zwey  auf- 
zuegen.     In  musik  gesezt  von  Dittersdorf. 

Hamburg,  J  oh.  Matthias  Michaelsen,  1792.    32  p.     17"^. 

The  text  differs  from  Vulpius'  version  and  may  be  approximately  the  original 
text  as  written  by  Dittersdorf.    For  instance,  Vulpius  has  (aa  No.  5)  "Herr!  Sie 

72251°— VOL  1—14 38 


594  LIBRARY  OF  CONGRESS 

Hieronimus  Knicker — Continued. 

werden  iibel  fahren,"  the  Hamburg  text  "Ey,  Sie  miissen  Bich  ja  echaemen";  Vul- 
pius  has  (as  no.  6)  "Liebe  fraegt  nach  keinem  stande,"  Hamburg  "Bin  ich  gleich 
vom  IBauemstande";  Vulpius  has  (as  no.  7)  "Mein  Onkel  ist  ein  halber  narr,"  Ham- 
huig  "Mein  onkel  ist  ein  harter  mann." 

First  performed  at  Vienna,  Marinellische  schaubuchne  in  der  Leopoldatadt,  July 
1789.  ML  50.2.n35D4 

—  Hieronyxnus  Eniker  [ !].  Eine  komische  operet*9  in  2.  aufzuegen. 
Nach  Dittersdorfs  musik  neubearbeitet. 

Passau,  Nilclas  Amhrosi,  179S.     72  p.     16\'»^. 

Originally  by  the  compoeer,  altered  by  Vulpius.  Schatz  2593 

—  Hieronimirs  Knicker.  Eine  komische  operette  in  zwey  aufzue- 
gen.     Nach  Ditterdorfs  musik  neubearbeitet. 

n.i.,1793.     78  p.     16^'^'^. 

Practically  the  same  version  as  Schatz  2593.  Schatz  2594 

The  Highland  fair;    or,  Union  of  the  clans.     An  opera.    As  it  is 
perform'd  at  the  Theatre-Royal,  in  Drury  Lane,  by  His  Majesty's 
servants.     Written  by  Mr.  Mitchell.     With  the  musick,  which  wholly 
consists  of  select  Scots  tunes,  prefixed  to  each  song. 
London  J,  Watts,  1731.    7  p.  I,  78  p.    19^"^. 

Lacks  the  front.,  designed  by  W.  Hogarth,  "A  Scots  opera."  Three  acts  and  intro- 
duction. On  p.  [yii-x],  "Books  printed  for  J.  Watts,"  preceded  by  a  table  of  the 
tunes  and  dedication  and  followed  by  the  cast.  The  51  times  are  printed  in  the  text 
with  their  titles. 

First  performed,  as  indicated,  March  20,  1731.  ML  50.5.H43 

Second  copy,  with  Hogarth's  front.,  making  8  p.  1.  Longe  50 

Songs,   duetts,  etc  in  the  Highland  reel.     Comic  romance.     In 
three  acts;   performed  at  the  Theatre-Royal,  Co  vent-Garden.     The 
musick  composed  and  compiled  by  Mr.  Shields  [!1     Fifth  edition. 
London,  T.  CadeU,  1789.    23  p,    21<^. 

Cast.    John  O'Keefe,  the  author,  is  not  mentioned. 

First  performed,  as  indicated,  November  6,  1788;  at  Dublin,  Theatre,  Smock 
Alley,  1786.  PR  1241.D7 

—  The  highland  reel,  a  comic  opera.  In  three  acts.  As  it  is  per- 
formed at  the  Theatres-Royal  in  London  and  DubUn.  By  John 
O'Keefe,  Esq. 

Dublin,  Sold  by  ihe  booTcsellers,  1790.    72  p.    17^^. 

London  and  Dublin  (1790)  caste.    William  Shield,  the  composer  is  not  mentioned. 

Schatz  9869 
Second  copy.    Longe  205 

Hilft's  nicht,  so  schadt's  nicht.  A.  T.  of  Dittersdorfs  Das  rote 
kaeppchen. 

L'Himen  et  rAmour.     See  Mondonville's  Les  projets  de  TAmour. 

Hipermenestre.     Tr.  of  the  ballet  Ipermestra. 


OPERA   LIBRETTOS  595 

L'Hipermestra.  Festa  teatrale  rappresentata  dal  Sereniss.  principe 
cardinale  Gio.  Carlo  di  Toscana  per  celebrare  il  giorno  nataiizio  oel 
real  principe  di  Spagna. 

Firenze,  Stamperia  di  S.  A.  S.,  1658.  9  p.  I.  (incl.  front.) ,  78  p. 
n'="'.     ISJold.  pi.  (50  to  58  by  38'^'^.). 

The  plates  are  unsigned  in  our  copy.  Wotquenne  eays  "gravees  par  Silvio  deeli 
AUi."  Twelve  represent  scenes  from  the  opera,  the  thirteenth  represents  an  interior 
view  of  the  Teatro  de  la  Pergola,  seen  from  the  stage. 

Three  acta  and  prologue,  preceded  by  the  Antefatto  and  the  author  Moniglia's 
dedication  of  date  Florence,  June  12,  1658.  The  text  is  followed  by:  Descbizione 
DELLA  PRESA  d'Argo  e  DE  GLi  AMORi  DI  LiNCEO  CON  Hipermestra;  festa  teatrale 
.  .  .  per  celebrare  il  natale  del  Sereniss.  principe  di  Spagna.  In  Firenze,  Nella  stam- 
periadi  S.  A. S.  MDCLVIII"  (32  p.  21cm.).  According  to  Moniglia's  preface  to  his 
"Poesie  drammatiche"  this  description  of  "Hipermestra"  was  written  by  Orazio 
Ricasoli  Rucellai.  He  gives  a  minute  synopsis  of  the  action,  mentions  the  noblemen 
who  participated  in  the  ballets  and  in  the  Abbattimento,  narrates  the  preparations 
for  performance,  the  beginning  of  which  he  dates  June  18, 1658  "verso  le  24  ore  "  [!], 
with  a  display  of  extraordinary  hospitality  towards  his  guests  by  the  cardinal,  gives 
a  brief  description  of  the  new  "Teatro  dell'  Accademia  de  gl'Immobili"  (Teatro 
de  la  Pergola)  and  eays : 

"Terminata  che  fu  la  compoeizione  di  questo  dramma,  speditamente  si  trasmise 
al  Sig.  Francesco  Cavallo  (Cavalli)  a  Venezia,  acci6  che  con  I'artifizio  di  suo  armo- 
nioso  contrappunto  traesse  altrui  di  mezo  al  cuore  i  piii  teneri,  e  compassionenoli 
affetti,  che  all'  espressione  delle  parole,  e  de  ^li  avvenimenti  j>oetici  fussero  piu 
confacevoli,  ed  egli  che  viene  oggi  reputato  il  primo  compositore  d'ltalia,  particolar- 
mente  sopra  lo  stile  drammatico,  con  prestezza  incredibile  ne  rimand6  il  componi- 
mento  di  tanta  dolcezza,  e  eoaviti  di  stile,  che  avendo  a  detta  d'ognumo  nell'  altre 
sue  opere  acquistata  la  palma  sopra  i  maestri  piii  esimij,  in  questa  pu6  dirsi  che  abbia 
superato  s^  stesso.  II  pensiero  poi  di  fare  la  scelta  de'  musici,  e  delle  voci  piti  adattate 
alle  parti  degl'  interlocutori,  &  assister  loro  con  o^i  maggiore  studio,  e  diligenza, 
fu  dato  da  S.  A.  alii  SS.  marchese  Filippo  NiccoUni  suo  Maestro  di  camera,  e  march. 
Gio:  batista  del  Monte  suo  Cavellerizzo  maggiore,  ed  alii  SS.  Pietro  Strozzi,  e  Filippo 
Franceschi,  che  hanno  eomma  diletazione  nella  musica,  &  ottimo  gusto  alpan  de 
professori  medesimi  ..."  ML  50.2.H38C2 

—  L'lpermestra.  Festa  teatrale  rappresentata  dal  sereniss.  prin- 
cipe cardinale  Gio.  Carlo  di  Toscana  per  celebrare  il  giorno  nataiizio 
del  Real  principe  di  Spagna. 

Firenze,  Vincenzio  Vangelisti,  1689  (Giovanni  Andrea  Moniglia, 
Poesie  drammatiche,  parte  prima,  Firenze,  Vincenzio  Vangelisti,  1689, 
V.  1,  1  p.  I,  118  p.,  12  pi.     21^!''^. 

The  plates  are  the  same  as  in  the  1658  ed.  but  on  a  smaller  scale  (34  x  24cm.)  of 
poorer  workmanship  and  lees  ornate.  The  thirteenth  pi.  (inside  view  of  the  Teatro 
della  Pergola)  is  not  in  this  ed. 

Three  acts  and  prologue.  Antefatto  and  after  the  list  of  Interlocutori  the  first, 
introductory,  part  of  Rucellai'a  "  Descrizione, "  with  name  of  Cavalli,  date  of  first 
performance,  etc.,  and  the  description  of  the  prologue.  That  of  the  single  acts  pre- 
cedes them.  ML  49.A2M7 

Hippodamie,  tragedie  representee  par  I'Academie  royale  de 
musique  Tan  1708.  Les  paroles  de  M.  Roy  &  la  musique  de  M. 
Campra.     LXX.  opera. 

n.  i.,  n.  d.  279-332  p.  14*^.  (JRecueil  general  des  opera,  Paris, 
1710,  t.  ix.) 

Detached  copy.     Five  acts,  with  prologue  and  Avertiseement. 

First  performed,  as  indicated,  March  6,  1708.  Schatz  1556 

Second  copy.    ML  48. R4 


596  LIBRARY   OF  CONGRESS 

Hippolyte  et  Aricie,  tragedio,  repr^ent^  pour  la  premiere  fois, 
par  rAcademi3  royale  de  inusique;  le  jeudy  premier  octobre  1733. 

[Paris],  Jean  Baptiste  ChristopJie  Ballard,  1733.    xx,  56  p.    23'^'^. 

Prologue  and  five  acta.  Cast.  Neither  the  composer  Jean  Philippe  Batneau,  ia 
mentioned,  nor  the  author,  Pellegrin,  who,  in  a  preface,  defends  himself  against  his 
critics.  ML  50.2. H4R2 

—  Hipolyte  et  Aricie,  tragedie  representee  par  I'Academie  royale 
de  musique,  I'an  1733.  Paroles  de  M.  Pellegrin.  Musique  de  M. 
Rameau.    CXIX.  Opera. 

n.  i.,  n.  d.  pi.,  311-380  p.  14'^.  (JRecudl  general  des  opera,  t  xv, 
Paris,  1739.) 

Detached  copy.  Five  acta  and  prologue.  Preface  (p.  313-318),  giving  the  his- 
torical basis  of  the  plot,  etc.  Schatz  8587 

Second  copy.    ML  48.R4 

—  Hippolyte  et  Aricie,  tragedie,  repr^entee  par  I'Academie  royale 
de  musique  de  Paris,  en  octobre  1733.  en  septembre  1742.  Et  par 
I'Academie  royale  de  musique  de  Lyon,  en  fevrier  1743. 

Lyon,  Aime  Delaroche,  1743.     iv,  54  p.    23^'^. 

Five  acts  and  prologue.    Cast.  Schatz  8587a 

—  Hippolite  et  Aricie,  parodie ;  representee  pour  la  premiere  fois 
par  les  Comediens  italiens  ordinaires  du  roi,  le  11  octobre  1742. 
Nouv^Ue  edition. 

Paris,  N.B.Duchesne,  1759.  56 p.  19<^.  (Theatre de  M.  FavaH, 
Paris,  1763-77,  t.  i.) 

One  act.  En  vaudevilles.  Cast.  Several  of  the  airs  are  printed  in  the  text.  On 
p.  51-56,  "Ariette  chant^e  par  Mile  Victoire"  with  remark,  "A  la  reprise  de  cette 

Earodie  en  1757,  Mile.  Victoire  chantoit  cette  ariette  ["Dans  mon  coeur  e'^lfeve"]  ^ 
I  scene  IV  aprea  le  couplet:  Enfin  j'ai  d^couvert  leur  feu."    The  arranger  of  tne 
music  is  not  mentioned  by  Font.  ML  49.A2F1 

Hippomenes  and  Atalanta,  ballet.    See  Sacchini's  Enea  e  Lavinia. 

Das  hirten  maegdchen.  Ein  sing-spiel  in  neun  komischen  idyllen. 
Die  musik  ist  von  herrn  Winter. 


cm 


Muenchen,  Joseph  von  Craetz,  1784-    4^,  [2]  p.     16 
By  Heinrich  Braun,  who  is  not  mentioned.     Cast. 
First  performed  at  Mimich,  National  Schaubuehne,  March  26,  1784. 

Schatz  11037 

The  history  of  Dioclesian.     A.  T.  of  H  Purcell's  The  prophetess. 

The  history  of  S"^  Francis  Drake.  Exprest  by.  instrumental!  and 
vocall  musick,  and  by  art  of  perspective  in  scenes,  etc.  The  first 
part.  Represented  daily  at  the  Cockpit  in  Drury-Lane  at  three 
afternoon  punctually. 

London,  Henry  Herring-man,  1659.     1  p.  I.,  37  p.    20^"^- 

"The  description  of  the  frontispiece"  (on  p.  1)  ends  with  this  allusion  to  "the 
Cruelty  of  the  Spaniards  in  Peru,"  performed  1658  and  by  the  same  author,  Sir 
William  Davenant,  who  is  not  mentioned : 

"This  frontispiece  was  the  same  which  belong'd  to  the  late  representation;  and  it 
was  convenient  to  continue  it,  our  argument  being  in  the  same  countrv." 

While  the  scenery  of  the  first  to  sixth  "entry"  is  lovingly  described  and  while 
there  are  such  remarks  as  "the  curtain  rises  [in  the  first  eiitry]  by  degrees  to  an 
ascending  ayre,"  the  libretto  is  silent  on  the  question  of  who  composed  the  music, 


OPERA    LIBRETTOS  597 

The  history  of  S"^  Francis  Drake— Continued. 

but  presumably  one  or  more  of  Davenant'e  previous  collaborators  were  responsible  for 
it:  Dr.  Charles  Ck)leman,  Captain  Henry  Cook,  Henry  Lawes,  and  Geoi^e  Hudson. 

On  May  5,  1659,  Evelyn  wrote  in  his  diary  with  rather  imfavorable  (and  also 
unfair)  comment  of  "a  new  opera  after  the  Italian  way  in  recitative,  music  and 
eceanes."  For  chronolc^ical  reasons  it  stands  to  argue  tnat  he  had  "the  history  of 
Sr  Francis  Drake"  in  mind  rather  than  (as  is  usually  claimed)  "The  cruelty  of  the 
Spaniards  in  Peru . "  It  is  also  noteworthy  that  Davenant  incorporated  ' ' The  History, 
etc."  as  the  third  and  "The  cruelty,  etc."  as  the  fourth  act  of  his  medley,  "The 
playhouse  to  be  let,"  1673.  ML  50.2.H5 

Hob  in  the  weU.     L.  A.  T.  of  Flora. 

Der  hochmuethige  Alexander.     Tr.  of  Handel's  Alessandro. 

Der  hochmuethige,  gestuerzte  und  wieder  erhabne  Croesus. 

[vignette]  In  einem  singe-spiele  vor  vielen  jahren  aufF  dem  grossen 
Hamburger  schau-platze  vorgestellet,  jetzo  von  neuem  wieder  auf- 
gefuehret  im  jahr  1711. 

Hamburg,  Friedrich  Conrad  Grejiinger,  n.  d.     Unpaged.     19'^'^. 

Three  acts.    The  "Inhalt  und  Vorbericht"  reads,  in  part: 

"...  ein  italiaenischer  poet  [he  refers  to  conte  Nicol6  Minato's  "Creeo"]  .  .  . 
hat  aus  diesen  theils  wahrhafftigen,  theils  wahrecheinlichen  begebenheiten,  mit 
einmischung  srnnreicher  zufaelle  und  verwirrungen,  ein  auf  zwo  repraesentationes 
eingetheiltes  sing-spiel  in  seiner  sprache  verfertigt,  woraus  vor  vielen  jahren  ein 
hiesiger  liebhaber  der  music  und  poesie,  auff  ansuchen  vomehmer  freunde,  bey 
eeltenen  muessigen  stunden,  dieses  gegenwaertige  sing-spiel  in  die  teutsche  sprache 
gebracht,  und  theils  nach  der  aus  der  erfahrung  verspuehrten  neigung  hiesiger 
zuschauer,  mit  untermischung  einiger  lustbarkeiten,  noch  mehr  auff  den  endzweck 
eingerichtet,  dass  nebst  schicklichen  staats-  und  sitten-lehren,  die  tugend  zur  liebe 
una  nachfolge,  die  laster  zur  vermeidung  vorgestellet,  am  allermeisten  aber  aus  dem 
verlauff  der  an  sich  im  hauptwercke  warhantigen  geschichte  die  unbestaendigkeit 
weltlicher  ehre  und  reichthums  anerkanndt  werde;  wodurch,  weil  es  der  zeit  einigen 
applausum  gefunden,  und  nur,  dass  es  in  der  auffuehrung  etwas  zu  weitlaeufftig  und 
langwaehrend  waere,  bemerckt  worden,  man  es  jetzo  mit  einiger  mehrem  einschraen- 
kung  und  verkuertzung  von  neuem  aufflegen  lassen,  und  wieder  auf  hiesige  echau- 
buehne  bringen  woUen." 

Neither  the  author,  Lucaa  von  Bostel,  is  mentioned,  nor  the  composer,  Reinhard 
Eeiser. 

Originally  performed  at  Hamburg  in  1684.  Schatz  5124 

—  Der  hochmuethige,  gestuerzte  und  wieder  erhabene  Croe- 
sus, in  einem  musicalischen  schau-spiele  auf  dem  Hamburgischen 
Schau-platze  vorgestellet  im  jahr  1730. 

[Hamburg],  mit  Stromerischen  schrifften,  n.  d.      Unpaged.     19'^'^. 

Three  acts.  "Vorbericht"  and  name  of  Reinhard  Keiser  as  the  composer.  The 
author,  Lucaa  von  Bostel,  is  not  mentioned.  The  text  is  slightly  different  from  that 
in  the  edition  of  1711.  For  instance,  the  opening  aria  of  I,  2,  "Ungluecks-triebe," 
has  been  replaced  by  "Hoffe  noch,  gekraencktes  herz"  and  the  aria  in  I,  13,  "Gre- 
neigtes  geschicke,"  has  been  dropped. 

First  performed,  as  indicated,  December  4  or  6,  1730.  Schatz  5096 

Die  hochzeit  des  Figaro.  Ein  komisches  singspiel  in  zwey  auf- 
zuegen.     Aus  dem  franzoesischen  frei  bearbeitet. 

Bnienn,  Johann  Sylv.  Siedler,  1789.     130  p.     16\^. 

Author  imknown  to  Schatz.  Composed  by  Dittersdorf,  who  is  mentioned  as 
composer. 

First  performed  at  Brunn,  Kgl.  Staedtischee  Theater,  1789;  at  Graz,  Stand.  Theater, 
June  15, 1801.  Schatz  2596 

Die  hochzeit  des  Figaro.     Tr.  of  Mozart's  Le  nozze  di  Figaro. 


598  LIBRARY  OF  CONGRESS 

Das  hochzeitfest  des  Amors  und  der  Norizia.     Theatralisches 
sin^gedicht  bey  der  hoeclistbeglueckten  vermaehluiig  Sr.  Koeni^lichen 
Majestaet  Joseph,  roemischen  koenigs  etc  etc  etc  und  der  Kaiserlich 
Koeniglichen  Hohheit  Josepha  Antonia  .  .  .  im  jalir  1765. 
Muenchen,  Jdhann  Friedrich  Ott,  n.  d.     Unpaged.    20  p. 

Two  acta.  Cast  and  names  of  Eugenio  Giunti  as  author,  of  Pietro  Pompeo  Sales 
as  composer.  Italian  text  faces  German,  which  was  by  Antonio  Giunti.  Tne  Italian 
title  was  "Le  nozze  di  Amore  e  di  Norizia." 

First  performed  January  12,  1765,  as  indicated.  Schatz  9268 

Die  hoeflichen  bauem,     A.  T.    of  Der  neue  herr. 

Die  hoehle  des  Trophonius.     Tr.  of  Salieri's  La  grotta  di  Trofonio. 

Hokus.  Pokus !  Eine  komische  oper  in  zwei  auf zuegen  von  C.  A. 
Vulpius.     Die  musik  ist  von  Dittersdorf. 

Leipzig,  Johann  Samuel  Heinsius,  119Jf..     88  p.     15"^. 

According  to  Schatz,  Vulpius's  version  is  not  the  original  one. 

First  performed  at  Leipzig,  Theater  b.  Rannstadter  Thore,  October  25,  1793;  at 
Breslau,  Wasersches  Theater,  November  4,  1791.  Schatz  2597 

—  Hokus  Pokus  oder  Das  gaukelspiel.  Eine  komische  oper  in 
zwey  auf  zuegen,     Mit  der  musilc  des  edlen  v.  Ditteredorf. 

n.  i.,  1795.    56  p.     15^"^. 

Lyrics  only,  slightly  different  from  Schatz  2597.  For  instance  (I,  8),  the  aria, 
"Was  thut  man  nicht  urn's  liebe  geld?"  has  become  "Bey  meiner  schwarzen  Seelei 
Ha !  das  ding  ist  ja  zum  lachen .  * '  The  list  of  characters  is  also  different .  For  instance 
"Amolph,  ein  pferdehandler,"  has  become  "Graf  Goldbraun,  ein  pferdehaendler," 
and  "Zachaeus  Mantelbret"  is  now  called  Mathes.  Schatz  2598 

Holger  Danske,  eine  oper  in  drey  acten. 

p.  7-110.     16'"^.     (Cramer's  Musik,  Copenhagen,  1789). 

German  translation  by  Carl  Friedrich  Cramer  of  Jens  Emanuel  Baggesen's  Danish 
original  as  composed  by  Friedrich  Ludwig  Aemilius  Kunzen.  Cramer's  interesting 
and  important  preface  (p.  7-31),  addressed  to  Wieland,  under  date  of  December  19, 
1788,  comments  on  Baggesen's  use  of  Wieland's  "Oberon"  for  his  "Holger  Danske" 
text,  on  the  Danish  language  as  a  vehicle  for  musical  expression  and  on  Kunzen's  set- 
ting of  Baggesen's  text. 

First  performed  at  Copenhagen,  Roval  Theatre,  March  31,  1789. 

ML  4.M3  and  Schatz  5321 

Die  Hollandgaenger.     A.  T.  of  Wilhelm  und  Koeschen. 

Der  holzhauer,  oder  Die  drey  wuensche.  Eine  komische  oper  in 
einem  aufzuge.     Eine  freye  uebersetzung. 

Berlin,  Christian  Friedrich  Himburg,  1772.     78  p.     11^."'^. 

Based  on  the  libretto  by  de  Guichard  and  Castet  for  Philidor's opera,  "Le  bAcheron, 
ou  Les  trois  souhaits,"  Paris,  1763.  This,  in  turn,  was  based  on  Perrault's  tale,  "Lea 
souhaits  ridicules."  As  the  lyrics  in  this  translation  are  practically  identical  with 
those  in  the  "Gesaenge"  of  the  next  entry,  with  exception  of  the  "Schlusschor,"  it 
stands  to  reason  that  the  librettist  of  the  "Gesaenge"  was  also  responsible  for  the 
"free  translation"  of  1772.  This  he  then  merely  modified  for  Benda's  singspiel 
purpoeea.  •  Schatz  770a 

—  Gesaenge  aus  dem  Holzhauer,  einer  komischen  operette  in  einem 
akt.     Die  musik  von  herrn  Georg  Benda. 

Riga,  Gottloh  Christian  Froelich,  n.  d.     13  p.     15'='^. 
The  author,  Friedrich  Wilhelm  Gotter,  not  mentioned. 

First  performed  at  Riga  on  June  27  (July  8),  1785 r  at  Gotha,  Hoftheater,  January 
2  1778.  Schatz  770b 


OPERA  LIBRETTOS  699 

Der  holzhauer  oder  Die  drey  wuensche.  Tr.  of  Philidor's  Le 
bucheron. 

L'homme  a  deux  femmes.     A.  T.  of  Deshayes'  Zelia. 

The  honest  men  of  Taunton.     A.  T.  of  the  downfall  of  bribery. 

The  honest  Yorkshire-man.  A  ballad  farce.  Refus'd  to  be  acted 
at  Drury-lane  playhouse:  but  now  perform'd  at  the  New  theatre  in 
Goodman's  Fields,  with  great  applause.     Written  by  Mr.  Carey  .  .  . 

London,  L.  GiUiver,  1736.    6  p.  I.,  3-32  p.    20^<^. 

Title-paige  mutilated.  One  act  with  prologue  and  two  epilogues,  one  spoken  by 
Mrs.  Cantrell  the  three  first  nights,"  the  other  "spoken  after  the  third  night,  in  the 
Bummer  season,  at  the  Haymarket."  Haymarket  and  Goodman's  Fields  casts  and 
preface. 

The  20  numbered  airs  are  not  printed  in  the  text,  but  their  tunee  are  indicated  by 


best"),  15  ("Thou  only  darling"),  19  ("Now  Fortune  is  past"),  and  20  ("Come  learn 
by  this  ye  batchelors  )  as  "set  by  the  author,"  consequently  composed  by  Carey 
himself.  In  the  Musical  Antiquary,  Mr.  Tufts,  under  1736,  says,  "Ten  airs  by  Carey, 
two  by  Dr.  Green,  one  by  Handel,  one  by  Signer  Porpora,  six  named."  In  our  edi- 
tion ten  numbered  airs  are  named  and  Dr.  Greene  is  not  mentioned.  Our  edition 
furthermore  has  an  unnumbered  song,  "Tune,  Wlien  the  bright  God  of  Day — Whoe'er 
to  a  wife,"  which  was  interpolated  from  the  ballad  opera,  "Cure  for  a  scold."  The 
airs  in  our  copy  not  mentioned  so  far  are:  Air  2  "In  vain,  dear  Cloe,"  3  "Hark!  away, 
'tis  the  merry  ton'd  horn,"  4  "The  charms  of  Florimel,"  5  "To  the  same  tune" 
(meaning  the  unnumbered  "When  the  bright  God  of  Day"),  6  "London  is  a  fine 
town,"  10  "Gilly-flow'r,  gentle  Rosemary,"  13  "I  had  a  pretty  lass  a  tenant  of  my 
own,"  "4  "Bartholomew-Fair,"  16  "The  nymph  that  undoes  me,"  18  "A  beggar 
got  a  beadle."     ( Note  the  differences  in  the  next  entry!). 

The  preface  reads,  in  part: 

"The  very  generous  Reception  this  FARCE  has  met  with  from  the  Publick  during 
its  Representation  in  the  Haymarket  last  Summer,  and  Goodman's  Fields  this  Winter, 
is  a  Manifestation  of  the  bad  Taste  and  monstrous  Partiality  of  the  Great  Mogul  of 
the  Hundreds  of  Drury,  who,  after  having  had  the  Copy  Nine  Months  in  his  Ebnds, 
continually  feeding  me  with  fresh  Promises  of  bringing  it  on  the  Stage,  retum'd  it  at 
last  in  a  very  ungenerous  Manner,  at  the  End  of  the  Season,  when  it  was  too  late  to 
carry  it  to  any  other  House;  but  the  Young  Actors  having,  as  usual,  formed  them- 
selves into  a  Summer  Company,  Mr.  Cibber,  Jun.  sent  to  me  in  a  very  respectful 
Manner,  requesting  the  Farce,  which  accordingly  was  put  in  Rehearsal;  but  to  our 
great  Disappointment  and  Surprize,  the  Company,  after  one  Night's  Acting,  was 
suddenly  interdicted,  and  the  House  shut  up  .  .  . 

"My  next  and  last  Complaint  is  against  Pyrate  Printers  .  .  . 

"The  Produce  of  a  Man  s  Brain  is  as  much  his  Property  as  the  Grain  or  Produce  of 
his  Field,  or  any  other  Part  of  his  real  or  Personal  Estate,  and  it  is  equally  criminal 
to  rob  him  of  one  as  of  the  other.  .  . 

"We  have  Laws  in  Force  against  Street-Robbers,  House-breakers,  &c.  and  yet  at 
the  same  Time  Pj-rate-Printers  daringly  and  openly  rob  Authors  and  Proprietors  of 
Copies  of  their  just  Rights;  and  though  the  Labour  of  the  Brain  supports  so  many  and 
such  great  Branches  of  Trade,  such  as  Paper-makers,  Stationers,  Letter-founders, 
Printers,  Booksellers,  Bookbinders,  &c.  &c.  &c.  to  the  Maintenance  of  above  100,000 
Families,  and  tho'  Books  pay  so  many  and  such  lai^e  Duties,  to  wit,  on  Paper,  Paste- 
board, Leather,  Stamps,  Advertisements  and  Entries,  to  very  near,  if  not  more  than 
One  Fourth  of  the  Net  Produce,  yet  Authors  and  their  Assigns  are  the_  only  Persons 
unshelter'd  by  the  Government  from  the  Robberies  and  Pyracies  of  Printers,  who  to 
the  Shame  and  Scandal  of  our  most  excellent  Constitution,  commit  such  Ravages  as 
are  tolerated  in  no  other  Country. 

"I  hope  to  be  excus'd  in  speaking  thus  warmly,  having,  for  my  own  Part,  suffer'd 
very  largely  in  this  Particular;  nor  do  I  live  a  Week,  but  I  see  myself  injur'd  of 
more  than  would  support  me  a  Month  in  a  handsome  Affluence.  But  of  all  Pyracies, 
that  of  this  FAB.CE  was  the  most  flagrant  and  impudent,  for  impatient  to  stay  till  I 
had  publish'd  my  own  Copy,  they  villainously  and  surreptitiously  anticipated  me, 


600  LIBRARY   OF   CONGRESS 

The  honest  Yorkshire-man — Continued. 

thereby  robbing  me  of  a  considerable  Sum,  and  imposing  on  the  Publick,  not  only  a 
fejBe  and  spurious  Edition,  but  at  double  the  Price  I  ever  intended  it." 

First  performed  at  Lincoln  Inn's  Fields  {not  at  Covent  Garden)  July  11,  1735,  as 
"The  Wonder!  An  honest  Yorkshireman;"  at  The  Haymarket  August  1,  1735  ("last 
time"  Genest);  at  Goodman's  Fields  November  12,  1735.  (Genest  v.  3  contradicts 
the  data  in  his  index  in  v.  1).  ML  50.5. H65 

—  The  honest  Yorkshire-man.     A  ballad  opera. 

[213}-244  p.  22"'".  {Henry  Carey,  Dramatick  worJcs,  London, 
1743.) 

One  act.  Same  preface.  Of  the  21  airs,  ten  are  indicated  as  bv  Carejr,  one  by 
Porpora,  one  by  Haendel,  two  by  Dr.  Qreen,  and  six  as  ballad  airs  with  then- 
titles,  but  note  the  striking  difference  between  this  ed.  and  that  of  the  Dramatick 
works.  In  the  latter  the  arrangement  is  as  follows.  Airs:  1  by  Porpora;  2  and  S  by 
Carey;  4  by  Dr.  Green,  but  with  same  text ' '  My  charming  Arabell " ;  5  is  the  same  (the 
unnimab.  song  of  1736  having  disappeared);  6 — there  is  no  air  numbered  6;  7,  8,  9, 10, 
11,  12,  13  are  the  same;  14  is  "O  London  is  a  fine  town"  with  the  same  text  as  the 
former  6  "O  London  is  a  dainty  place";  15  is  ^'London-Bridge  is  broken  down";  16  is 
the  same  as  the  former  15;  17  is  by  Dr.  Green  but  with  same  text  "Let  prudes  and 
coquets"  as  of  former  16;  18,  19,  20,  21  are  the  same  as  the  former  17,  18,  19,  20. 

ML  49.A2C2 

—  The  honest  Yorkshire -man,  a  ballet  farce,  acted  with  great 
applause  at  the  Theatres  Royal  in  Drury-Lane  and  Covent  Garden. 
Written  by  Mr.  Harry  Carey  .  .  . 

London,  T.Lownds,  1763.     36  p.  (inclfront.)     16""^. 

One  act.    Preface,  prologue,  epilogues,  casts  (Drury-Lane  and  Covent-Gtarden). 

LONGE  73 

L'honor  al  cimento.  L.  T.  of  Orgiani's  Gli  amori  di  Rinaldo  con 
Armida. 

Les  Horaces,  tragedie-iyrique,  en  trois  actes,  m61ee  d'intermedes, 
Represente  devant  Leurs  Majest^s,  k  Fontainebleau,  le  2  novembre 
1786. 
[Paris],  P.  R.  C.  Ballard,  1786.     4  p.  I.,  53  p.     19^"^, 

Cast.     Guillard  is  mentioned  as  the  author,  Antonio  Salieri  as  the  composer. 
First  performed  at  Paris,  Acad^mie  royg,le  de  musique,  December  7,  1786. 

ML  50.2.H6S2 

Les  Horaces  et  les  Curiaces,  ballet.    See  P.  Guglielmi's  Vologeso. 

The  Horatii  and  Curiatii.     A  tragic  ballet. 

Noverre,  Jean  George,  WorJcs,  Tr.  from  the  French,  London,  1783, 
v.S,p.l45-181.     21^''^. 

Five  parts.    Detailed  scene  by  scene  description.  GV  1787. N8 

Horatio.     See  M.  Curzio. 

Horatius  Codes,  acte  lyrique,  represents  pour  la  premiere  fois  sur 

le  Theatre  national  de  I'Opera,  le  d6cadi  30  pluviose,  I'an  deuxieme 

[February  18,  1794].     Paroles  du  C.  Arnault.     Musique  du  C.  MShul. 

n.  L,  n.  d.     [51]-66  p.     19^"^. 

Before  1800?    Not  detached  from  his  Oeuvres,  1818  (3  v.)  or  1824-27  (8  v.)?  , 

MI^50.2.H63M2 


OPERA   LIBRETTOS  601 

An  hospital  for  fools.  A  dramatic  fable.  As  it  is  acted  at  the 
Theatre-Royal,  by  His  Majesty's  servants.  To  which  is  added  the 
songs  with  their  basses  and  symphonies,  and  transposed  for  the  flute. 
The  musick  by  Mr.  Arne.  Sung  by  Mrs.  CUve  .  .  . 
London,  J.  Watts,  1739.  6  p.  I,  [S]-28,  [1]  p.,  [7]  p.  (music)  20^, 
One  act  and  introduction.  By  James  Miller,  who  is  not  mentioned.  The  first 
p.  1.  contains  publisher's  advertisement  dated  November  19,  1739,  the  p.  1.  4-6  con- 
tain "An  additional  song.  The  musick  by  Mr.  [Thomas  Augustinel  Arne.  Sung  by 
Mrs.  Clive:  "Howemootnly  glides  the  fool,"  air  and  bass.  The  [7]  p.  contain  "Songs 
■"    "    ■    '  '  '      ■  '  "  "      '     '■  The         


First  performed,  as  indicated,  November  15,  1739.  ML  50.2.H7 

Second  copy,  lacking  first  p.  1.  (half-title).  Longe  40 

H0st-gildet.     Et  syngespil  i  een  act,  ved  Thomas  Thaarup. 

Ei0l)en7iavn,  P.  M.  H0pffner,  1790.     48  p.     19""^. 

Cast.    The  composer,  Johann  Abraham  Peter  Schiilz,  is  not  mentioned. 
First  performed  at  Copenhagen,  Royal  Theatre,  September  16,  1790. 

SCHATZ  9721 

—  Das  emdte-fest.  Ein  singspiel  in  einem  aufzuge  vom  herm 
Thaarup.  In  musik  gesetzt  vom  herrn  kapellmeister  Schulz.  Aus 
dem  daenischen  nach  der  dritten  veraenderten  auflage. 

Altona,  J.  F.  Eammerich,  1796.    68  p.     W"". 

The  "  Vorrede  des  uebersetzers  "  is  signed  by  F.  H.  W.  Froelich  and  dated  "Rund- 
hoff,  bey  Schleswig,  im  Juny  1794."    In  it  he  says: 

"Dase  die  arien  der  uebersetzung  mit  der  mueik  in  der  voUkommensten  ueberein- 
etimmung  stehen,  ist  allein  das  werk  des  herm  kapellmeisters  Schulz,  dessen  guete 
meine  arbeit  einer  wiederhohlten  durchsicht  wuerdigte."  Schatz  9722 

Der  hufschmied.     Tr.  of  Philidor's  Le  mar^chal  f errant. 

Les  huit  Mariannes,  parodie  en  un  acte.  Representee,  pour  la 
premiere  fois,  a  I'Hdtel  de  Bourgogne,  par  les  Com6diens  italiens,  en 
Mai  1725. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  5,  [203'\-255  p, 
17^"^. 

In  prose  and  vaudevilles.  A  parody  of  the  tragedy,  "H<5rode  &  Mariamne" 
accordmg  to  Parfaict,  who  dates  it,  without  mentioning  the  compoeer,  April  28,  1725. 

PQ  2019. P6 

L'hnitre  et  les  plaideurs,  ou  Le  tribunal  de  la  chicane.  Opera- 
comique,  en  un  acte,  en  prose,  m616  de  morceaux  de  musique  & 
vaudeville,  represents  sur  le  Theatre  de  la  Foire  Saint-Laurent  en 
1759  &  1761.  Par  M.  Sedaine.  La  musique  de  M.  Philidor.  La 
musique,  les  ariettes  &  le  vaudeville  s'y  trouvent  graves. 

Paris,  Claude  Eerissant,  1761.    34,  [1]  p.    20^"^- 

No  music.    Cast.    In  his  ai;erfi8aeni«nf  the  author  says: 

"Cette  petite  pi^ce,  ou  plut6t  cette  farce  a  ^t6  representee  pour  la  premiere  foia  k 
la  Foire  Samt-Laurentde  I'ann^e  1760  [!  comp.  title];  propos^e,  faite,  mise  en  musigue, 
apprise  &  representee  en  moins  de  dix-sept  jours.  Elle  avoit  tous  les  defauts  d'un 
ouvrage  indigeste  &  precipitee;  cependant  le  reproche  le  plus  unanime  fut  son  peu 
de  dur^e.  C  est  ce  qui  m^  excite  k  I'etendre  en  y  joignant  des  couplets,  des  scenes  & 
des  morceaux  de  musique  qui  couvrissent  du  moins  I'lrregularite  de  I'ouvrage.  Et  de 
fait,  un  opera-comique  qui  n'est  point  compose  de  scenes  a  tiroirs,  &  qui  n'a  ni  amour, 
ni  intrigue,  ni  manage,  ne  pent  gueres  tenir  son  eucc^  que  des  charmes  de  la  musique 
&  du  merite  de  I'execution." 

First  performed,  as  indicated,  (but  without  music?"),  September  17, 1759. 

^  ScHATZ  8036 


602  LIBRARY  OF  CONGRESS 

L'humanit^  nelle  fere,  overo  II  Lucullo.  Drama  per  musica  da 
rappresentarsi  nel  famoso  Teatro  di  S.  Bartolomeo  in  quest'  anno 
1708  .  .  . 

Napoli,  Salvatore  Votto,  n.  d.     5  p.  I.,  62  p.     14'=^. 

Three  acts.  Dedication  by  the  impresario,  Andrea  del  P6,  argument,  cast, 
scenario,  and  printer's  notice,  which  reads,  in  part: 

"Se  nelle  commedie  gi^  rappresentate,  per  cagione  della  lunghezza,  e  del  nuovo 
costume  c'hoggi  corre,  piii  volte  ti  supplicai  di  compatire  il  Sign.  Carlo  de  Petris,  che 
ih  eoverchiamente  ardito  in  togliere,  ed  aggiungere  qualche  cosa  di  piti  alle  scene 
degli  altri;  questa  volta  te  ne  prie^o  d'avvantaggio,  e  se  in  luogo  di  Prezia  Damaj 
dalla  quale  par  che  nasca  la  mossa  di  Lucullo  contro  Mitridate  in  questa  commedia  vi 
troverai  Tilla,  Prezia  stimela  in  tutto  supposta,  e  Tilla  im  semplice  personaggio  intro- 
dotto  per  omamento  della  commedia,  e  non  necessario,  non  usandosi  pm  simile 
personaggio. 

"La  musica  k  del  Signor  Alessandro  Scarlatti,  con  qualche  cosa  di  piii  del  Signer 
Giuseppe  Vignola." 

Dent  says,  "Probably  produced  before  elsewhere,  since  the  libretto  mentions 
additions  by  Vignola,"  whereas  Schatz  calls  this  the  original  ed.  of  the  libretto. 

ScHATZ  9538 

The  humours  of  Covent-Garden.     A.  T.  of  The  rival  miUiners. 

The  humours  of  John  Bull:  an  operatical  farce,  in  two  acts. 

n.i.,n.d.     [75]-130  p.     17*^. 

Detached  copy.     A  short  prefatory  note  tells  us  that 

"several  political  allusions  to  events  of  the  period  at  which  it  was  written,  would 
have  effectually  prevented  the  appearance  of  this  performance  on  our  chaste  stage, 
even  if  the  author's  stomach  had  not  been  too  squeamish  to  digest  the  various  disgusts 
of  theatric  solicitation." 

By  Sylvester  Otway  {pseud,  of  James  Oswald),  and  first  printed  1789  in  his  volume 
of  poems.  LoNGE  323 

The  humours  of  Punch's  resignation.  A.  T.  of  Politicks  in 
miniature. 

The  humours  of  the  court :  or,  Modern  gallantry.  A  new  ballad 
opera.  As  it  was  intended  to  have  been  perform'd  at  one  of  the 
theatres. 

London,  W.  James,  1782.    vii,  [1],  9-72  p.    20\^. 

Three  acts  and  introduction.  Neither  author  nor  performance  recorded  by  Clar- 
ence. The  24  airs  used  are  indicated  by  title.  The  text  is  preceded  by  a  short 
preface,  in  which  the  author  trusts  that  his  piece  will  meet  with  as  much  success  as 
many  others  not  any  better  than  his.  ML  50.5. H9 

Second  copy  Longe  49 

The  humours  of  the  times;  or,  What  news  now?     A  comic  opera, 
in  two  acts,  written  by  Archibald  M'Laren  ...     To  which  is  annexed 
a  copy  of  a  letter  from  the  manager  of  the  Dublin  Theatre  to  the 
author,  containing  his  approbation  of  the  piece. 
London,  Printed  for  the  author,  1799.    24  p.     17'^'^. 

The  "letter"  is  not  in  this  copy.  List  of  subscribers,  and  note  that,  owing  to  "Mr. 
Daly's  resignation  of  the  theatre,  and  the  insurrection  that  followed,"  the  play  was 
not  brought  out.  Of  the  eight  songs,  two  were  to  be  sung  to  the  tunes,  "This  is  no 
me"  and  "Duncan  Davison,  "God  save  the  King"  evidently  furnished  the  melody 
for  the  finale.    The  other  songs  have  no  indication  of  air.  Longe  323 


OPERA   LIBRETTOS  603 

The  musical  farce  of  Hunt  the  slipper.  In  two  acts.  As  per- 
formed at  the  Theatre-Royal,  Smoke-Alley. 

[Duhlin],  Printed  for  the  lookseUers,  1792.     34  p.     15^'='". 

Cast.    Only  the  air,  "For  fortune's  like  a  tight  or  slip-ehoe,"  is  headed  as  com- 

?osed  by  Samuel  Arnold,  though  he  is  recorded  as  having  composed  all  the  music, 
he  author,  Henry  Knapp,  is  not  mentioned. 
First  performed  July  21  (Schatz),  August  21  (Geneet),  1784,  at  London,  Haymarket. 

LoNGE  223 

Le  Huron,  comMie  en  deux  actes  et  en  vers,  mdl6e  d'ariettes;  re- 
presentee pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires 
du  roi,  le  20  aodt  1768. 

Paris,  Merlin,  1768.     ^7  p.     19^"^. 

Neither  Marmontel,  the  author,  is  mentioned,  nor  GrStry,  the  composer. 

ML  50.2.H8G6 

—  Le  Huron,  comedie  en  deux  actes  et  en  vers,  mesl^e  d'ariettes' 
representee  pour  la  premiere  fois  par  les  Com^diens  italiens  ordi- 
naires du  Roi,  le  20  aodt  1768. 

Paris,  Merlin,  1770.    48  p.     18<='". 

Neither  Marmontel,  the  author,  nor  GrStry,  the  composer,  is  mentioned.  On 
p.  13-16  the  air  of  "Vous  me  charmez  "  (I,  4);  on  p.  23-26,  of  "L'amour  naissant  n'a 
pas  encore"  (I,  7).  Schatz  4159 

—  Le  Huron,  comedie  en  deux  actes  et  en  vers,  m^l^e  d'ariettes. 
Reprfeentee,  pour  la  premiere  fois,  par  les  ComMiens  italiens  ordi- 
naires du  roi,  le  20  aodt  1768. 

Paris,  Merlin,  1772.     48  p.     W"". 

On  p.  45-48,  "Air  du  Huron"  ("Vous  me  charmez").  Neither  Gr6try  is  men- 
tioned, nor  Marmontel.  ML  50.2.H8G7 

—  Le  Huron,  comedie  en  deux  actes  et  en  vers,  mM6e  d'ariettes; 
representee  pour  la  premiere  fois  par  les  Com6diens  italiens  ordinaires 
du  roi,  le  20  aoiit  1768. 

Paris,  Merlin,  1779.     48  p.     19'='^. 

On  p.  13-16  the  air  of  "Vous  me  charmez,  vous  enflammez  "  (I,  4),  23-26  "L'amour 
naiasant  n'a  pas  encore  "  (I,  7).     Neither  Marmontel  is  mentioned,  nor  Gr6try. 

Schatz  11705 

Hurtado  e  Miranda,  ballet.     See  Luchesi's  Ademira. 

Hurtado  e  Miranda,  ballet.     See  Monza's  Ifigenia  in  Tauride 

Hylas.     Entree  in  Grenet's  Le  triomphe  de  I'harmonie. 

Hypermenestra.     Tr.  of  Fiorillo's  Ipermestra. 

Hypermenestra.     Tr.  of  Hasse's  Ipermestra. 

Hypermnestre,  tragedie,  representee  par  I'Academie  royale  de 
musique,  I'an  1716.  Paroles  de  M.  De  Lafonds.  Musique  de  M. 
Gervais.     XLI.  opera. 

n.  i.,  n.  d.  pi.,  p.  77-129  (Recueil  general  des  opera,  t.  xii,  Paris, 
1734).    14'^. 

Detached  copy.     Five  acta  and  prologue. 

First  performed,  as  indicated,  November  3,  1716.  Schatz  3791a 

Second  copy.    ML  48.R4 


604  LIBRABY  OF  CONGRESS 

Hypennnestre — Continued. 

—  Hjrpermnestre,  tragedie,  mise  an  Theatre  de  I'Acadeniie  royale 
de  musique  de  Lyon,  pour  la  pr^mi^.re  fois  en  1742. 

Lijon,  Aime  Delaroche,  17^2.     63  p.     23^"^. 

Five  acts  and  prologue.  Cast.  Neither  the  author,  Joseph  de  Lafont,  nor  the 
composer,  Charles  Hubert  Gervais,  is  mentioned.  SchatA  3791b 

—  La  bonne  femme,  parodie  de  l'op6ra  d'Hipermnestre.  Par  les 
Srs.  Dominique  &  Romagnesi  .  .  .  Kepr6sent6©  pour  la  premiere 
fois,  par  les  Com6diens  itatiens  ordinaires  du  roi,  le  28  juin  1728. 

Les  parodies  du  Nouveau  Theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  iv,  [37]-72  p.    16^'''. 

One  act.    The  airs  and  vaudeville  printed  at  end  in  the  "Table  des  airs"  (92  p.). 

ML  48. P3 

Der  hypochondriste.     Ti\  of  Naumann's  L'ipocondriaco. 

Hypsipile.     Tr.  of  Metastasio's  text  Issipile. 

Hysipile.  Ein  musicalisches  schauspiel,  welches  an  dem  glorreichen 
nahmens-tag  Ihro  Churfuerstl.  Durchleucht  zu  Pfaltz  .  .  .  aufge- 
fuehret  worden  im  jahr  1754. 

Mannheim,  Nicolaus  von  Pierron,  n.  d.     6  p.  I.,  131  p.     16^^. 

Three  acts.  Ailment,  cast,  scenario,  and  name  of  Ignaz  Holzbauer  as  the 
composer  ("eine  neue  composition").  Apparently  a  translation  of  Metastasio's 
"Iseipile." 

First  performed  at  Mannheim,  Hoftheater,  November  4,  1754.  Schatz  4785 

LTbraim  sultano.  Drama  postumo  del  Sig.  dottor  Adriano  Mor- 
selli.  Da  rappresentarsi  in  musica  nel  famoso  Teatro  Grimano  di 
San  Gio.  Grisostomo  I'anno  1692  .  .  . 

Venetia,  Nicolini,  1692.    front,  46,  [2]  p.     14^"^. 

Three  acts.  Publisher's  dedication,  argument,  and  scenario.  The  composer, 
Carlo  Francesco  Pollaxoli,  is  not  mentioned.  The  2  imnumb.  p.  contain  the  sub- 
stitute arias:  "Fortunati  miei  pensieri"  (I,  2),  "Ti  Ia8cier6  se  vuoi"  (I,  11),  "Non 
nieghi  la  sorte"  (III,  8),  and  "0  guerriero"  (III,  15).  Schatz  8296 

Ich  heisse  Theiss,  oder  Der  aepfeldieb.     Eine  operette  in  einem 
aufzuge.     Verfasst  von  Ludwig  Erdmann. 
Regenshurg,  im  Montagischen  verlag,  1778.     30  p.     17"^. 

The  composer,  Johann  Gaertner,  is  not  mentioned. 

First  performed  at  Fulda,  Liebhabertheater,  ca.  1781.  Schatz  3553 

Idalide.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1786  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  64  p.     16^'^. 

Three  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Argument,  cast,  and 
names  of  Salvatore  Bispoli  as  composer  of  the  opera,  of  Vittorio  Amedeo  Canavasso 
of  Francesco  Clerico's  ballets,  "I  barbari  sacrifizi  distrutti,  ballo  serio  pantomimo  in 
cinque  atti,"  "Le  awenture  del  carnovale,  ballo  comico,"  and  "Li  montanari  nel 
Peru,"  the  first  two  of  which  are  described  on  p.  59-64.  Schatz  8814 


OPERA   LIBRETTOS  606 

L'Idalide  o  sia  La  vergine  del  sole.  Dramma  per  musica  da  rappre- 
sentarsi  in  Firenze  nel  Regio  Teatro  degl'  Intrepid!  detto  della  Palla 
a  Corda  .  .  . 

Firenze,  Ant.  Gius.  Pagani  e  comp.,  1788.    34  p.     16^"^. 

Two  acts.  By  Ferdinando  Moretti,  who  is  not  mentioned.  Argument,  cast,  and 
name  of  Giuseppe  Sarti  as  the  composer.  With  the  opera  was  performed  the  ballet. 
"Ilnottambulo." 

First  performed  at  Milan,  Teatro  alia  Scala,  January  8,  1783.  Schatz  9444 

Idaspe.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nell  camevale  dell'  anno 
MCCXXX  ... 

Venezia,  Carlo  Buonarigo,  n.  d.     1  p.  I.,  47  p.     IS^'^^. 
Three  acts.    By  Giovanni  Pietro  Candi  (not  mentioned).    Dedication  by  Dom. 
Lalli,  argument,  cast,  scenario,  and  name  of  the  composer,  Riccardo  Broschi. 

Schatz  1339 

L'idea  del  comando  nel  cuore  di  Grermanico  invincibile.    See 

M.  Oiirzio. 

L'idea  di  tutte  le  perfezioni.  Litroduzione  al  balletto  de'  serenis- 
simi  principi  Francesco  &  Antonio  Famesi,  fatto  rappresentare  dal 
sereniss.  Si^.  duca  di  Parma  nel  suo  Nuovo  Teatrino,  in  occasione 
de'  felicissimi  sponsali  del  serenissimo  Sig.  principe  Odoardo  suo 
primogenito,  con  la  serenissima  vSignora  j)rincipessa  Dorotea  Sofia  di 
Neoburgo.  Poesia  del  dottore  Lotto  Lotti  .  .  .  e  musica  di  Giuseppe 
Tosi. 
Piacenza,  BazacU,  1690.     32  p.     19"^. 

Casts  for  both  the  introduzione  and  the  ballet,  the  latter  danced  by  twelve  princes 
and  cavaliers. 

First  performed,  as  indicated,  May  5,  1690.  L.  of  C.  does  not  have  the  five  plates 
mentioned  by  Wotquenne.  Schatz  10379 

L'idolo  cinese.  Commedia  per  musica  di  Giambattista  Lorenzi 
P.  A.  da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per 
seconda  opera  del  corrente  anno  1783. 

Napoli,  n.  pull.,  1783.    64  p.     15^"^. 

Three  acts.    Argument,  cast,  name  of  PaisieUo  as  the  composer,  and  note  that 


col  meeto  canto. 

First  performed  at  Naples,  Teatro  Nuovo,  spring,  1767.  Schatz  7670 

L'idolo  cinese.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  San  Samuelle  il  carnovale  dell'  anno  1774. 

Venezia,  Modesto  Fenzo,  1773.    61  p.     17^"^. 

Three  acts.  By  Giambattista  Lorenzi,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Giacomo  Bust  as  the  composer.  On  p.  29-32,  description,  without  name  of 
the  composer  of  the  music  of  Onorato  Viganb's.  "Arianna  abbandonata  da  Teseo  e 
soccorsa  da  Bacco,  ballo  eroico  pantomime."  His  second  ballet  was  called  "La 
donna  difficile."  Schatz  9179 


606  LIBRARY   OF   CONGRESS 

Idomenee,  tragedie  representee  par  I'Academie  royale  de  musiqne 
Tan  1712.  Les  paroles  de  M.  Danchet  &  la  miisique  de  M.  Campra. 
LXXVII.  opera. 

n.  i.,  n.  d.  315-388  p.  14''"*-  {Recueil  general  des  opera,  Paris, 
1714,  t.  X.) 

Detached  copy.    Five  acts,  with  prologue. 

First  performed,  ae  indicated,  January  12,  1712.  Schatz  1557 

Second  copy.    ML  48. R4 

—  Idomenee,  tragedie. 

[121}-182  p.  ;7i^"».  (Antoine  Danchet,  Theatre,  Paris,  1751, 
t.  Hi.) 

Prologue  and  five  acte.    The  compoeer,  Andr6  Cajtnpra,  is  not  mentioned. 

PQ  1972.D2 

Idomeneo.  Drama  per  musica  da  rappresentarsi  in  Roma  nel 
Teatro  di  Torre  Argentina  nel  camevale  dell'  anno  1756  .  .  . 

Roma,  Fausto  Amidei,  n.  d.     63  p.     15*^^. 

Three  acts.  Author  not  mentioned  and  not  known  to  Schatz.  Dedication,  argu- 
ment, scenario,  cast  and  name  of  Baldassare  Galuppi  as  composer. 

First  performed  as  indicated,  January  7,  1756.  ML  50.2.I3G2 

Idomeneo.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Nuovo  di  Corte  per  comando  di  S.  A.  S.  E.  Carlo  Teodoro  ...  nel 
camovale  1 781 .  La  poesia  h  del  Signer  abate  Gianbattista  Varesco 
.  .  .  La  musica  6  del  Signor  maestro  WolfgangoAmadeo  Mozart  .  .  . 
La  traduzione  e  del  Signor  Andrea  Schachtner  .  .  . 

Monaco,  Francesco  Giuseppe  ThuiUe,  n.  d.     121  p.     15\'''^. 

Argument,  scenario,  and  cast.  German  title  page,  "Idomeneue,"  and  text  face 
Italian. 

First  performed,  as  indicated,  January  29,  1781.  Schatz  6818 

Idomeneus.     Tr.  of  Mozart's  Idomeneo. 

L'idylle  sur  la  paix,  et  L'Eglogue  de  Versailles.  Divertissements 
representez  en  differents  temps  par  I'Academie  royalle  de  musique. 
Les  paroles  de  differents  auteurs,  &  la  musique  de  M.  de  LuUy. 
XVIII.  opera. 

n.  L,  n.  d.  front.,  73-80,  81-90  p.  14''"'.  (Recueil  general  des 
opera,  t.  Hi,  Paris,  1703.) 

Detached  copy.    One  act.    A  note  on  p.  74  says  of  the  "Idylle:" 
"Ce  divertissement  a  quelques  fois  pr6ced6  k  I'Opera  celuy  des  F^tes  de  I'Amour 
<fe  de  Bachus.     11  est  icy  imprim6  comme  il  I'a  ^te  en  musique  dans  I'ann^e  1685. 
Les  paroles  de  I'ldyle  sent  de  M^  Racine." 

First  performed  at  Sceaux,  Orangerie  of  the  marquis  de  Seigneley,  1685.  (The 
plate  has  the  title,  "L'idile  de  Sceaux,"  and  shows  the  chateau  m  the  background.) 

Schatz  5776 
Second  copy.     ML  48. R4 

—  L'eglogue  de  Versailles. 

On  p.  89-90,  the  "Augmentation  tire6  du  dernier  intermede  de  la  comedie  de 
Porceugnac,  dont  on  s'est  servi  pour  preceder  I'Eglogue  lorsqu'  elle  a  6t6  jouee  ensuite 
de  la  Mascarade  "  [scil. ' '  Le  camaval "].  Moliere  is  named  as  author  of  this  augmenta- 
tion. As  author  of  the  "Eglogue  de  Versailles"  ["Grotte  de  Versailles,"  according 
to  Pruni^res]  proper,  Philippe  Quinault  is  mentioned  on  p.  80. 

First  performed  at  Versailles,  1668,  and  at  Paris,  Academic  royale  de  musique, 
1685.  Schatz  5775a 

Second  copy.     ML  48. R4 


OPERA  LIBRETTOS  607 

L'IflBlde  greca.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Giustiano  di  S.  Mois^.     Nel  carnovale  dell'  anno  1722. 
Venezia,  Marino  Rossetti,  1722.     48  p.     /5«"*. 

Three  acts.  By  conte  Niccol6  Minato,  who  is  not  mentioned.  Argument,  caet, 
scenario.    The  composer,  Pietro  Scarpari,  is  not  mentioned.  Schatz  9561 

Iffigenia  in  Tauride,  ballet.     See  Paisiello's  II  Demofoonte. 

Ifianassa,  e  Melampo.  Drama  musicale  rappresentato  nella  Villa 
di  Pratolino. 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Firenze,  Vincerir 
zio  Vangelisti,  1689,  p.  {379}-Ji33  p.     24<='». 

Three  acts.    Argument  with  name  of  Giovanni  Legrenzi  as  composer. 

First  performed  as  indicated,  fall  of  1685.  ML  49.A2M7 

L'  Ifigenia.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  il  carnevale  dell'  anno  1707. 

Venezia,  Marino  Rossetti,  1707.     59  p.     14h^- 

Three  acts.  Argument,  scenario,  and  notice  to  the  reader  signed  with  the  initials 
of  Aurelio  Aureli : 

"Quest'  opera  da  molto  tempo  sepolta  con  le  ceneri  del  poeta  [Pietro  Riva]  h^ 
havuto  quest'  anno  I'onore  di  passare  in  mano  de  CavaUeri  prottetori  del  Teatro,  e 
d'esser  poeta  su  le  scene.  II  Sig.  Agostino  Bonaventura  Colletti,  che  h^  fatto  spiccare 
la  virtii  sua  nelle  arie  nuove  del  Parida  gi^  recitato,  I'ha  adomata  coUa  musica,;  ed 
a  me  doppo  d'avermi  intrecciato  qualche  mio  verso  k  rimaeta  la  fortuna  di  presentarla 
al  vostro  aggradimente  ..."  Schatz  2112 

Ifigenia.  Drama  per  musica  da  rappresentarsi  nel  nobil  Teatro  a 
Torre  Argentina  il  carnevale  dell'  anno  1766  .  .  . 

Roma,  Ottavio  Puccinelli,  n.  d.     56  p.     15Y^. 

Three  acts.  Argiiment,  scenario,  cast,  name  of  Carlo  Franchi  as  compoeer  and 
dedication  with  this  allusion  to  the  author:  "opera  d'insigne  letterato  vivente, 
celebre  ancora  per  altre  sue  f elici  produzioni . ' '  Comparison  proved  this  to  be  Vittorio 
Amedeo  Cigna-Santi's  "Ifigenia  in  Aulide."  ML  50.2, I4F7 

L'  Ifigenia.     O.  T.  of  Jonmielli's  Ifigenia  in  Aulide. 

Ifigenia  in  Aulide. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744,  ^-  ^>  ^0  p.     19^. 

Three  acts  and  licenza.  Argument  and  publisher's  prefatory  note  for  the  entire 
collection. 

No  composer  is  mentioned. 

In  the  "Catalogo,"  at  end  of  t.  x,  date  and  place  of  first  ed.  of  "Ifigenia  in  Aulide" 
are  given  as  Vienna,  1714.      (November  4,  music  by  Caldara.)  ML  49.A2Z3 

—  Ifigenia  in  Aulide.  Pubblicata  per  la  prima  volta  in  Vienna 
1714. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  iv,  p.  185- 
266.     21'='^. 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

Ifigenia  in  Aulide.  Dramma  per  musica  da  rappresentarsi  nel  regie 
Teatro  di  Torino  nel  carnevale  del  1762  alia  presenza  di  S.  S.  R.  M. 

Torino,  Gaspare  Bayno,  n.  d.     viii,  63  p.     15^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  comi>o6er,  Ferdinando  Giu- 
seppe Bertoni,  and  librettist,  Vittorio  Amedeo  ('igna  [-Santi].  The  second  of  the 
ballets,  all  three  by  Eligio  Devisee  and  composed  by  Giuseppe  Antonio  I^e  Messier, 
WM  called  "L'arrivo  d'Europa  nell'  isola  di  Creta."  Schatz  914 


608  LIBRAE Y  OF   CONGRESS 

Iflgeuia  in  Aulide.     Dramma  per  inusica,  da  rappresentarsi  nella 
Cesarea  corte  per  il  noine  gloriossiino  della  Sac,  Ces,  e  Catt.  Maestk. 
Carlo  VI  .  .  .     L'aimo  MDCCXVIII.     La  poesia  ^  del  Sig.  Apostolo 
Zeno  ...     La  musica  d  del  Sig.  Antonio  Caldara  .  .  . 
Venezia,  Domenico  Lovisa,  n.  d.    60  p.     15^. 

Three  acts  and  licenza.  Argiunent  and  ecenario.  The  ballet  music  was  com- 
posed by  Niccola  Matteis. 

First  performed  at  Menna,  Hoftheater,  November  4, 1718.  Schatz  1484 

Ifigenia  in  Aulide.  Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  camovale  del  1788  alia  presenza  di  S.  S. 
R.M. 

Torino,  Onorato  Derossi,  n.  d.    68  p.     W^. 

Three  acts.  By  Ferdinando  Moretti.  Argument,  cast,  scenario,  and  names  of 
the  author  and  the  composer.  Cherubim.  On  p.  62-67  description  with  cast  of 
Giuseppe  Traffieri'a  ballets,  music  by  Vittorio  Amedeo  Oanavasso,  "Mercato  fiam- 
mengo,    "Didone  abbandonata,"  and  "La  nuova  della  pace."  Schatz  1838 

—  Ifigenia  in  Aulide«  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  Grande  alia  Scala  I'autunno  dell'  anno  1788  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     4  p.  I.,  60  p.     16^*^™. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  name  of  Luigi  Cherubini 
as  composer.  The  author,  Ferdinando  Moretti,  is  not  mentioned.  The  text  of  the 
opera  is  preceded  by  prefatory  note,  argument,  and  cast,  without  name  of  the  com- 
poser of  the  music,  of  Domenico  Le  Fevre's  "La  discesa  d'Ercole  all'  inferno,  ballo 
eroico  in  cinque  atti."    His  second  ballet  was  called  "Le  feste  di  Flora." 

Schatz  11684 
Ifigenia  in  Aulide.     Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Berlino  .  ,  . 

Berlino,  Haude  e  Spener,  1768.    93  p.     W"^. 

Three  acts.  Carl  Heinrich  Graun  is  mentioned  as  the  composer  and  Leopoldo  di 
Villati  as  the  author,  though  Frederick  the  Great  probably  was  a  joint  author.  A 
note  on  p.  [4]  says: 

"Questa  6  un'  imitazione  dell'  Ifigenia  di  Racine;  il  fine  perd  ne  h  di  verso,  essen- 
dosi  qui  seguito  Euripide  ..." 

Argument  and  scenario.  German  title  page,  "Iphigenia  in  Aulis,"  and  text  face 
Italian. 

Performed  in  January,  1768,  as  indicated;  originally  December  13,  1748. 

Schatz  4102 

Ifigenia  in  Aulide.  Drama  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  S.  Carlo  a  di  18  decembre  1753  in  cui  si  commemora 
I'augusto  nome  della  regina  regnante  ...  • 

Napoli,  Domenico  Lanciano,  n.  d.    5  p.  I.,  4^  p.     14"^. 

Three  acts.  Mattia  Verazi,  the  author,  is  not  mentioned.  Dedication  stating 
that  this  is  the  first  performance  of  the  opera  at  San  Carlo,  argument,  cast,  scenario, 
and  note  that  the  music  is  by  Niccol6  JomzuelU,  except  certain  indicated  arias  by 
Tommaso  Traetta.  These  arias  were:  "La  tua  diletta  figlia"  (I,  1),  "Fra  i  dolci 
affetti  miei "  (1, 3),  "M'ama  il  bell'  idol  mio"  (II,  10),  "Gi^  la  vittima  fatale  "  (II,  13). 

First  performed  at  Rome,  Teatro  di  Torre  Argentina,  February  9,  1751,  as 
'L'Ifigenia."  Schatz  4861 

—  L'Ifigenia,  dramma  per  musica  da  rappresentarsi  nel  Teatro  in 
Gassel. 

Cassel,  D.  Estienne,  1766.     153  p.     16'^'^. 

Three  acts.  Neither  Verazi  nor  Jommelli  mentioned.  Ailment,  scenario,  cast. 
German  title,  "Iphigenia,"  and  text  face  Italian,  which  is  noticeably  different  from 
the  Naples  edition  of  1753.     For  instance,  the  opera  now  begins,  "Sorgi  Euribate: 


OPERA   LIBRETTOS  609 

Ifigenia  in  Aulide— Continued. 

Ola,"  instead  of  "Signor,  perche  si  mesto?"  the  ariaa,  "La  tua  diletta  figlia"  (1, 1) 
and  "Fra  i  dolci  affetti  miei "  (I,  2),  are  not  in  the  Caseel  version,  which  has  "Sperai 
vicino  il  Lido"  in  I,  2,  etc.,  etc. 

ScHATz  4862 

Ifigenia  in  Aulide.  Dramma  per  musica  di  Luigi  Serio  poeta  di 
corte.  Da  rappresentarsi  nel  Real  Teatro  di  S.  Carlo  nel  di  12 
gennaio  1779  ... 

Napoli,  Vincenzo  Flauto,  1779.     61  p.     IS^'^. 

Three  acts.  Impresario's  dedication,  dated  January  12, 1779,  argument,  ecenario, 
cast,  and  name  of  Vincenzo  Martin  (Martin  y  Soler)  as  the  composer.  With  the 
opera  was  performed  Lepicq's  ballet,  "Griselda,"  of  which  argument  and  description 
appears  on  p.  [7]-16,  and  Domenico  Rossi's  ballet,  "II  servo  di  due  padroni."  ^he 
composers  of  the  music  are  not  mentioned.  Schatz  6028 

Ifigenia  in  Aulide.  Drama  per  musica  da  rappresentarsi  in  Firenze 
nel  Teatro  di  via  della  Pergola  nel  came  vale  aell'  anno  1732  .  .  . 

Firenze,  Verdi,  n.  d.     67  p.      14¥'^- 

Three  acts,  with  licenza.  By  Apoetolo  Zeno,  who  is  not  mentioned.  Impresario's 
dedication,  argument,  cast,  scenario,  and  name  of  Giuseppe  Maria  Orlandini  as  the 
composer.  Schatz  7334 

Ifigenia  in  Aulide. 

[395]-4^3p.  17'^'^.  (JRoUi,  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  17 44-) 

Three  acts.    Argument.    The  composer,  Niccol5  Porpora,  is  not  mentioned. 
First  performed  at  London,  Haymarket,  June  7  (Bumey),  May  3  (Schatz),  1735. 

ML  49.A2R7 

Ifigenia  in  Aulide.  Dramma  per  musica,  da  rappresentarsi  nel 
Teatro  di  S.  A.  S.  E.  di  Baviera  nel  carnevale  del'  anno  1738.  La 
musica  e  del  Sig.  Giovanni  Porta  ... 

Monaco,  Giov.  Giac.  Votter,  n.  d.     86  p.     15'^'^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  and 
scenario. 

First  performed  in  January,  1738,  as  indicated.  Schatz  8380 

L'Ifigenia  in  Aulide.  Dramma  per  musica  da  rappresentarsi  nel 
Eegio  Teatro  di  via  della  Pergola  I'autunno  del  MDCCLXXXIV  .  .  . 

Firenze,  Giovanni  Risaliti,  1784.     39  p.     16""^. 

Three  acts.  By  Luigi  Serio,  who  is  not  mentioned.  Argument,  cast,  and  name  of 
Alessio  Prati  as  the  composer  ("La  musica  6  tutta  nuova").  On  p.  5,  argument,  cast, 
description,  and  name  or  Antonio  Capuzzi  as  the  composer  of  the  music  of  Domenico 
Ricciardi's  ballet,  "La  Vergine  del  sole  o  sia  Alonzo  e  Cora,  ballo  eroico." 

Schatz  8451 

Ifigenia  in  Aulide.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  da  S.  Agostino  il  camovale  dell'  anno  1784  .  .  . 
Genova,  Stamperia  Gesiniana,  n.  d.     59  p.     14h'^™- 
Three  acts.     By  Luigi  Serio,  who  is  not  mentioned,  but  with  alterations.    Argu- 
ment, cast,  scenario,  and  name  of  Lorenzo  Bossi  as  the  composer.        Schatz  8918 

Ifigenia  in  Aulide.  Dramma  serio  per  musica  da  rappresentarsi 
nel  nobiliss.     Nuovo  Teatro  di  Padova  per  la  fiera  del  Santo  1785  .  .  . 

Padova,  Penada,  n.  d.     36  p.     77^"*. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Antonio  Zardon's 
dedication  as  impresario,  argument,  cast,  scenario,  and  name  of  Angelo  Tarchi  as  the 

72251°— VOL  1—14 39 


IBIO  LIBRARY  OP  CONGRESS 

Ifigenia  in  Aulide — Continued. 

compoeer.  With  the  opera  were  performed  Domenico  Rossi's  ballets,  "II  primo 
giomo  deir  anno  nella  China "  (music  by  Luigi  Marescalchi)  and  "Chi  la  Ik  I'aspetta." 

SCHATZ  10231 

Ifigenia  in  Aulide.     Dramma  per  musica  da  rappresentarsi  nal 
Teatro  Grande  alia  Scala  il  came  vale  dell'  anno  1787  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     70  p.     16^^. 

Three  acts.  Dedication  ("coteetosecondospettacolo  .  .  .  della  corrente  stagione  "), 
argument,  cast,  scenario,  and  names  of  Nicola  Zingaxelli  as  composer,  of  Ferdinando 
Moretti  as  author  ("II  dramma  composizione  nuova").  With  the  opera  were  per- 
formed (composers  of  the  music  perhaps  mentioned  in  the  separate  libretto  pub- 
lished) raolino  Franchi's  ballets,  "Guatimozin  ossia  La  conquista  del  Messico," 
"Ij^ue  avari,"  and  "II  matrimonio  per  concorso." 

First  performed,  as  indicated,  January  27,  1787,  Schatz  11250 

Second  copy.     ML  48. A5    v.  8 
Third  copy.       ML  48. A5    v.  7 

—  Ifigenia  in  Aulide.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  della  molto  He.  citth-  di  Barcellona,  I'anno  1799. 

Barcellona,  Francesco  Generas,  n.  d.     54  p-     15'^^K 
Three  acts.    Argument,  cast,  and  name  of  Nicola  Zingarelli  as  composer.     The 
author,  Ferdinando  Moretti,  is  not  mentioned.  ML  48. A5    v.  16 

L'Iflgenia  in  Tauride.     Tr.  of  Gluck's  Iphig6nie  en  Tauride. 

Ifigenia  in  Tauride.     Dramma  per  musica  da  rappresentarsi  nel 
Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1776. 
[Lishona],  Stamperia  reale,  n.  d.     67  p.     13''^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Mattia  Verazi  as  author,  of 
Niccold  Joniinelli  as  composer. 

First  performed  at  Naples,  Teatro  di  San  Carlo,  May  30,  1771.  Schatz  4890 

Ifigenia  in  Tauride.  Dramma  per  musica  da  rappresentarsi  alia 
Corte  elettorale  Palatina  in  occasione  del  felicissimo  giorno  del  noma 
del  serenissimo  elettore  .  .  .  I'anno  MDCCLXIV. 

Mannheim,  Stamperia  elettorale,  n.  d.     1  p.l.,  IS4  p.     IS'^^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Mattia  Verazi  as  author  (on  p.  1.) 
and  of  Giovanni  Francesco  de  Ma  jo  as  composer.  ("La  musica  6  nuova  composi- 
zione.") 

First  performed,  as  indicated,  November  4,  1764,  Schatz  5856 

—  Iphigenia  in  Tauris.  Ein  musikalisches  schauspiel  welches  auf 
hoechst  begluecktem  hohen  nahmens-tag  Ihro  Churfuerstl.  Durch- 
leucht  zu  Pfaltz  ...  an  dem  Chur-Pfaeltzischen  hoffe  aufgefuehret 
worden,  im  jahr  1764. 

Mannheim,  Churfuerstl.  Buchdruckerey ,  n.  d.     208  p.     15Y^- 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Mattia  Verazi  as  author  and 
of  Giovanni  Francesco  de  Maio  as  composer,  German  translation  issued  for  the  per- 
formances under  Schatz  5856.  Schatz  5857 

Ifigenia  in  Tauride.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  il  carnevale  dell'  anno  1784  ... 
MilanOj  Gio.  Batista  Bianchi,  n.  d.  59  p.  16Y^^- 
Three  acts.  By  Benedetto  Pasqualigo,  who  is  not  mentioned.  Dedication,  argu- 
ment, cast,  and  name  of  Carlo  Monza  as  the  composer.  With  the  opera  were  per- 
formed Paolino  Franchi's  ballets,  "Hurtado  e  Miranda,"  "II  feudatono,"  and  "Pul- 
cinella,  cavaliere  d'industria."    The  composer  of  the  music  is  not  mentioned. 

Schatz  6610 
Second  copy.    .ML  48,A5    v.8 


OPERA   LIBRETTOS  611 

Ifigenia  in  Tauride.  Tragedia  da  cantarsi  nel  celebre  Teatro  Gri- 
mani  nella  via  di  San  Gio.  Grisosostomo  nelle  notti  carnevalesche 
deir  anno  MDCCXIX.  Offerita  ...  da  Merindo  Fesanio  Past.  Arc. 
della  colonia  de  SS.     Animosi  di  Venezia. 

Venezia,  Marino  Rossetti,  1719.    front.,  80  p.     ISV^, 

Five  acts.  By  Benedetto  Paequaligo.  Dedicatory  poem  by  the  author  under  his 
Arcadian  name,  notice  to  the  reader  by  way  of  argument,  Italian  translation  of  Ovide's 
third  elegy,  cast,  scenario,  and  name  of  Giuseppe  Maria  Orlandini  as  the  composer. 
Paequaligo  eays  in  the  notice  to  the  reader: 

"L'argomento  in  Tauride  fu  ridottocon  novit^  di  ritmo  nel  di  lui  teatro,  dal  Sig. 
Pier  Jacopo  Martelli,  &  io  per  la  prima  volta,  ho  osato  di  maneggiarlo  in  poche  gior- 
nate  degli  ozj  autunnali,  in  gratia  del  canto,  sulle  Venete  scene,  con  invenzione  di 
doppia  peripezia,  e  riconoecimento  per  diecoreo,  e  per  eegni,  e  con  qualche  disperata 
difficoltS,  avvenutami  nel  framischiare  la  dignity  della  mitologia,  la  puntualita  della 
poetica,  e  I'eccellenza  dell'  esemplare,  con  la  delicatezza  dell'  armonia,  con  le  ripug- 
nanze  del  teatro,  dell'  uso,  e  del  camovale  senza  una  mostruosa  deformitjl." 

ScHATZ  7335 

Ifigenia  in  Tauride.     Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  S.  Benedetto  il  camovale  dell'  anno  1786. 
Venezia,  Modesto  Tenzo,  1786.     56  jp.     17''°'. 

Three  acts.  By  Benedetto  Pasqualigo.  Ai^ujnent,  cast,  scenario,  and  name  of 
Angelo  Tarchi  as  the  composer.  On  p.  [23J-34  argument  and  description  of  Antonio 
Muzzarelli's  "Gli  amori  d'Igor,  primo  Zar  di  Moscovia,  ballo  eroico  pantomime, " 
music  ("tutta  nuova  ")  by  Vittorio  Trento.  Schatz  10221 

Ifigenia  in  Tauride.  Dramma  per  musica  da  rappresentarsi  in 
Schonbrunn  festeggiandosi  li  felicissimi  nomi  delle  loro  maest^  impe- 
riali  e  reali  I'anno  1763. 

Vienna,  Stamperia  di  GTielen,  n.  d.      Unpaged.     16*^™. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Tommaeo  Traetta  aa  com- 
poser, but  not  of  librettist,  Marco  Coltellini. 

According  to  Schatz,  this  opera  was  performed  at  Schonbrunn  on  October  4,  1763, 
but  previously  at  Vienna,  Burgtheater,  carnival  of  1758.  This  conflicts  with  the 
note  on  the  last  page  of  the  libretto: 

"Sebbene  il  presente  dramma  sia  state  composto  espreesamente  dall'  autore  per 

3uesta  occasione;  pure  h  convenuto  farvi  alcuni  cambiamenti,  che  potranno  vedersi 
alia  nuova  ristampa  che  se  ne  fara  in  appresso. ' '  Schatz  10393 

—  Ifigenia  in  Tauride  di  Marco  Coltellini.  Dramma  per  musica 
rappresentato  nel  Teatro  di  Vienna  I'autunno  dell'  anno  1763. 

Livomo,  Marco  Coltellini,  1763.     69  p.     IS*""^. 

Three  acts.  Traetta,  the  composer,  is  not  mentioned.  From  the  dedication  to 
the  English  consul  at  Livorno,  Giovanni  (John)  Dick,  it  appears  that  this  gentleman 
practically  started  Coltellini  on  his  public  career  as  a  poet  and  incidentally,  that  this 
Livomo  edition  was  published  after  the  performances  at  Vi«nna.  As  it  is  decidedly 
different,  not  only  verbally  but  in  the  number  of  scenes,  etc.,  beginning,  for  instance, 
with  a  chorus  not  in  the  Vienna  edition  j  presumably  we  have  in  this  Livomo  edition 
the  corrected  one,  promised  by  Coltellini  in  the  footnote  at  the  end  of  the  Vienna 
edition.  Schatz  10393a 

Second  copy.    ML  48.A5    v.32 

—  Ifigenia  in  Tauride.  Dramma  per  musica  da  rappresentarsi  nel 
Regio-Ducal  Teatro  Vecchio  di  Mantova  il  camovale  dell'  anno 
1777  ... 

Mantova,  Verede  di  Alberto  Pazzoni,  n.  d.     4^  p.     17^*^. 

Three  acts.  Dedication  dated  Mantova,  December  26,  1776,  argument,  cast, 
name  of  the  composer,  Tommaso  Traetta,  and  scenario.  The  author,  Marco  Coltel- 
lini, is  not  mentioned. 

First  performed,  as  indicated  in  the  dedication,  "nel  corso  dell  prossimo  camo- 
vale" between  December  26,  1776,  and  February  10,  1777,  the  dates  given  in  the 
calendar  of  performances  on  p.  9.  ML  48.A6    v.24 


612  LIBRABY  OF   CONGRESS 

Ifigenia  in  Tauride.  Tragedia  di  Merindo  Fesanio  Past.  Arc. 
Variata  ad  iiso  di  cantarsi  la  seconda  volta  nel  Teatro  celebre  Grimani 
in  S.  Gio.  Grisostomo  nel  carnovale  MDCCXXV. 

Veneziay  Marino  Rossetti,  n.  d.    front.,  59  p.     16^^. 

Five  acts.  By  Benedetto  Pasqualigo.  Argument,  cast,  scenario,  and  name  of 
Leonardo  Vinci  as  composer.  Schatz  10750 

Die  illumination.  Ein  komisches  original-singspiel  in  zwey  auf- 
zuegen.     Fuer  das  K.  K.  National  Hoftheater. 

{WienXleimLogen-meister,  1787,     IO4  p.     16"^. 

Neither  the  author  (unknown  to  Schatz;  J.  Gross,  according  to  Haas)  is  mentioned, 
nor  the  composer,  Paul  Ignaz  Kiirzing'er. 

First  performed  at  Vienna,  Kamthuerthor  Theater,  November  25, 1787. 

Schatz  5338 

Die  im  betruge  vertheidigte  unschuld.  Tr.  of  L'innocenza 
difesa  nell'  inganno. 

Im  dunkeln  ist  nicht  gut  munkeln,  oder  Fuenf  und  zwanzig 
tausend  gulden.  Ein  singspiel  in  drei  aufzuegen.  Musik  von 
Walter. 

n.  i.,  n.  d.     Unpaged.     W^. 

By  Christian  Heinrich  Spiess,  who  is  not  mentioned. 

First  performed  at  Dresden,  Theater  b.  d.  schwarzen  There,  August  15,  1792;  at 
Prague,  Graefl.  Nostiz'sches  Theater  i.  d.  Altstadt,  January  16, 1783.     Schatz  10862 

Im  finstern  ist  nicht  gut  tappen.  Eine  posse  zum  singen  in 
zween  aufzuegen.  Von  Hiesberger.  In  musik  gesetzt  von  Schenk. 
Aufgefuehrt  auf  dem  K.  K.  Theater  am  Kaerntnerthor. 

[TFien],  1787,  Ist  beim  logenmeister  zu  haben.     72  p.     16'^^. 

First  performed,  as  indicated,  October  9,  1787.  Schatz  9596 

Der  im  schaefer  verborgene  koenig.     Tr,  of  Hasse's  II  re  pastore. 

Im  trueben  ist  gut  fischen.  Tr.  of  his  Fra  i  due  litigant!  il  terzo 
gode. 

[Imene  ed  Armonia].     See  Farsa  per  musica. 

L'imenei  di  Delfo.  Serenata  per  musica  da  cantarsi  nel  Real 
Palazzo  deir  Ajuda  per  celebrare  gli  aiugustissimi  sposalizi  de' 
serenissimi  Signori  infanti  di  Portogallo,  e  di  Spagna  Don  Giovanni 
con  Donna  Carlotta  Giovacchina,  e  Donna  Marianna  Victoria  con 
Don  Gabriele  Antonio  li  28.  marzo,  1785. 

[Lishona],  n.  publ.,  n.  d.,  NeUa  stamperia  reale.     31  p.     15'^'^. 

Argument  and  cast.  Gaetano  Martinelli  is  mentioned  as  the  author,  Antonio  Leal 
Moreira  as  the  composer.  Schatz  6631 

Gli  imenei  stabiliti  dal  caso.  Drama  per  musica  da  rappresen- 
tarsi  nell' antichissimo  Teatro  Tron  di  S.  Casciano.     L' anno  1703  .  .  . 

Venezia,  li  heredi  Nicolini,  '1703.    front.,  72  p.     HY'^. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Dedication  dated 
Venezia,  December  23,  1702,  argument,  notice  to  the  reader,  scenario,  and  name  of 
Carlo  Francesco  Gasparini  as  the  composer.  Schatz  3570 


OPERA   LIBRETTOS  61S 

Imeneo. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744,  i-  ^v>  V-  [281\~ 
354.     19'"^. 

Three  acts  and  licenza.  Argument.  No  composer  ie  mentioned.  In  the  "Cata- 
logo  "  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1727.  (First  per- 
formed August  28  at  Laxenburg,  music  by  Caldara.)  ML  49.A2Z3 

—  Imeneo.     Pubblicato  per  la  prima  volta  in  Vienna  1727. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  vii,  p.  83— 
152.    21^"^. 

Three  acts  and  licenza.    Argument.    No  composer  ie  mentioned.     ML  49.A2Z4 

Imeneo  in  Atene.  Componimento  dramatico  di  Silvio  Stampiglia 
da  rappresentarsi  in  musica  nel  Teatro  Grimani  a  San  Samuel. 

Venezia,  Marino  Rossetti,  1726.     4^  V-     15'^'^. 

Three  acts.    Argument,  cast,  and  name  of  Nicole  Antonio  Porpora  as  the  composer. 

ScHATz  8359 

Imeneo  in  Atene,  componimento  dramimatico  di  Silvio  Stampiglia, 
da  rappresentarsi  in  musica  nel  Teatro  di  S.  Samuele  nella  Fiera  dell' 
Ascensione  dell'  anno  MDCCL. 

Venezia,  AW  insegna  deUa  Scienza,  n.  d.     34  p-     15^'^. 

Three  acts.  Argument,  scenario,  cast,  and  name  of  Domingo  Terradellas  as  the 
composer.  Schvitz  10284 

L'impazzito.  Intermezzi  k  tre  voci  da  recitarsi  nel  Teatro  alia 
Valle  il  carnevale  dell'  anno  1748  ..  . 

Roma,  Giuseppe  Vaccari,  17 48.    23  p.     15*^. 

Two  parts.  Cast,  names  of  "Girolamo  Aureli  Romano  Accademico  Occulto"  as 
author,  of  Giovanni  Battista  Casali  as  composer  and  dedication  by  the  impresario 
Angelo  Limgi  in  which  he  says  "li  presenti  intermezzi  delle  commedie  che  si  reci- 
tano  al  pubblico  ogni  sera  differenti    and  later  on  calls  them  "operette." 

ML  50.2.I45C2 

L'impegno.  Commedia  per  musica  di  Saverio  Zini  da  rappresen- 
tarsi nel  Teatro  Nuovo  per  prim'  opera  di  quest'  anno  1783; 

Napoli,  n.  pull.,  1783.     48  p. 

Two  acts.     Cast  and  name  of  the  composer,  Giovanni  Pumo.  Schatz  3389 

L'impegno  o  sia  Chi  la  fa  I'aspetti.  Farsetta  per  musica  a  cinque 
voci  da  rapprasentarsi  nel  Teatro  Capranica  nel  carnevale  dell'  anno 
1786  .  .  . 

Roma,  Gioacchino  PuccineUi,  1786.     48  P-     15*^. 

Two  parts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Giuseppe  Giordani  as  the  composer.  Schatz  3845 

L'impegno  superato.  Commedia  per  musica  di  G.  M.  D.  da  rap- 
presentarsi nel  Real  Teatro  del  Fondo  di  Separazione  per  terz'  opera 
del  corrente  anno  1795  .  .  . 

Napoli,  n.  pull.,  1795.    54  p.     15^"^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Dedication  dated  Naples,  November  21, 
1795,  scenario,  cast,  and  name  of  the  composer,  Domenico  Cimarosa.  On  p.  7-15, 
argument,  cast,  and  description  of  Gio.  Battista  Giannini's  "Zorilan,  ballo  chin^e'_ 
in  five  acts.  "La  musica  del  ballo,  la  sua  maggior  j>arte  h  presa  dalle  composizioni 
del  celebre  Signor  D.  Giovanni  Paesiello."  Schatz  1996 

Les  importuns.     A.  T.  of  Ziste  et  Zeste. 


614  LIBRARY   OF   CONGRESS 

Les  importuns.     A.  T.  of  Bacelli's  Le  nouveau  mari6. 

L'impossibile  fatto  possibile.     A.  T.  of  Castrovillari's  La  Pasife. 

L'impostore  punito.     L.  T.  of  P.  Guglielmi's  I  finti  amori. 

L'impostore  punito,  ballet.     See  Robuschi's  Castrini,  padre  e  figlio. 

L'impostore  scoverto.     A.  T.  of  Ruggi's  L'ombra  di  Nino. 

L'impostore  smascherato.  Commedia  per  musica  di  G.  M.  D. 
Da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  prima  com- 
media del  corrente  anno  1794. 

Napoli,  n.  publ,  1794.     42  p.     15<=^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Caat  and  name  of  Giacomo  Tritto  as 
the  compoeer.  Scfatz  10472 

Gl'impostori.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniani  di  San  Moise  I'autunno  1751. 

Venezia,  n.  publ.,  n.  d.     81  p.     14h'^'^- 

Three  acts.  Scenario  and  cast.  Neither  the  author  (not  Goldoni)  is  mentioned, 
nor  the  composer,  Gaetano  Latilla.  On  p.  81  the  added  aira,  "II  polso  non  batte" 
(II,  3).  ScHATZ  5446 

L'impostura.     Commedia  per  musica  da  rappresentarsi  nel  Teatro 
de'  Fiorentini  per  quart'  opera  del  corrente  anno  1796. 
Napoli,  n.  puhl,  1796.     46  p.     15'='^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Caat  and  name  of 
"Giuseppe  Mugnes,  maestro  di  capella  Napoletano"  as  the  composer. 

Schatz  6863 

L'impostura  poco  dura.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  alia  Scala,  Tautunno  dell'  anno  1795  .  .  . 
Milano,  Gio.  Batista  BiancJii,  n.  d.  59,  [1]  p.  IGY^^ 
Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Gaetano  Maldonati, 
the  impresario's  dedication  dated  Milan,  October  10,  1795,  cast,  scenario,  and  name 
of  Angelo  Tarchi  aa  the  composer.  According  to  Schatz  this  libretto  with  seven 
characters  was  an  altered  version  of  "Le  vicende  d'amore"  with  five  characters. 
With  the  opera  were  performed,  composers  of  the  music  not  mentioned,  Gaspare 
Ronzi's  ballets,  "Lauso  e  Lidia"  and     La  ghinghetta."  Schatz  10236 

Imposture  defeated:  or,  A  trick  to  cheat  the  devil.     A  comedy  as 
it  was  acted  by  His  Majetsies  [!1  servants,  at  the  Theatre  in  Drury- 
lane. 
London,  Richard  Wellington,  1698.     4  p.  l,  47,  [1]  p.     20""^. 

Five  acts  with  prologue  and  epilogue.  In  the  fifth  act,  ^'Endimion,  the  man  in 
the  moon.  A  masque."  The  other  acts,  too,  contain  more  than  the  customary 
number  of  songs,  etc.  On  verso  of  title  page  and  on  last  (unnumb.)  page  publisher's 
booklists.  Cast  and  notice  to  the  reader,  in  which  the  author  (not  mentioned), 
Geoi^e  Powell,  denies  the  charge  of  a  partial  plagiarism  and  says: 

"...  This  triffle  of  a  comedy,  was  only  a  slight  piece  of  scribble,  purely  design'd 
for  the  introduction  of  a  little  musick,  being  no  more  than  a  short  weeks  work,  to 
serve  the  wants  of  a  thin  play-house  and  long  vacation  ..." 

The  composer  is  not  mentioned. 

First  performed  1698,  as  indicated.  Longe  195 


OPERA  LIBRETTOS  615 

L'impresa  d'opera.  Dramma  giocoso  da  rappresentarsi  nel  Toatro 
Giustiniani  di  S.  Mois^  il  camovale  dell'  anno  MDCCLXIX.  Di  Bor- 
tolomio  Cavalieri.  A.  F. 

Venezia,  Modesto  Fenzo,  1769.     72,  [2]  p.     14^"^. 

Three  acts.  Cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the  composer.  With 
the  opera  were  performed,  composers  of  the  music  not  mentioned,  Giuseppe  Anelli'e 
ballets,  "II  geloso  senza  rivale"  and  "II  matrimonio  per  concorso."       Schatz  4282 

L'impresario.  Intermezzo  da  rappresentarsi  dalla  Signora  Anna 
Faini  et  il  Sig.  Antonio  Lottini  nel  Regio  Teatro  d'Hay-Market. 
Musica  del  Sig.  Domenico  Sarri. 

Londra,  J.  ChricMey,  1737.     1  p.l,  29  p.     17'='^. 

Two  acts.  By  Metastasio,  who  is  not  mentioned .  English  title-page, ' ' The  master 
of  the  opera,"  and  text  face  Italian,  which  formed  originally  (though  with  certain 
differences)  the  intermezzi  in  Metstasio's  "Didone  abbandonata." 

First  performed,  as  indicated,  1737;  at  Naples,  Teatro  di  San  Bartolomeo,  carnival 
1724.  Schatz  9411 

L'impresario  burlato.  Dramma  giocoso  per  musica  di  Frances- 
cantonio  Signoretti  da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo 
per  prim'  opera  in  questo  corrente  anno  1797. 

Napoli,  Stamperia  FJautina,  1797.     4^  p.     15'''^. 

Two  acts.    Cast  and  name  of  Luigi  Mosca  as  composer.  ML  50.2.I49M6 

L'impresario  dell'  Isole  Canarie.  Intermezzo  per  musica  da  rap- 
presentarsi nel  Teatro  dell'  opera  pantomima  de  Piccoli  Hollandesi 
sopra  la  Piazza  de  Cappuccini.  A  Vienna,  la  primavera  dell'  anno 
MDCCXLVII. 

n.  i.,  n.  d.      Unpaged.     22"^. 

Two  parts.  Cast  and  name  of  Metastasio  as  author.  The  composer,  Leonardo 
Leo,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Angelo,  1741  (Schatz),  1742  (Wiel). 

Schatz  5558 

—  L'im.presario  dell'  Isole  Canarie.     Intermezzo  per  musica,  da 
rappresentarsi  nel  Nuovo  Real  Teatro  di  Potsdam  ... 
Potsdam,  C.  F.  Voss,  1748.     31  p.     18^"^. 

Two  parts.  Cast.  Neither  Metastasio  nor  Leo  is  mentioned.  German  title  page 
"Der  impressarius,  oder  Opern  verwalter  von  den  Canarischen  Ineeln,"  face  Italian, 
which  is,  especially  in  the  second  intermezzo,  different  from  the  Vienna  text  of  1747. 

Schatz  5559 

L'im.presario  di  Smime.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Ces,  Reg.  Teatro  di  Trieste  nel  camovale  1798. 

[Trieste],  Stamperia  govemiale,  n.  d.     63  p.     17^'^. 

Two  acts.  Cast  and  impresario's  dedication,  dated  February  3, 1798,  and  beginning: 
"Un  lepidissimo  drama  di  nuova  ed  espressamente  composta  poesia,  vestita  da  una 
brillante  ed  adattata  musica  del  Signor  maestro  Domenico  Bampini,  sorte  per  la 
prima  volta  su  queste  illustri  scene  ..." 

The  author  was  Giuseppe  Foppa.  '  Schatz  8592 

L'imipresario  in  angustie. 

One  act.     By  Giuseppe  Maria  Diodati;  music  by  Domenico  Cimarosa.     For  the 
original  edition  see  his  "Il  credulo  deluso,"  Napoli,  1786.     (Schatz  1929) 
First  performed  at  Naples,  Teatro  aopra  Toledo,  carnival,  1786. 


# 


616  LIBRARY   OF   CONGRESS 

L' impresario  in  angustie — Continued. 

—  L'impresario  in  angustie  ed  H  convitato  di  pietra.  Farse  per 
musica  da  rappresentarsi  nel  Teatro  alia  Scala  I'autunno  1789  .  .  . 

Milano,  Gio.  Batista  BiancM,  n.  d.     8,  28  p.     W^. 

One  act,  containing  "L'impresario  in  angustie"  only.  Dedication,  in  which  this 
is  called  the  second  opera  of  tne  season,  cast,  name  of  Domenico  Cimaxosa  as  com- 
poser. With  the  opera  were  performed  Antonio  Muzzarelli's  ballets  (composers  of  the 
music  not  mentioned),  "Gli  amori  d'Igor  primoCzar  di  Moscovia,"  (alternately  per- 
formed with)  "II  Capitano  Cook  all'  isola  Ottaiti,"  and  "La  letteraria  fanatica." 

SCHATZ  11755 

—  L'impresario  in  angustie.  Farsa  per  musica  da  rappresen- 
tarsi nel  Teatro  della  rua  dos  Condes  nel  carnovale  dell  anno 
1792  .  .  . 

Lisbona,  Simone  Taddeo  Ferreira,  1792.     99  p.     15'='^. 

One  act.  Iinpresario's  dedication,  scenario,  cast,  and  name  of  Domenico  Cimarosa 
as  composer.  The  author,  Diodati,  is  not  mentioned.  Portuguese  title  page,  "O 
impresario  em  angustia,"  and  text  face  Italian.  ML  48. C6  ii 

—  L'impre'sario  in  angustie,  ou  Le  directeur  dans  Tembarras,  op6ra 
bouffon,  en  deux  actes,  represente  sur  le  Theatre  de  Monsieur. 
Musique  del  Signor  Cimarosa,  paroles  franpaises  de  M.  Du  Buisson. 

Paris,  et  se  trouve  a  BruxeUes,  chez  J.  L.  de  Boubers,  1792.     35  p. 

First  performed,  aa  indicated,  May  6  or  7, 1789.  ML  50.2.I5C3 

—  L'impresario  in  angustie  con  farsa  II  convitato  di  pietra.   Da 

rappresentarsi  nel  Teatro  di  Capua  per  ultima  opera  in  musica  in 
questo  camevale  .  .  . 

Napoli,  n.  publ,  1793.     60  p.     IJ^Y"^. 

Each  in  one  act.  The  second  farce  on  p.  [32]-60.  Impresario's  dedication  dated 
Capua,  January  6,  1793,  casts,  and  names  of  Domenico  Cimarosa  as  composer  of  the 
first,  and  of  Giacomo  Tritto  of  the  second  farce,  which  was  written  by  Giambattista 
Lorenzi  and  was  first  performed,  together  with  Tritto's  "Li  due  gemelli,"  at  Naples, 
Teatro  de'  Fiorentini,  carnival,  1783.  Schatz  10466 

—  L'impresario  in  angustie.  Dramma  giocoso  per  musica,  da 
rappresentarsi  nel  Teatro  elettorale. 

Dresda,n.  publ,  1794.     87  p.     16^^. 

One  act,  with  name  of  the  composer,  Cimarosa.  German  title-page,  "Der 
Bchauspiel  direktor  in  der  klemme,"  and  text  face  Italian. 

First  performed  at  Dresden  in  1794.  Schatz  1930 

—  Entrepreneuren  i  knibe.  Et  syngestykke  i  to  acter.  Oversat 
af  det  italienske.     Musiken  af  Domenico  Cimarosa. 

Kj0ben'havn,  Johan  Frederik  Schultz,  1795.     46,  [1]  p.     16^"^. 

With  pref.  by  the  translator,  Frederik  Gottlob  Sporon. 

First  performed  at  Copenhagen  December  15,  1795.  Schatz  1933 

Der  impresarius  oder  Opernverwalter  von  den  Canarischen  inseln. 
Tr.  of  Leo's  L'impresario  dell'  Isole  Canarie. 


I 


OPERA  LIBRETTOS  617 

L'impromptu  du  coeur,  opera-comique.  De  M.  Vade.  Repr6- 
sente  pour  la  premiere  fois  sur  le  Theatre  de  la  Foire  Saint  Grermain, 
le  mardi  8  fevrier  1757. 

La  Haye,  Pierre  Gosse  junior,  175^.  45  p.  W^^.  {Vade, 
Oeuvres,  La  Haye,  1759,  t.  iv.) 

One  act.  Largely  en  vaudevilles.  Caat.  On  p.  42-45,  the  airs  notes,  "Par  un 
beau  soir  m'y  promenant,"  "Louie  que  le  Ciel,"  "Qu'on  est  heureux  de  faire." 

ML  49.A2V2 

L'impromptu  du  Pont-Neuf.  Piece  d'un  acte.  Faite  par  Mon- 
sieur p  *  *  pour  la  naissance  de  Monseigneur  b  Dauphm.  Rep- 
resentee pour  la  premiere  fois  gratis  par  I'Opera-comique,  k  la  Foire 
Saint  Laurent  le  9.  septembre  1729. 

Le  Theatre  de  la  foire,  Paris,  1731,  t.  vii,  pi.,  {295Y-322  p.     17^'^. 

By  Panard.  Largely  en  vaudevilles.  The  aire,  selected  or  compoeed  and  arranged 
by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  aire." 

First  performed  September  9,  1729,  preceded  by  "Le  coreaire  de  Sale"  and  "Lea 
epectaclee  maladee  "  and  the  ballet-pantomime,  "Landceangloise."     ML  48.L2VII 

An  improved  edition  of  .  .  .  Midas.     See  Midas. 

In  amor  ci  vuol  destrezza.  Opera  buff  a  del  nobile  Signor  Carlo 
Lanfranchi  Rossi  .  .  .  fra  gli  Arcadi  Egesippo  Argolide.  Da  rap- 
presentarsi  nel  nobile  Teatro  in  San  Samuele  I'autunno  dell'  anno 
1782. 

Vmezia,  Modesto  Fenzo,  1782.     58  p.     18"^. 

Two  acte.  Caet,  ecenario,  and  name  of  Vincenzo  Martini  (Martin  y  Soler)  as  the 
composer.  On  p.  r35]-38,  "Deecrizione  del  ballo,  Minosse  re  di  Creta  o  sia  La  fuga 
d'Arianna  e  di  Fedra,"  with  caet,  by  Onorato  Vigan5;   music  by  Luigi  Mareecalchi. 

SCHATZ  6010 

—  L'accorta  cameriera.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Regio  Teatro  di  Torino  nell'  autunno  dell'  anno  1783. 

Torino,  Onorato  Derossi,  n.  d.     51,  [1]  p.     15'^^. 

Two  acte.  By  Carlo  Giuseppe  Lanfranchi  Rossi,  who  is  not  mentioned.  Cast 
and  name  of  Vincenzo  Martini  (Martin  y  Soler)  as  the  composer.  Giuseppe  Herd- 
litzka's  ballets,  "11  ritomo  opportune"  and  "Le  reclute  del  villaggio,"  were  per- 
formed with  the  opera.    The  composers  of  the  music  are  not  mentioned. 

ScHATZ  6031 

Das  in  die  preussische  krone  verwandelte  wagengestirn.     A.  T. 

of  Graupner's  Bellerophon. 

Der  in  krohnen  erlangte  glueckswechsel  oder  Almira,  koenigin 
von  Castilien.  In  einem  sing-spiel  auff  dem  grossen  Hamburgischen 
Schau-Plat^  vorgestellet  im  jalir  1704. 

[Hamburg],  Gedruckt  im  selhen  jahr,  n.  d.      Unpaged.     18Y^. 

Three  acts.  Argument  and  scenario.  Neither  Friedrich  Christian  Feuetking,  the 
author  reep.  tranelator  of  Giulio  Pancieri'e  "L' Almira,"  nor  Georg  Friedrich  Handel, 
the  composer,  is  mentioned.    Some  arias  have  Italian  text  added  to  the  German. 

First  performed,  as  indicated,  Theater  beim  Gansemarkt,  January  8,  1705. 

ScHATZ  4479 

—  Der  in  cronen  erlangte  glueckswechsel,  oder  Almira,  koenigin 
von  Castilien,  in  einem  singe-spiel  auf  dem  Hambui^ischen  Schau- 
platz  vorgestellet. 

[Hamburg],  Philip  Ludwig  Stromer,  1732.      Unpaged.     18^. 
Three  acte.    Scenario  and  cast.     Neither  Feustking,  the  author,  nor  Handel,  the 
composer,  is  mentioned.    This  version  is  considerably  different  from  the  edition  of 


618  LIBRABY  OF   CONGRESS 

Der  in  krohnen  erlangte  glueckswechsel — Continued. 

1704.  For  instance,  I,  4,  has  now  the  aria,  "Se  lento  ancora  un  fulmine,"  instead  of 
"Proverai  di  che  fiere  saette,"  and  the  aria,  "Zueme  was  hin,"  has  been  dropped 
altogether  from  this  scene.  Schatz  4500 

Der  in  Syrien  triumphirende  kayser  Hadrianus.     Tr  of  Bro- 

schi's  Adriano  in  Siria. 

Die  in  verwirrung  lebende  familie.  Tr.  of  Scolari's  La  famiglia 
in  scompiglio. 

L'inaspettata  consolazione  nolle  sventure,  ballet.  See  Bianchi's 
Trionfo  della  pace. 

Gl'Inca  del  Perft.     Tr.  of  part  of  Rameau's  Les  Indes  Galantes. 

Inca  il  tiranno,  ballet.     See  Bertoni's  Andromaca. 

L'incanti  per  amore.  Comedia  per  musica  di  Terentio  Chirrap 
Napoletano  [Pietro  Trinchera].  Da  rappresentarsi  nel  Teatro  Nuovo 
nelr  autunno  di  quest'  anno  1741  .  .  . 

Napoli,  Nicola  di  Biase,  1741.     60  p.     14h'^^. 

Three  acts.  Impresario's  dedication  dated  October  2,  1741,  cast,  and  name  of  the 
composer,  Antonio  Palella.  Schatz  7712 

L'incanto  superato.  Favola  romanzesca  per  musica,  da  rappre- 
sentarsi nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1795.    95  p.     16""^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Franz  Xaver  Siiss- 
mayer  is  mentioned  as  the  composer.  German  title-page,  "Der  besiegte  zauber," 
and  text  face  Italian. 

First  performed  at  Dresden,  1795,  as  indicated;  at  Vienna,  Burgtheater,  July  8, 
1793.  Schatz  10179 

Les  Incas  du  Perou.     Entree  in  Rameau's  Les  Indes  galantes. 

L'incendie.     See  Floquet's  Le  seigneur  bienfaisant. 

Les  incidents,  ballet.     See  P.  Guglielmi's  Vologeso. 

L'incognita  fortunata.  Farsa  per  musica  di  Epitide  Corebio,  P.  A. 
da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  nell'  esta 
del  presente  anno  1782. 

Napoli,  n.  pull.,  1782.    36  p.     15""^. 

One  act.  By  Gaetano  Ciliberti.  Cast  and  name  of  Giacomo  Bust  as  the  com- 
poser. Schatz  9172 

L'incognita  perseguitata.  O.  T.  of  Petrosellini's  text  La  nuova 
Giannetta. 

L'incognita  perseguitata.     Dramma  giocoso  da  rappresentarsi  nel 
Regio-ducal  Teatro  di  Milano  Testate  dell'  anno  1773  .  .  . 
Milano,  Gio.  Batista  BiancM,  n.  d.     80  p.     l^Y'^- 
Three  acts.    By  Giuseppe  Petrosellini.    Cast,  scenario,  and  name  of  composer, 
Pasquale  Anfossi,  but  not  of  librettist. 

First  performed  at  Rome,  Teatro  delle  Dame,  1773.  Schatz  238 


OPERA  LIBRETTOS  619 

L'incognita  perseguitata— Continued. 

—  Metilda  ritrovata.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  ne'  Teatri  privilegiati  di  Vienna. 

Vienna,  Giuseppe  Kurtzboeck,  1773.     71  p.     W™: 

Three  acts.     Scenario  and   name   of  composer.     Somewhat  altered   version   of 
Anfossi's  "L'incognita  perseguitata."   The  cast  is  added  in  ink  in  this  copy. 
First  performed  as  indicated  in  the  title  on  August  31,  1773.  Schatz  239 

—  La  Giannetta  o  sia  L'incognita  perseguitata ;  dramma  giocoso 
per  musica,  da  rappresentarsi  nel  Regio  Teatro.  Jeannette,  eller  Den 
rortraengte  ubekiendte;  et  lystigt  synge-spil  .  .  .  Oversadt  paa 
dansk  ar  R.  Soelberg. 

Ki0benha'mi,  H.  J.  Graae,  1775.     128  p.     17^^. 

Three  acts.     Cast  and  name  of  Anfossi  as  composer. 

First  performed,  as  indicated,  on  November  1,  1775.  Schatz  240 

—  L'inconnue  persecutee.  Comedie  en  deux  actes  et  en  prose, 
m§lee  d'ariettes,  imitees  de  I'italien,  sur  la  musique  du  Sieur  Anfossi. 
Par  M.  Moline.  Represente  devant  Sa  Majeste,  a  Fontainebleau,  le 
25  octobre  1776. 

Paris,  Pierre  RoheH  ChristopTie  Ballard,  1776.     2  p.  I.,  63  p.     20^"^. 

Cast.  Jean  Baptiste  Rochefort,  who  arranged  the  score  and  inserted  music  of  his 
own,  is  not  mentioned. 

First  performed  as  above  at  Paris,  Comedie  italienne,  November  12,  1776.  Not  to 
be  confused  with  de  Rosoy's  version  of  Petrosellini's  text,  first  performed,  with 
Anfossi's  music,  at  Paris,  Academic  royale  de  musique,  September  21,  1781. 

ML  50.2.I55A6 

L'incognita  perseguitata.  Dramma  giocoso  per  musica  d'Ensildo 
Prosindio,  P.  A.  da  rappresentarsi  nel  Teatro  Grimani  di  S.  Samuele 
il  carnovale  dell'  anno  MDCCLXIV. 

Venezia,  Modesto  Fenzo,  176 4.     56  p.     16*^^. 

Three  acts.  By  Giuseppe  Petrosellini.  Cast,  scenario,  and  name  of  Niccol6 
Piccirmi  as  the  composer.  Schatz  8097 

—  L'incognita  perseguitata.  Dramma  giocoso  per  musica  d'En- 
sildo Prosindio  P.  A.  Da  rappresentarsi  nel  Real  Teatro  dell'  Ajuda 
in  occasione  di  festeggiarsi  il  felicissimo  gioriio  natalizio  di  Sua  Reale 
Maest^  I'augustissima  Signora  D.  Marianna  Vittoria  .  .  .  nella 
primavera  dell'  anno  MDCCLXVI. 

Lishona,  Michele  Manescal  da  Costa,  n.  d.     69  p.     15'''^. 
Three  acts.    Cast,  scenario,  and  name  of  Niccol6  Piccinrd  as  composer.    Text  by 
Giuseppe  Petrosellini. 

First  performed  at  Lisbon,  as  indicated,  March  31,  1766.  ML  48. C6  I 

—  L'incognita  perseguitata.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  publ.,  1768.     117  p.     15^'^'^. 

Three  acts.  Cast,  scenario,  and  name  of  Niccol6  Piccinni  as  the  composer.  Petro- 
sellini's text,  with  only  very  few  alterations.  German  title-page,  "Die  verfolgte 
iinbekannte,"  and  text  face  Italian. 

First  performed  December  3,  1768,  as  indicated.  Schatz  8098 


620 


LIBRARY   OF   CONGRESS 


Grincontri  stravaganti.  Commedia  per  miisica  da  rappresentarsi 
nel  Teatro  Nuovo  sopra  Toledo  nel  camevale  di  questo  corrente  anno 
1790. 

Napoli,  n.  puhl,  1790.    52  p.     15^"^. 

Two  acts.  Cafit  and  name  ofBemaxdini(Marcellodi  Capua)  as  composer.  Libret- 
tist not  mentioned,  and  unknown  to  Schatz.  Schatz  840 

'^    L'incoronatione  di  Dario.     Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Angelo,  I'anno  MDCLXXXIV  ... 
Venetia,  Francesco  Nicolini,  I684.    front.,  60  p.     14'^'^. 
Three  acts.     Dedication,  argument,  and  scenario.     Neither  the  author,  Adriano 
Morselli,  nor  the  composer,  Giovanni  Domenico  Freschi,  is  mentioned.     Act  first  has 
sixteen  scenes  only,  though  the  libretto  counts  seventeen.  Schatz  3350 

—  Dario.  Drama  per  musica  da  recitarsi  nel  Teatro  di  Sant' 
Angelo  I'anno  MDCLXXXV  .  .  . 

Venetia,  Francesco  Nicolini,  1685.    56  p.     14"^. 

Three  acts.  Publisher's  dedication,  argument,  and  scenario.  Nicolini  calls  this 
a  reprint  in  his  dedication,  but  it  really  is  not,  being  a  considerably-altered  version. 

For  instance,  the  character  of  "Niceno"  has  been  dropped,  whereas  that  of 
"Dalisa"  has  been  added.  Accordingly,  for  instance,  Niceno's  aria  (1, 13),  "Torbida 
notte,  e  fosca,"  does  not  appear  in  the  1685  version  and  all  the  arias  for  Dalisa  in 
this  do  not  appear  in  the  original  version.  Schatz  3357 

L'incoronatione  di  Poppea  di  Gio.  Francesco  Busenello.    Opera 
musicale  rappresentata  nel  Teatro  Grimano  I'anno  1642. 
Venetia,  Andrea  Giuliani,  1656.     61  p.     15'^^. 

The  title  page  (verso  blank)  is  followed  immediately  in  this  copy  by  the  "argo- 
mento"  on  p.  5,  the  first  of  the  sionature  A  3,  the  signatures  being  m  twos.  Monte- 
verdi, the  composer,  is  not  mentioned.    Three  acts  and  prologue.        Schatz  6593 

L'incoronazione  di  Dario.  Drama  per  musica,  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  per  opera  terzo  nel  camevale  dell'  anno 
1716  .  .  . 

Venezia,  Marino  Rossetti,  1717.     57  p.     15*^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  name  of  Antonio  Vivaldi  as  the 
composer,  and  note : 

"Eccoti  l'incoronazione  di  Dario,  opera  del  Sig.  Adriano  Morselli  gi^da  molti  anni 
defonto.  Se  la  retrovi  in  qualche  parte  mutata,  e  per  le  arie,  e  per  gli  caratteri  de  rap- 
presentanti,  non  si  h  fatto  ad  altro  fine,  che  per  accomodarla  all'  uso  inodemo  del 
teatro,  &  alia  compagnia  che  deve  rappresentarla  ..."  Schatz  10771 

L'incoronazione  di  Serse.     Drama  per  musica  da  rappresentarsi 
nel  famoso  Teatro  Grimano  di  San  Gio.  Grisostomo  I'anno  1691  .  .  . 
Venetia,  Nicolini,  1691 .    front.,  60  p.     15*^. 

Three  acts.  Dedication  dated  Venice,  December  26,  1690,  and  signed  with  the 
initials  of  the  author,  Adriano  Morselli,  argument,  scenario,  and  notice  to  the  reader, 
with  name  of  Giuseppe  Felice  Tosi  as  the  composer.  Schatz  10376 

Second  copy.    ML  48.M20 

L'incoronazione  di  Siroe,  ballet.     See  Sarti's  Siroe. 

L'incoronazione  di  Uladislao  re  di  Polonia  in  r^  d'Ungheria, 
ballet.     See  Isola's  La  conquista  del  vello  d'oro. 


OPEEA   LIBRETTOS  621 

L'incostante.  Intermezzo  per  musica  da  rappresentarsi  iiel  Real 
Teatro  di  Salvaterra  nel  carnovale  delF  anno  1775. 

[Lishona],  Stamperia  reale,  n.  d.     4^  p.     14^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  Bcenario,  and 
name  of  Niccolo  Piccinni  as  the  composer. 

First  performed  at  Rome,  Teatro  Capranica,  February,  1766.  Schatz  8138 

—  H  volubile.  Intermezzi  per  musica  a  quattro  voci  da  rappresen- 
tarsi  neU'  antico  rinovato  Teatro  deUa  Pace  nel  corrente  carnevale 
1769  ... 

Roma,  Angelo  Maria  AnsiUioni,  1768.     35  p.     16"'^. 

Two  parts.  Text  identical  with  that  of  his  "L'incostante,"  Lisbon,  1775,  con- 
taining arias  like:  "Signorina  mia  carina"  (I,  1),  "Tutta  ricci,  tutta  nei"  (I,  3), 
"Poverina,  innocentina"  (II,  4),  "II  Signer  conte,  che  venga  presto"  (II,  5),  etc. 

ML  50.2.V75P3 

L'incostanza  degli  amanti,  ballet.     See  Insanguine's  Medonte. 

L'incostanza  del  militare  in  amore,  ballet.  See  Borghi's  La 
donna  instabile. 

L'incostanza  schernita.     O.  T.  of  Cassani's  libretto  Filandro. 

L'incostanza  schernita,  Dram  ma  comico-pastorale  di  Vincenzo 
Cassani,  da  rappresentarsi  nel  Teatro  Grimani  a  S.  Samuele  nell  fiera 
deU'  Ascensione  .  .  . 

Venezio,  Marino  RosseUi,  1727.     48  p.     14^'^. 

Three  acts.  Author's  dedication,  ailment,  notice  to  the  reader,  cast,  scenario, 
and  name  of  Tommaso  Albinoni  as  composer. 

First  performed  at  Venice  in  1727,  as  mdicated  above.  Schatz  95 

—  Filandro.  Dram  ma  comico-pastorale  da  rappresentarsi  nel 
Teatro  Giustiniano  di  San  Moise  ranno  J^DDCCXXIX.  Di  Vicenzo 
Cassani.     Edizione  seconda. 

Venezia,  Marino  Rossetti,  n.  d.     4^  p.     14^'^- 

Three  acts.  Arguments,  name  of  Albinoni  as  composer,  and  cast.  "Filandro"  is 
merely  a  slightly  modified  version  of  "L'incostanza  schernita,"  as  a  comparison 
proves.  Hence,  "Edizione  seconda."  In  the  later  version  the  part  of  "Ergasto" 
has  been  added,  of  which  the  author  says  "fe  aggiunto  solo  per  accomodarsi  al  numero 
de'  personaggi  di  gik  obbligati,  conoscendo  benissimp  essere  una  parte  inutile,  e 
superflua,  senza  per6,  che  guasti  I'ordine,  e  I'orditura  del  dramma."       Schatz  109 

L'incostanza  trionfante  overo  II  Theseo.  Drama  per  musica  nel 
Teatro  di  San  Cassano  .  .  . 

Venetia,  Andrea  Giuliani,  1658.     I4  P-  I-  (incl.  front.) ,  66  p.     14'^'^. 

Prologue  and  three  acts.  Publisher's  dedication  dated  Venice,  January  16,  1658, 
argument,  quotations  from  Plutarch,  cast  [!],  scenario,  and  notice  to  the  reader: 

"Trionfa  in  questo  drama  l'incostanza  di  Theseo,  e  molto  piii  l'incostanza  dell' 
auttore  di  essa,  mentre  che  altri  I'h^  inventato,  altri  I'h^  regulato,  uno  I'h^  disposto, 
e  molti  I'hanno  ordinato;  che  dir5  poi  di  coloro,  che  I'hanno  illustrato  &  abbellito 
con  la  poesia?  L'inventore,  che  alio  splendor  della  nascita  hk  sposato  la  vivacitli 
dell'  ingegno,  j)en86  di  confidare  questo  suo  eruditissimo  parto,  per  esser  ben  veetitOj 
alia  penna  dovitiosa  del  Signor  Francesco  Piccoli  .  .  .  Ma  su'l  meglio  del  lavoro  gli 
convenne  da  Venetia  far  passaggio  a'  paesi  lontani;  onde  non  potendo  egli  assistere 
alia  perfettione  dell'  opera,  n6  alle  alterationi,  anzi  diversificationi  necessitate  dalla 
prattica  della  scena,  accioche  questo  drappo  facesse  un  vago  vedere,  come  sotto  la 
virtii  singolare  del  M.  R.  P  Ziaxd  far^  un  bel  eentire;  si  h  fatto  ricorso  k  penna  sub- 
lime, che  hoggi  per  suo  solo  diporto  vola  per  questo  nostro  cielo  italiano." 

Piccoli,  he  continues,  to  distinguish  his  own  verses  from  those  of  the  other  collabo- 
rators, adopted  the  expedient  of  putting  his  own  in  quotation  marks,  but  in  the  hurry 
of  publication  many  were  not  so  printed,  and  so  Piccoli's  caution  was  largely  in  vain. 

Schatz  11222 


622  LIBRARY   OF   CONGRESS 

Les  Indes  dansantes.     Parody  of  Rameau's  Les  Indes  galantes. 

Les  Indes  galantes,  ballet  heroique,  repr6sent6  par  L'Acad^mie 
royale  de  musique,  pour  la  premiere  fois,  le  mardi  23  aolit  1735; 
repris  avec  la  nouvelle  entree  des  Sauva^es,  le  samedi  dixi^me  mars 
1736.     Remis  au  th6S,tre  le  mardi  28  mai  1743. 

[Paris],  Jean  Baptiste  Christophe  Ballard,  1743.     viii,  60  p.     24'^^. 

Prologue  and  four  entries:  "Le  turc  g^n^reux,"  "Les  Incas  du  P^rou,"  "Les 
fleurs,"  "Les  sauvages."  "Avertissement"  (p.  iii-vii).  Neither  the  author,  Louis 
Fuzelier,  is  mentioned,  nor  the  composer,  Jean  Philippe  Bameau.      ML  52.2.I4R2 

—  Prologue  des  Indes  galantes.  Repr6sent6  devant  Leiira 
Majestes  a  Versailles  le  samedi  16  f^vrier  1765. 

[Paris],  Christophe  Ballard,  1766.  12  p.  20^"^.  (Journal  des 
spectacles,  t.  1,  Paris,  1766.) 

Cast  and  names  of  Louis  Fuzelier  as  author  of  the  text,  of  Jean  Philippe  Bameau 
aa  composer,  and  of  Laval  pfere  et  file  as  "composers"  of  the  ballets.        ML  48.J7 

—  Les  Incas  du  Perou,  acte  de  ballet.  Represents  devant  Leurs 
Majestes  a  Versailles  le  mercredi  30  Janvier  1765. 

[Paris],  Christophe  Ballard,  1765.     23  p.     21'='^. 

Cast  and  names  of  Louis  Fuzelier  as  author,  of  Jean  Philippe  Baxaeau  as  com- 
poser, and  "Laval,  pere  &  fils"  as  "composers"  of  the  ballets.  ML  52.2  15 
Second  copy  (Journal  des  spectacles,  t.  I,  Paris,  1766).  ML  48.J7 

—  Les  sauvages,  entree  ajoutSe  aux  Indes  galantes.  Representee 
devant  Leurs  Majestes  a  Versailles  le  samedi  16  f6vrier  1765. 

[Paris],  Christophe  Ballard,  1765.  23  p.  20^"^.  {Journal  des 
spectacles,  t.  1,  Paris,  1766.) 

Cast  and  names  of  Louis  Fuzelier  as  author  of  the  text,  of  Jean  Philippe  Bameau 
as  composer  of  the  music,  and  of  Laval,  p6re  et  fils  as  "composers"  of  the  ballets. 

ML  48.J7 

—  Les  Indes  galantes,  ballet-heroique,  represents  par  I'Academie 
royale  de  musique,  Fan  1735.  Paroles  de  Mr  Fuselier.  Musique  de 
Mr  Rameau.     CXXIII.  opera. 

n.  i.,  n.  d.  77-144  V-  14Y™''  (Recueil  general  des  opera,  Paris, 
1745,  t.  xvi.) 

Prologue  and  the  entries  "Les  Incas  du  Perou,"  "Le  Turc  g^n^reux,"  "Les 
fleurs,"  "Les  sauvages,  nouvelle  entree  ajoutee."  Text  preceded  by  an  Avertisse- 
ment  and  followed  by  this  note: 

"On  avertit  encore,  que  Les  Incas  du  Perou,  sont  devenus  la  seconde  entree,  et 
Le  Turc  g^n^reux  la  premiere,  I'Acad^mie  les  ayant  rang^es  ainsi,  dans  la  Remise 
du  28  mai,  1743."  '  ML  48.R4 

—  Gl'Inca  del  Peru.  Seconda  entrata  dell'  opera  delle  Indie 
galanti  rappresentata  in  Parma  sul  Teatro  della  Corte  nel  giorno 
XVIII  di  dicembre  I'anno  MDCCLVII.  Tradotta  dal  franzese  dal 
Signer  abate  Frugoni  .  .  . 

Parma,  Monti,  n.  d.    23  p.     lO""^. 

Neither  Louis  Fuzelier,  the  author  of  ' '  Les  Indes  Galantes, ' '  nor  Bameau,  the  com- 
poser, is  mentioned.  Schatz  8588 


OPEEA   LIBRETTOS  623 

Les  ludes  galantes — Continued. 

—  I^es  Indes  dansantes,  parodie  des  Indes  galantes.     Representee 

f)our  la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du  roi, 
e  lundi  26  juillet,  1751. 
Paris,  La  F.  Delormel  <&  fils,  [etc.\  1761.     67,  [1],  6  p.     18^"^. 

Caste.  On  the  6  p.  twelve  "Airs  de  la  parodie  des  Indes  galantes."  Comp.  next 
entry.  ML  50.2.156 

—  Les  Indes  dansantes,  parodie  des  Indes  galantes.  Representee 
pour  la  premiere  fois,  par  les  Comediens  italiens  ordinaire  [!1  du  roi, 
16  lundi  26  juillet  1751.     Troisieme  edition. 

Paris,  la  veuve  Delormel  &  fils  et  PravU  fils,  1752.  71,  [1\  8  p. 
18^''^. 

Caste.  Three  entrees  called  "Le  Tore  g^n^reux,"  "Les  Incas  du  Perou,"  "Les 
fleurs"  after  which  "La  feste  desfleurs."  On  the[8]  p. nineteen  "Airs  de  la  parodie 
des  Indes  galantes."     {See  next  entry.)  ML  50.2.157 

—  Les  Indes  dansantes,  parodie  des  Indes  galantes;  representee 
pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le 
lundi  26  juillet  1751.     Quatrieme  edition. 

Paris,  N.  B.  Duchesne,  1759.  86  p.  W"^.  {Theatre  de  M. 
Favart,  Paris,  1763-77,  t.  I.) 

Cast.  Three  entries,  called  "Le  turc  genereux,"  "Les  Incas  du  P^rou,"  and  "Les 
fleurs,"  after  which,  "La  fete  de  fleurs.  En  vaudevilles.  Quite  a  few  of  the  airs 
are  printed  in  the  text,  and  on  p.  73-86  are  printed  geven  "Airs  et  vaudevilles,  des 
Divertissements  de  la  parodie  des  Indes  dansantes  avec  le  duo  et  le  trio."  The 
arranger  of  the  music  is  not  mentioned  by  Font.  This  text  is  not  that  of  the  parody 
in  its  original  form.  Originally  it  had  four  entries,  and  as  "L'ambigue  de  la  folic,  ou 
Le  ballet  des  dindons"  it  was  first  performed  in  1743,  after  Rameau's  ballet-opera  had 
been  revived  on  August  31,  1743.  ML  49.A2F1 

L'India  scoperta.     A.  T.  of  Ottoboni's  II  Colombo. 

The  Indian  chief.     A.  T.  of  The  choice  of  Harlequin. 

L'Indiana  a  Londra,  ballet.     See  Santi's  II  marito  indolente. 

Gl'Indiani.  Dranmia  nuovo  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  Venier  in  San  Benedetto  I'autunno  dell'  anno 
1796. 

Venezia,  Modesto  Fenzo,  1796.     4I,  [1]  p.     18"'^. 

Two  acte.  By  Mattia  Botturini  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Seoastiano  NasoUni  as  the  composer.  With  the  opera  was  performed 
Onorato  Vigano's  ballet,  "Lamorte  d'Ettore"  musie,  ("tuttanuova,")  byAlessandro 
La  Motte)  and  Giuseppe  Domenico  de  Roesy's  ballet,  "L'equivoco  delli  due  amanti 
molinari"  (composer  not  mentioned). 

First  performed  December  9,  1796.  Schatz  7004 

L'Indienne,  com^die  en  un  acte,  mdl^  d'ariettes,  representee  pour 
la  premiere  fois  par  les  Comediens  Italiens  ordinaires  du  roi,  le 
mercredi  31  octobre  1770,  La  musique  est  de  M.  Cifolelli,  maitre  de 
chant  &  de  mandoline. 

Paris,  la  veuve  Duchesne,  1771.     28,  \2\  p.     19^"^. 

The  2  unnumb.  p.  contain  a  "Catalogue  des  pieces  de  th^^atre  qui  se  vendent 
B^parement  chez  F.  J.  Desoer  .  .  .  ^  Liege."  The  author,  Nicolas  Etienne  Framery, 
is  not  mentioned.  Schatz  1897 

Second  copy.    Schatz  11685 


624  LIBEABY   OF   CONGRESS 

L'indiffereiice.     Prologue   des  deux  pieces  suivantes.     Par  M"  le 

5  *  *.  F  *  *.  &  d'Or  *  *.  Kepresente  a  la  Foire  de  S. 
Laurent  1730. 

—  L'amour  marin.  Piece  d'un  acte.  Par  M"  le  S  *  *. 
F  *  *.  &  d'Or  *  *.  Represents  k  la  Foire  de  S.  Laurent. 
1730. 

—  L'esperance.     Piece  d'un  acte.     ParM'^leS    *     *,     F    *     *. 

6  d'Or    *     *.     Representee  h,  la  Foire  de  S.  Laurent.     1730. 

Le  Theatre  de  la  foire,  Paris,  1731,  t.  viii,  3  pi,  [239]-367  p.     17""^. 

By  Le  Sage,  Fuzelier,  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected 
or  composed  and  arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume 
in  the  "Table  des  airs." 

First  performed  September  5,  1730.  ML  48.L2VIII 

L'indolente.  Dramma  giocoso  per  musica  da  rappresentarsi  in  Parma 
nel  R.  D.  Teatro  di  Corte  il  camevale  dell'  anno  MDCCXC VII  .  .  . 
Parma,  Stamperia  Carmignani,  n.  d.     viii,  5^,  [10]  p.     17^''"*. 

Two  acte.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Impresario's  dedica- 
tion, scenario,  and  name  of  Francesco  Gnecco  as  the  composer.  ("La  musica  b  tutta 
nuova  espressamente  composta.")  The  additional  pages  contain  the  title  of  the 
second  ballet,  "L'equivoco  fortunato,"  and  preface,  cast,  and  description  of  Ul-bano 
Garzia's  "Ginevra  di  Scozia,  ballo  tragico-pantomimico  in  cinque  atti."  The  com- 
posers of  the  music  are  not  mentioned.  Schatz  3962 

Indtoget.  Syngestykke  i  to  akter.  Musiken  af  kapelmester 
Schultz.  F0rstegang  opfort  paa  den  Kongelige  Danske  Skueplads 
den  26  februar,  1793. 

n.  i.,  n.  d.  17'='^.  p.  {lll]-208,  {Peter  Andreas  Heiberg,  STcuespil. 
3  hind.) 

On  p.  [113J-131,  "Fortale  til  det  f0rste  oplag"  and  "Fortale  til  denne  an  den 
udgave,"  the  latter  dated,  "Ki^enhavn  d.  16  Julii  1794,"  and  both  of  considerable 
historical  importance.  Schatz  9723 

L'industrie.  Prologue  des  deux  pieces  suivantes.  Par  M""?  le 
S  *  *  F  *  *  &  d'Or  *  *  Representee  k  la  Foire  Saint 
Laurent  1730. 

—  Zemine  et  Almanzor.  Piece  d'un  acte.  Par  Mrs.  le  S  *  * 
F     *     *     &  d'Or     *     *     Representee  k  la  Foire  Saint  Laurent  1730. 

—  Les  routes  du  monde.  Piece  d'un  acte.  Par  M""?  le  S  *  * 
F     *     *     &  d'Or    *     *     Representee  a  la  Foire  Saint  Laurent  1730. 

Le  Theatre  de  la  foire,  Paris,  1731,  t.  viii,  3  pi.,  [67]-183  p.     17^"^. 

By  Le  Sage,  Fuzelier,  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected 
or  composed  and  arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume 
in  the  "Table  des  airs." 

First  performed  March  27,  1730.  ML  48. L2 VI 11 

Le  Industrie  amorose.  O.  T.  of  Bertati's  text  II  matrimonio  per 
inganno. 

Le  Industrie  amorose.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Mois^  I'autunno 
deir  anno  1778. 

n.  i.,  n.  d.    2  p.  l,  64  p.     17^'''^. 

Two  acts.  Impresario's  dedication,  cast,  and  name  of  Bemard(in)o  Ottani  as  the 
composer.  On  p.  33  is  printed  the  argument  of  a  ballet  by  Filippo  Beretti,  but  neither 
the  title  nor  the  composer  of  the  music  is  mentioned.  Schatz  7365 


OPERA   LIBRETTOS  625 

Ines  de  Castro.     Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  via  della  Pergola  Tautunno  del  1793  .  .  . 
Firenze,  Pietro  Pantosini,  1793.     Jfi  p.     16^"^. 

Two  acts.  By  Cosimo  Giotti.  Argument,  cast,  and  names  of  composer,  Gaetano 
Andreozzi,  and  librettist.  The  text  of  the  opera  preceded,  on  p.  6-12,  by  Argomento, 
cast,  and  detailed  description  of  "La  morte  d'Agamemnone,  ballo  tragico  in  cinque 
atti,"  by  Francesco  Clerico  (composer  of  music  not  mentioned). 

First  performed,  as  indicated,  September  8,  1793.  Schatz  213 

Ines  de  Castro.     Dramma  per  musica  da  rappresentarsi  nel  nobi- 
lissimo  Teatro  Venier  in  San  Benedetto  Tautunno  dell'  anno  1795. 
Yenezm,  Modesto  Fenzo,  1795.     53  p.     18""^. 

Three  acts.  Cast,  argument,  scenario,  and  names  of  Francesco  Bianchi,  Sebasti- 
ano  Nasolini,  Ignazio  Gerace,  Giuseppe  Cervelliiii  as  composers.  The  author, 
Luigi  De  Sanctis,  is  not  mentioned.  On  p.  [23J-31  argument,  cast,  and  full  descrip- 
tion of  "Mario  e  Felice,  ballo  tragico  pantomimo"  by  Eusebio  Luzzi,  music  ("tutta 
nuova")  by  Vittorio  Trento.  The  second  ballet,  "Lo  spazza  camino,"  was  also  by 
Luzzi,  but  the  composer  is  not  mentioned. 

Bianchi's  "Ines  de  Castro"  first  performed  at  Naples,  May  30,  1794,  Teatro  di  San 
Carlo.  Schatz  1012 

Ines  de  Castro.     Dranuna  per  musica  da  rappresentarsi  nel  nuovo 
e  nobilissimo  Teatro  detto  La  Fenice  il  carnovaie  dell'  anno  1793. 
Venezia,  Modesto  Fenzo,  1793.     61  p.     17^"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.  With  the  opera  were 
performed  Onorato  Vigan6's  ballets  "Le  awenture  di  Milord  Wilver  e  di  Miledi  sua 
sposa  "  and  ' '  La  fiera  d' Amsterdam. ' '    The  composers  of  the  music  are  not  mentioned. 

Schatz  3846 

Ines  de  Castro,  ballet.     See  P.  Guglielmi's  II  Demetrio. 

Ines  de  Castro,  ballet.     See  Zingarelli's  Antigono. 

L'infante  de  Zamora.     See  Paisiello's  La  Frascatana. 

L'infausto  matrimonio,  ballet.     See  Portugal's  La  pazzagiomata. 

L'infedelta  fedele.  Commedia  per  musica  di  Giambattista  Lorenzi 
P.  A.  Da  rappresentarsi  nell'  apertura  del  Real  Teatro  del  Fondo 
di  Separazione.     Nella  estk  del  corrente  anno  1779. 

Napoli,  n.  publ.,  1779.     71  p.     15'='^. 

Three  acts.  Scenario,  cast,  name  of  the  composer,  Domenico  Cimarosa,  and 
notice  to  the  reader,  in  which  Lorenzi  says: 

"Eccoti  un  libro  per  I'apertura  di  questo  nuovo  Real  Teatro.  In  esso  ho  studiata 
la  maniera  di  slontanarmi  da  quelle  solite  buffonerie  popolesche  e  volgari,  che  ne' 
nostri  piccoli  teatri  si  costumano,  contentandomi  di  usar  nella  favola  moderati  sali, 
che  bastassero  a  dare  un  convenevole  risalto  a  quel  tragico,  che  in  essa  ho  introdotto, 
6  che  finora  non  fu  nelle  farse  musicali  praticato.  Fu  mio  pensiero,  che  tra  q^^uel 
tutto  serio  de  Real  Teatro  di  San  Carlo,  e  quel  tutto  giocoso  de'  suddetti  teatrmi, 
servisse  questo  di  un  mezzano  spettacolo,  che  discretamente  partecipasse  cosi  dell' 
uno,  che  dell'  altro  fare,  onde  ciascuno  avesse  nella  Capitale  un  teatro  corrispondente 
al  8UO  genio." 

First  performed,  as  indicated,  July  20,  1779.  Schatz  1936 

—  L'infedelta  fedele.  Operetta  per  musica  da  rappresentarsi  nel 
Piccolo  Teatro  di  S.  A.  E.  ai  Sassonia. 

Dresda,  n.  publ,  1782.     125  p.     16'"". 

Three  acts,  with  name  of  the  composer,  Cimarosa.  German  title-page,  "Treuin 
der  Untreue,"  and  text  face  Italian. 

First  performed,  as  indicated,  October  5,  1782.  Schatz  1937 

72251°— VOL  1—14 40 


626  LIBRABY   OF   CONGRESS 

L'infedeltS,  punita.  Drama  per  musica.  Da  rappresentarsi  nel 
famoso  Teatro  Grimani  di  S.  Gio.  Grisostomo.  L'autuiino  dell'  anno 
1712  .  .  . 

Venezia,  Marino  Rossetti,  1712.     72  p.     15*^. 

Three  acts.  Dedicaiion  dated  Venice,  November  12,  1712,  and  signed  with  the 
initials  of  Francesco  Silvani,  the  author,  ailment,  cast,  and  scenario.  The  com- 
posers. Carlo  Francesco  PoUaroU  and  Antonio  Lotti,  are  not  mentioned. 

ScHATz  8326 

L'infedelta  sorpresa,  ballet.    See  Tritto's  La  vergine  del  sole. 

Gl'ingannati.  Commedia  per  musica  di  Gennarantonio  Federico, 
Napoletano.  Da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell*  au- 
tunno  di  questo  anno  1734  .  .  . 

Nayoli,  Nicola  di  Biase,  1734.     78  p.     W^. 

Three  acts.  Impresario's  dedication,  cast,  and  name  of  Graetano  Latilla  as  the 
composer.  Schatz  5454 

L'ingannator  ingannato.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  Grimani  di  S.  Samuel  I'autunno  dell'  anno  1710. 

Venezia,  Marino  Rossetti,  1710.    60  p.     l^Y^- 

Three  acts.  By  Antonio  Marchi,  who  is  not  mentioned.  Argument,  notice  to  the 
reader,  and  scenario.  The  composer,  Giovanni  Maria  Buggeri,  is  not  mentioned. 
Pages  3-6,  presumably  with  the  dedication,  are  wanting.  Schatz  9138 

L'ingannatore  ingannato.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Teatro  di  S.  Cassano  nell'  autunno  dell'  anno  1764  dell' 
abb  ate  Pietro  Chiari  .  .  . 

Venezia,  Modesto  Fenzo,  1764.    56  p.     16^"^. 

Three  acts.  Cast,  scenario,  and  name  of  composer,  Ferdinando  Giuseppe  Bertoni. 
(Music  called  "tutta  nuova.")  Schatz  939 

Gl'inganni  amorosi  scoperti  in  villa,  scherzo  giocoso  di  Lelio 
Maria  Landi,  da  rappresentarsi  nel  Teatro  Formagliari  I'anno 
MDCXCVI.     Musica  del  Signor  Giuseppe  Aldrovandini  .  .  . 

Bologna,  gli  eredi  del  Sarti,  n.  d.    95  p.     IS*^^. 

Three  acts.  Author's  dedication  dated  Bologna,  January  28,  1695  [=1696,  new 
style],  notice  to  the  reader,  scenario.  The  composer,  Giuseppe  Antonio  Vincenzo 
Aldrovandini,  is  not  mentioned.  Schatz  135 

Gl'inganni  delusi.  Commedia  per  musica  di  Giuseppe  Palomba. 
Da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  prim' 
opera  di  quest'  anno  1789  .  .  . 

Napoli,  n.  publ.,  1789.     48  p.     15""^. 

Two  acts.  Impresario's  dedication  dated  Napoli,  June  13,  1789,  cast,  and  name  of 
Pietro  Guglielmi  as  the  composer.  Schatz  4290 

Gl'inganni  delusi,  ballet.     See  Zingarelli's  II  ratto  delle  Sabine. 

Gl'inganni  felici. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  17 44^  t.  mi,  92  p.     19'^^. 

Three  acts.    Argument.    No  composer  is  mentioned.     In  the  "Catalogo"  at  endof 
t.  X,  date  and  place  of  first  ed.  are  given  aa  Venice,  1695. 
(First  composed  by  Pollaroh.) 

ML  49.A2Z3 


OPERA  LIBRETTOS  627 

Gringanni  felici — Continued. 

— Gringanni  felici,  pubblicati  per  la   prima  volta  in  Venezia  1695. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  I,  102  p. 

91  cm 

Three  acts.    Argument.     No  composer  ie  mentioned.  ML49.A2Z4 

Gl'inganni  felici.  Drama  per  musica  da  rappresentarsi  nel  nuovo 
Teatro  Giustiniano  in  San  Moise  I'autunno  dell'  anno  1722. 

Venezia,  Marino  Rossetti,  1722.     60  p.     l^Y"^. 

Three  acts.  By  Apostolo  Zeno.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser ("Gioseppe  Boini")  Giuseppe  Maria  Buini.  Schatz  1392 

•^Gringanni  felici.     Drama  per  musica.     Da  recitarsi  nel  Teatro  di 
S.  Angelo.     L'anno  MDCXC  VI  .  .  . 
Venezia,  Nicolini,  1696.     68  p.     14""". 

Three  acts.    Dedication,  with  the  initials  of  the  author,  Apostolo  Zeno,  argument, 
and  scenario.     The  composer,  Carlo  Francesco  PoUaroli,  is  not  mentioned 
Schatz  claims  that  the  opera  was  first  performed  as  above  during  fall  of  1695. 

Schatz  8297 

Gl'inganni  fortunati.  Pastorale  per  musica  da  recitarsi  in  Venezia 
nel  Teatro  Giustiniano  a  S.  Moise  nel  mese  di  Maggio  dell'  anno 
1720  .  .  . 

Venezia,  Marin  [!]  Rossetti^  1720.     42  p.     15""^. 

Three  acts.  By  Belisario  Valeriani.  Impresario's  dedication,  argument,  scenario. 
Neither  the  author  (whose  "La  caccia  in  Etolia"  this  is)  is  mentioned,  nor  the  com- 
poeer,  Giuseppe  Maria  Buim.  Schatz  1393 

Gl'inganni  fortunati.  Commedia  per  musica  da  rappresentarsi 
nel  Ileal  Teatro  del  Fondo  di  Separazione  per  quart'  opera  di  quest' 
anno  1788  ..  . 

Napoli,  n.  puhl,  1788.     45  p.     15^"^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Dedication  signed 
"Giuseppe  Lucchesi,"  cast,  and  name  of  the  composer,  Valentino  Flora vanti.  On 
p.  42-45,  cast,  and  argument  of  "Orbecch,  ballo  eroico  favoloso  composto,  e  diretto  del 
Sig.  Giambattista  Giannini,"  music  ("tutta  nuova  ")  by  Pietro  Dutillieu.  The  second 
ballet,  also  by  Giannini  (composer  not  mentioned),  was  merely  a  "mascherata  pan- 
tomima."  Schatz  3157 

Gl'inganni  innocenti  overo  L'Adalinda,  favola  drammatica  musi- 
cale  composta,  e  fatta  rappresentare  da  gl'Accademici  Sfaccendati 
nell'  Ariccia  per  la  villeggiatura  dell'  autunno  l'anno  1673  .  .  . 
Ronciglione,  n.  puhl,  1673.     6  pi,  96  p.     13^"^. 

Three  acts.  Dedication,  argument,  scenario.  Author  and  composer  not  men- 
tioned, and  unknown  to  Schatz.  Eitner  dates  Agostini's  opera  of  the  above  title  as 
Milan,  1679.  Schatz  11340 

L'inganno.  Commedia  per  musica  di  Gaetano  Ciliberti  tra  gli 
Arcadi  Epitide  Corebio  da  rappresentarsi  nel  Real  Teatro  del  Fonao 
di  Separazione  per  prima  opera  di  quest  anno  1782. 

Napoli,  n.  puhl,  1782.    66  p.     15'='^. 

Three  acts.    Cast  and  name  of  the  composer,  Luigi  Caruso.  Schatz  1652 


628  LIBRAE Y   OF   CONGRESS 

L'ing^nno  amoroso.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  Nuovo  sopra  Toledo  per  prima  opera  del  corrente  anno  1786. 

Nafoli,  n.  puhl,  1786.     64  p.     15^"^. 

Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Cast  and  name  of  Pietro 
Guglielmi  as  the  composer. 

First  performed,  as  indicated,  June  12,  1786.  Schatz  4248 

—  Le  due  gemelle.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Pubblico  Teatro  di  Lucca  nell'  estate  dell'  anno  MDCCXC. 

Lucca,  Francesco  Bonsignori,  1790.     67  p.     16"^. 

Two  acts.  Cast  and  name  of  Pietro  GugUelmi  as  the  composer.  This  is  his 
"L'in^nno  amoroso"  (text  by  Palomba),  but  with  many  alterations.  For  instance, 
the  ana,  "Non  dubiti,  signora"  has  been  dropped  from  I,  1;  I  2  begins,  "Set  un 
ridicolo,  sei  un  villano,"  instead  of  "Costei,  per  quanto  scorgo,"  wnich  now  opens  I,  3. 
With  the  opera  were  performed  (composers  oi  the  music  not  mentioned)  Pietro 
Giudice's  "La  caccia  d  Enrico  IV,  Carlo  Taglioni's  "Li  due  sindaci,  ossia  La  ven- 
demmia,"  and  G|ietano  Ghelardini's  "L'invemo  ossia  La  pianella  perduta." 

First  performed,  as  indicated,  July  17,  1790;  at  Monza,  Teatro  Arciducale,  fall  of 
1788.  Schatz  4249 

—  L'equivoco  amoroso  ossia  Le  due  gemelle.  Dramma  giocoso 
per  musica  da  rappresentarsi  in  Parma  nel  R.  D.  Teatro  di  Corte  il 
camevale  dell'  anno  MDCCXCII  ... 

Parma,  Carmignani,  n.  d.     4  p.  I.,  52,  [2],  13  p.     17""^. 

Two  acts.  Impresario's  dedication,  with  remark  that  this  drama  "h  oramai  conos- 
ciuto  in  tutta  I'ltalia,"  cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the  composer. 
The  text  is  Giuseppe  Palomba's  "L'inganno  amoroso,"  but  with  many  differences. 
For  instance,  I,  8  has  become  "Voi  qui,  bella  tiranna,"  instead  of  "Cari  ochietti 
vezzosetti." 

First  performed,  as  indicated,  December  24,  1791.  Schatz  4311 

L'inganno  d'amore.     Drama  di  Benedetto  Ferrari  dedicate  alia 
S.  C.  M.  deir  imperatore  Ferdinando  III.     Rappresentato  in  musica 
nell'  anno  dell'  imperiale  dieta  1653  in  Ratispona. 
n.  i.,  n.  d.     4^  unnumh.  p.,  7  folded  pi.    81*^^. 

The  t.-p.  and  plates  were  designed  by  "Joan?  Bumacinius"  and  engraved  by 
"Jacobo  Sandrart.  The  t.-p.  is  followed  by  a  dedication,  signed  and  dated  by  the 
author,  "Ratispona,  20  febraro  1653,"  by  the  argument,  the  description  of  the  theatre, 
etc.,  Antonio  Bertali's  name  as  composer  of  the  music,  prologue,  and  three  acts. 
The  Italian  libretto  is  followed  by:  "Innhalt  und  verfassimg  der  comoedi  von  Liebs 
betrug,  ersinnet  von  Benedicto  Ferrari  .  .  .  auff  den  Kays:  Reichs  Tag  zu  Regens- 
purg  in  music  vorzuhalten  in  dem  jahre  1653.  Von  hoechstgedachter  roem.  Kays. 
may.  capelmaister  Antonio  Bertali  in  die  music  gesetzt.  Gezieret  mit  denen  scenen 
una  verstellungen  des  theatri  durch  Johan  Bumaccini  Roem.  Kays.  Mayest.  ingenier. 
Gedruckt  in  der  Kays,  freyen  Reichs  Statt  Regenspurg  bey  Christoff  Fischer  im  1653. 
jahr."  Schatz  874 

L'inganno  del  ritratto.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Firenze  nel  R.  Teatro  dei  Risoluti  posto  in  via  S.  Maria 
nella  estate  dell'  anno  1791  .  .  . 

Firenze,  Anton  Giuseppe  Pagani  e  comp.,  1791.     52  p.     16^*^^. 

Two  acts.  By  author  unknown  to  Schatz.  (^ast  and  name  of  Gennaro  Astaritta 
as  comp>oser.  ML  48.A5v.15 

Inganno  ed  amor  van  sempre  insieme,  ballet.  See  Ruggi's  La 
guerra  aperta. 


OPERA   LIBRETTOS  629 

L'inganiio  felice.  Pastorale  da  rappresentarsi  in  musica  nel  Teatro 
di  Santa  Margerita  I'autunno  1730. 

Venezia,  Carlo  Buonarrigo,  1730.     Jfi  p.     15^. 

Three  acts.     Argument,  scenario,  and  notice  to  the  reader: 

"Ecco  un  famosissimo  parto  di  celebre  penna  [Francesco  de  Lemene's  "I-A  Ninfa 
Apollo"  (Schatz)]  mS,  non  gia  lo  stesso,  quale  usci  dalle  mani  del  suo  proprio  autore. 
'1  cangiamento  del  titolo,  I'agoixmta  d'un  personaggio,  la  mutazione  delle  ariette,  e 
la  vanazione,  e  traspozione  di  qualche  scena  lo  rendono  in  buona  parte  da  quello 
di  verso.  Sappia  per5  chi  le^e,  che  un  tale  cambiamento  non  h  gik  effetto  di  poca 
stima  verso  un  co?i  illustre  poeta,  ne  presunzione  di  migliorar  la  poesia,  mk  pura 
necessity  di  accomodarla  al  numero,  ed  alia  abilita  di  chi  deve  rapprepentarla,  ed  all' 
uso,  e  gusto  della  musica  del  modemo  teatro." 

Composer  not  mentioned  and  unknown  to  Schatz,  who  lists  Logroscino's  "  L'  in- 
ganno  felice,"  text  by  Tommaso  Mariani  (originally  "  Fingere  per  godere  ")  as  first 
performed  at  Naples,  Teatro  Nuovo  sopra  Toledo,  winter  of  1739.         Schatz  11341 

Llnganno  fortunate.  Drama  da  rappresentarsi  in  musica  nel 
Teatro  Giustiniano  di  S.  Moise — -nell'  aiitunno  dell'  anno  1721. 

Yenezia,  Marino  Rossetli,  1721.     45  f.     l^h"^- 

Three  acts.  Author's  dedication,  argument,  cast,  and  scenario.  According  to  the 
dedication  signed  by  Bortolamio  Pavieri,  the  libretto  was  originally  by  Sig.  Gio. 
Battista  Sara,  "who  then  consigned  it  to  PaAderi's  pen  "per  ridurlo  nello  stato  pre- 
sente."     The  composer,  Giuseppe  Boniventi,  is  not  mentioned.  Schatz  1192 

L'inganno  innocente.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  I'anno  1701.     Poesia  di  Francesco  Silvani, 
servitore  di  S.  A.  Sereniss.  di  Mantoua  .  .  . 
Venezia,  Per  il  Nicolini,  1701.     60  p.     14^"^. 

Three  acts.  Author's  dedication  dated  Venice,  January  16,  1701,  argument, 
scenario,  and  notice  to  the  reader  to  the  eflFect  that  this  text,  now  performed  for  the 
first  time^  was  written  six  years  previously.  The  composer,  Tommaso  Albinoni,  is 
not  mentioned.  Schatz  121 

L'ingaiino  poco  dura.  Commedia  per  musica  di  Saverio  Zini  da 
rappresentarsi  nel  Teatro  de'  Fiorentini  per  second'  opera  del  corrente 
anno  1796. 

Napoli,  n.  puhl,  1796.     46  p.     15^"^. 

Two  acts.    Cast  and  name  of  Marco  Portugal  as  composer.  Schatz  8426 

»/L'ingaiino  regnante  overo  L'Atanagilda  regina  di  Gottia,  drama 
per  musica  da  rappresentarsi  nel  famosissimo  Teatro  Grimano  di  SS. 
Gio.  e  Paulo  I'anno  1688.     Di  Giulio  Cesare  Corradi  .  .  . 
Venetia,  Francesco  Nicolini,  1688.     72  p.     14'^'^. 

Three  acts.  Argument,  scenario,  notice  to  the  reader  with  the  name  of  Marc' 
Antonio  Ziani  as  composer,  and  dedication,  in  which  Corradi  says: 

"La  maggior  fortima,  che  possano  havere  quest'  anno  le  dramatiche  mie  rime,  si 
h  I'acquisto  del  Signer  Nicola  Paris,  cigno  famoso  di  V.  A.  S.  [Ernst  August,  duke  of 
Brunswick]  per  bocca  di  cui  devono  esser  publicate  suUe  scene  dell'  Adria." 

First  performed,  as  indicated,  carnival,  1688.  Schatz  11205 

L'inganno  scoperto  per  vendetta.  Drama  per  musica  da  rappre- 
sentarsi nel  Teatro  Vendramino  di  S.  Salvatore  I'anno  1691.  Di 
Francesco  Silvani  ... 

Venetia,  Nicolini,  1691.     60  p.     14"^. 

Three  acts.  Author's  dedication,  argument,  scenario,  notice  to  the  reader  with 
name  of  Giacomo  Antonio  Perti  as  the  composer,  and  remark,  "eccoti  il  prime  parto 
dramatico  della  mia  penna  smascherato." 

Consequently,  this  can  not  have  been  the  original  version  of  Silvani's  text,  the  leae 
so  as  in  1683  he  called  "Martio  Coriolano  "  his  second  drama.  Schatz  7956 


630  LIBBABY  OF   CONGRESS 

L'inganno  tradito  dall'  amore.     Drama  per  musica,  da  rappre- 
sentarsi  nel  Teatro  di  corte  .  .  .  di  Salisburgo  .  .  .     Poesia  del  Sig. 
Antonio  Maria  Luchini.     Musica  del  Sig.  Antonio  Caldara  .  .  . 
Salisburgo,  Giovanni  Gioseppe  Mayr,  n.  d.     68  p.     15Y'^. 

Three  acts  and  lieenza.  Argument  and  scenario.  Pages  26-29,  54-57  contain 
the  intermezzo  in  two  parts  Atamo  huomo  vecchio  e  Palancha  giovine"  by  an 
unknown  author. 

P^rst  performed  at  Vienna,  Hoftheater,  October  1,  1721.  Schatz  1485 

L'inganno  trionfante  in  amore.  Drama  per  musica  da  rajppre- 
sentarsi  nel  Teatro  di  S.  Angelo  I'autunno  dell  anno  MDCCXX  V  .  .  . 

Venezia,  Marino  Rossetti,  1725.     60  p.     15^'^. 

Three  acts.  Dedication,  argumen^pi^ast,  scenario,  and  note  to  the  effect  that  this 
is  the  modernized  version  of  a  text  heard  many  years  ago.  Neither  the  original 
author,  Matteo  Noris,  nor  Giovanni  Maria  Ruggeri,  who  modernized  the  text,  nor 
Antonio  Vivaldi,  the  composer,  is  mentioned.  Schatz  10772 

L'inganno  trionfato,  overo  La  disperata  speranza  ravrivata  ne' 
successi  di  Giacopo  Quinto  di  Scozia,  e  Maddalena  di  Francia.  Drama 
del  dottor  Oratio  Francesco  Ruberti  parmiggiano  .  .  .  recitato  nella 
rocca  del  Signor  conte  di  Sissa  in  un  suo  teatrino  per  le  nozze  del  Sig. 
Mario  Terzi,  suo  figlio,  e  Signora  contessa  Lucretia  Scoff ona  I'anno 
.  M.DC.LXXIII  e  posto  in  musica  dal  Sig.  Franc.  Maria  Bazzani. 
Parma,  Pietro  del  Frate  e  Galeazzo  Rosati,  n.  d.  5  p.  I.,  131,  [1]  p. 
15^^. 

Three  acts  with  prologue  and  lieenza.  Cast,  argument,  dedication,  and  scenario. 
On  p.  116-131  a  description  of  the  theatre.  The  author  calls  this  his  "prime  scenico 
intreccio."  Schatz  670 

L'inganno  vinto  dalla  ragione.     See  Lotti's  Teuzzone. 

L'ingenue.     Entree  in  Mouret's  Les  Graces. 

L'Inglese  in  Italia.  Dramma  giocoso  per  musica  da  rappresentarsi 
in  Bologna  nel  Teatro  Formagliari  il  carnevale  dell'  anno  1769. 

Bologna,  Sassi,  n.  d.     5^  p.     15'^^. 

Cast,  scenario,  and  name  of  Antonio  [Maria]  Mazzonl  as  the  composer.  Author 
not  mentioned  and  unknown  to  Schatz. 

First  performed,  as  indicated,  January,  1769.  Schatz  6230 

Gl'Inglesi  in  America,  ballet.     See  Bianchi's  II  ritratto. 

Gl'Inglesi  in  Othaiti.     A.  T.  of  the  ballet  Cook. 

»/  L'ingratitudine  gastigata.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  San  Casciano  I'anno  1698.  Di  Francesco  Sil- 
vani  .  .  . 

Venezia,  Per  il  Nicolini,  1698.     59  p.     l/^'^'^K 

Three  acts.  Dedication  signed  by  the  author  and  dated  "Venetia  li  17  genaro 
1697.  M.  V."  (=Jan.  17,  1698),  argument,  notice  to  the  reader,  scenario.  The  com- 
poser, Tommaso  Albinoni,  is  not  mentioned.  Schatz  96 

L'inimico  delle  donne.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  di  San  Samuel  I'autunno  diW 
anno  177L 

Venezia,  Modesto  Fenzo,  n.  d.    54  p.     17\'^'* 

Three  acts.    Cast,  scenario,  and  name  of  Oaluppi  as  compoeer.        Schatz  3455 


OPERA   LIBRETTOS  631 

L'ininiico  delle  donne — Continued. 

—  II  nemico   delle   donne.     Dramma  giocoso   per  musica.     Da 
representarsi  ne'  Teatri  privilegiati  di  Vienna  I'anno  1775. 
[Vienna],  Giuseppe  Kurzbok,  n.  d.     69  p.     W™. 

Three  acts.  Scenario  and  names  of  Giovanni  Bertati  as  author  and  of  Galuppi  as 
composer.  While  the  first  act  follows  closely  the  original  ed.  of  "L'inimico  delle 
donne,"  banning  with  the  second  act  the  two  librettos  become  somewhat  different. 
That  of  Vienna  drops  several  scenes  and,  for  instance,  substitutes  the  aria  (II,  3) 
"Qui  non  si  dice:  cara"  for  "Se  fossi  in  Italia."  Also,  the  second  act  now  begins 
"Quanto  siete  eollecita"  instead  of  "Cugina  mia,  vitrovo." 

First  performed,  as  indicated,  January  17,  1775.  Schatz  3456 

Inkle  and  Jarico:  An  opera,  in  three  acts.     As  performed  at  the 
Theatre-Royal  in  the  Hay-Market,  on  Saturday,  August  11th,  1787. 
Written  by  George  Colman,  junior. 
London,  G.  G.  J,  and  J.  Robinson,  n.  d.     75  p.    20^'^. 

Cast.  The  composer,  Samuel  Arnold,  is  not  mentioned.  He  utilized,  as  Long- 
man &  Broderip's  vocal  score  shows,  some  ballad  airs. 

Genest  gives  August  4,  1787,  as  date  of  first  performance.  Longe  99 

Inkle  e  lariko,  ballet.     See  Paisiello's  Gli  schiavi  per  amore. 

Inkle  e  Jariko,  ballet.     See  Prati's  La  morte  di  Semiramide. 

Inkle  und  Jariko,  oder  Er  war  nicht  ganz  Barbar.  Ein  singspiel 
in  einem  aufzuge,  von  J.  W.  D.[6ruig]. 

Cassel,  Grieshach,  1798.     56  p.     i5<=™. 

The  composer,  Carl  Friedrich  Ebers,  is  not  mentioned. 

. First  performed  at  Rostock,  Stadttheater,  December  28,  1801.  Schatz  2890 

Das  inkognito.     Singspiel  in  einem  aufzuge,  nach  Saintfoix. 

n.  i.,  n.  d.     56  p.     15'^'".     (HerJclots  operetten.  No.  1,  Berlin,  1793.) 
Detached  copy.     The  name  of  the  composer,  Joseph  Augustin  Giirrlich,  is  not 

mentioned. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  November  9,  1797. 

Schatz  4372a 

L'innalzamento.di  Semiramide.  A.  T.  of  the  ballet  La  figlia 
dell'  aria. 

Gli  innamorati.  Dramma  per  musica  di  Giuseppe  Foppa  da  rap- 
presentarsi  nel  nobilissimo  Teatro  Venier  di  San  Benedetto  I'autunno 
deir  anno  1793. 

Venezia,  Casali,  1793.     64  p.     17^"^. 

Two  acts.  According  to  note  on  p.  3,  based  on  Goldoni's  "Gli  innamorati,"  and 
"riprodotto  in  quest'  anno  con  alcuni  cangiamgnti  proprj  della  circostanza."  Cast 
and  name  of  Sebastiano  Najsolini  as  composer  01  the  first  and  Vittorio  Trento  of  the 
second  act.  On  p.  [331-43,  argument,  cast,  and  description  of  Filippo  Beretti's 
"Andronico  e  Ramira,  ballo  eroico  pantomime,"  in  five  acts.  The  composer  of  the 
music  is  not  mentioned. 

First  performed  at  the  same  theatre,  February  4,  1793.  Schatz  7031 

Innocence  seduced.     A.  T.  of  The  wanton  Jesuit. 

L'innocente  fortunata.     Dramma  per  musica  da  rappresentarsi 
nel  Teatro  di  Siena  la  prossima  estate  deU'  anno  1774. 
Firenze,  Anton  Giuseppe  Pagani,  177 4.     55  p.     16\^. 

Three  acts.  By  Filippo  Livigni,  who  is  not  mentioned.  Cast  and  name  of  Pai- 
siello  as  the  composer. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  carnival,  1773.  Schatz  7631 


632  UBBARY   OF   CONGRESS 

L'mnocente  fortunata — Continued. 

—  La  semplice  fortunata.  Cominedia  per  musica  da  rappresen- 
tarsi  nel  Teatro  Nuovo  nell'  estk  di  questo  anno  1773. 

Nafoli,  Vincenzo  FUuto,  1773.     72  p.     15^"^. 

Three  acts.  Of  Livigni's  "L'innocente  fortunata"  very  little  of  the  dialogue,  but 
a  number  of  arias,  have  been  retained,  as,  for  instance,  "Donna  son,  ma  non  m'in- 
ganno,"  but  instead  of  being  sung  in  I,  2,  it  now  stands  in  1, 13.  Scenario,  cast,  and 
name  of  Paisiello  as  the  composer.  Schatz  7632 

—  L'innocente  fortunata.  Dramma  giocoso  per  musica,  da  rap- 
presentarsi  nel  Piccolo  Teatro  Elettorale.     L'anno  1780. 

Dresda,  Stamperia  elettorale,  n.  d.     151  p.     16'^'". 

Three  acts.  Livigni's  text.  German  title  page,  "Die  glueckliche  unschuldige," 
and  text  face  Italian.     Paisiello  is  mentioned  aa  the  composer.  Schatz  7633 

L'innocenza   difesa.     Drama   per   musica   da   rappresentarsi   nel 
Teatro  di  S.  Angelo  nel  camovale  dell'  anno  1722  .  .  . 
Venezia,  Marino  Rossetti,  1722.     57  p.     15"^. 

Three  acts.  By  Francesco  Silvani  (not  mentioned).  Publisher's  dedication, 
argument,  east,  scenario,  and  name  of  Fortunato  Chelleri  as  composer. 

First  performed,  as  "L'innocenza  giustificata,"  at  Milan,  Regio  Ducal  Teatro,  1711. 

Schatz  1814 

L'innocenza  difesa.  Drama  per  musica  da  rappresentarsi  nell' 
antico  Teatro  della  Pace  nel  camevale  dell'  anno  1720  .  .  . 

Roma,  Antonio  de'  Rossi,  1720.     67  p.     l^Y"^- 

Three  acts.  Neither  Francesco  Silvani  (a  later  version  of  whose  "L'innocenza 
giustificata"  this  is)  nor  Giuseppe  Maria  Orlandini,  the  composer,  is  mentioned. 
Argument,  cast,  and  scenario. 

First  performed  at  Verona,  Teatro  della  Citt^,  fall,  1714.  Schatz  7336 

L'innocenza  difesa  nell'  inganno.  Dramma  da  rappresentarsi  in 
musica. — Die  im  betruge  vertheidigte  unschuld  .  .  . 

Copenhagen,  Andreas  Hartwig  Godiche,  1753.     79  p.     15"^. 

Three  acts.  Scenario,  argument,  cast.  Author  (Domenico  Lalli,  whose  altered 
"II  gran  Mogol"  this  is)  and  composer  (unknown  to  Schatz)  not  mentioned. 

Schatz  11342 

L'innocenza  giustificata.     O.  T.  of  Chelleri's  L'innocenza  difesa. 

J  L'innocenza  giustificata.     Drama  per  musica  di  Francesco  Silvani. 
Da  rappresentarsi  nel  famoso  Teatro  Vendramino  di  S.  Salvatore  .  .  . 
Venezia,  Nicolini,  1699.    front.,  72  p.     l^Y"^. 

Three  acts.  Argument,  scenario,  Silvani's  dedication,  dated  Venice,  December 
24,  1698,  and  his  important  notice  ta»the  reader: 

"H6  io  ancora  h  tacere  doppo  gl'attentati,  contro  la  mia  riputazione,  ad  ogni  parto 
dramatico,  che  mi  esca  dalla  penna?  II  generoso  compatimento  con  cui  ricevesti 
l'anno  passato  nel  Teatro  Tron  di  S.  Casciano  I'opera  mia  intitolata  I'lngratitudine 
gastigata,  sveglio  nel  cuore  non  s5  di  chi,  un  bef  pensiero  di  rapirmi  quel  poco  di 
lama,  che  mi  risultava  dalla  tua  sola  bota,  col  publicare  essere  quella,  fatica  d'altro 
ingegno,  variando  per6  nel  nominare  I'auttore,  e  portando  I'invidia  k  ricercarlo  sino 
dentro  a  i  sepolori.  Quest'  anno  eu  la  medesima  buona  opinione  della  tua  somma 
generosity,  si  n^  voluto  prevenirne  I'evento,  ed  all'  uscire  di  questo  dramma,  ei  e  fatta 
precorrere  una  voce  egualmente  impropria,  che  questo  piire  sia  frutto  d'un'  altra 
mente  ... 

".  .  .'questa  volta  per  sempre  io  devo  assicurare  la  mia  riputazione,  con  una 
publica  protesta  solennizata  dall'  auttorit^  della  stampa,  che  tutte  le  dramatiche 
composizioni,  &  altre,  che  siano  uscite,  o  siano  per  uscire  da  torchi  col  mio  nome  in 
fronte,  sono,  e  saranno  tutte  fatiche  del  mio  povero,  e  debolissimo  ingegno  .  .  .  e  coei 


OPERA   LIBRETTOS  633 

L'innocenza  giustiflcata — Continued. 

interamente  mie,  che  nel  comporle,  n5  le  ho  communicate  con  chi  ei  eia,  ne  da  chi 
si  eia  h6  ricevuto  un  minimo  consiglio,  ee  non  nel  comporre  il  drama  intitolato  il 
Principe  Selvaggio  recitatosi  nel  Teatro  di  S.  Angelo  I'anno  1695,  il  quale  fu  da  me 
compoeto  co  I'altrui  assistenza  e  consiglio,  e  che  perci6  corre  senza  nome,  cosi  grade 
h  la  giustizia  della  mia  gelosia  di  non  farmi  auttore  d'un'  opera,  di  cui  io  non  habbia 
tutto  ildebito  alia  miafattica,  come  deve  fare  ogniuomod'onore  .  .  .  ti  prego  onorare 
del  tuo  benigno  compatimento  queste  povere  mie  rime,  che  ritroverai  animate  dalla 
virtii  singolare  del  Sig.  K.*  Benedetto  Vinacese,  che  in  questa  sua  prima  uscita  sovra 
le  Venete  scene  con  le  sue  note,  ti  dk  im  gran  eaggio  del  suo  profondo  intendimento,  e 
della  fertile  bizarria  delle  sue  idee  ..." 


to 


This  preface  gives  the  key  to  the  frontispiece,  which  shows  a  shepherd  pointing  out 
his  dog  a  house  with  the  mscription,  "Modica  sed  mea."  Schatz  10740 


—  L'inriGcenza  giustiflcata.  Drama  per  musica  di  Francesco 
Silvani,  da  rappresentarsi  in  Mantova  I'anno  MDCC  ... 

Mantova,  Alberto  Pazzoni,  n.  d.     6  p.  1.,  52  p.     15"^. 

Three  acts.  Dedication  by  Giacomo  Sironi,  argument,  cast,  scenario.  Benedetto 
Vinacese  is  not  mentioned  as  the  composer.  The  text  shows  sUght  differences  from 
the  original  edition.  For  instance,  in  I,  5  the  aria  "Se  si  potesse  amar"  has  been 
replaced  by  "Se  non  scocasse  Amor."  ML  50.2.158 

L'innocenza  protetta.     A.  T.  of  Valentini's  Rosina  consolata. 

L'innocenza  protetta  dal  Cielo,  o  siano  Li  portentosi  efFetti  della 
gran  madre  Natura,  intermezzo  in  tre'  atti  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  il  camovale  dell'  anno  1762. 

Venezia,  Valvasense,  n.  d.    44  P-     iS^'^"^. 

Cast,  scenario,  name  of  Carlo  Goldoni  {see  A.  T.  of  the  above)  as  author  and  note: 
"Musica  del  sig.  N.  N.  dilettante."     His  name  unknown  to  Wiel.        Schatz  11358 

L'innocenza  riconosciuta.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  I'autunno  dell'  anno  MDC!CXVIL 

Venezia,  Marino  Rossetti,  1717.     4.8,  [1]  p.     U^""". 

Three  acts.  By  Francesco  Malipiero,  who  is  not  mentioned.  "Quelle  si  ha  dall' 
istoria,"  cast,  and  scenario.  The  composer,  Carlo  Francesco  PoUaroli,  is  not  men- 
tioned. Schatz  8298 

L'innocenza  risorta,  overo  Etio.  Drama  per  musica  da  rappre- 
sentarsi nel  famoso  Teatro  di  S.  Casciano.     L'anno  MDCLXXXIIl . . . 

Venetia,  Francesco  Nicolini,  1683.    58  p.     ISY"^- 

Three  acts.  By  Adriano  Morselli,  who  is  not  mentioned.  Dedication,  scenario, 
argument,  and  notice  to  the  reader  with  name  of  Pietro  Andrea  Ziani  as  the  com- 
poser. 

First  performed,  as  indicated,  carnival,  1683.  Schatz  11224 

L'innocenza  scoperta,  ballet.     See  Cimarosa's  I  due  supposti  conti. 

L'innocenza  vendicata,  overo  La  Santa  Eugenia.  Dramma  per  la 
musica  da  rapresentarsi  nella  solenne  celebratione  della  festa  della 
Gloriosa  Santa  Rosa  di  Viterbo  nel  Teatro  della  medesima  cittk  nel 
corrente  anno  1686. 

Viterbo,  Pietro  MartineUi,  n.  d.    67  p.     13^"^. 

Notitia  istorica,  avertimenti.  Author  and  composer  not  mentione'd  and  unknown 
to  Schatz.  Schatz  11343 

L'innocenza  vendicata.     A.  T.  of  Tozzi's  La  morte  di  Dimone. 


634  LIBRARY   OF   CONGRESS 

Inc.     Ein  melodrama  in  einem  aufzuge  von  Joh.  Christian  Brandes. 
Leipzig,  Dykische  huchhandlung,  1790.     1  p.  I.,  22  p.     18^^. 

Note  on  p.  [1]:  "  Verfertigt  im  jahr  1777." 

First  performed  with  music  by  Johann  Friedrich  Beichaxdt,  who  is  not  men- 
tioned, at  Leipzig,  Theater  am  Ilannstaedter  Thore,  October  7,  1779.    ML  52.2.15 

—  Ino.     Ein  melodrama  von  herrn  Brandes.     Die  musik  ist  von 

herrn  Reichard  .  .  . 

n.i.,n.d.    p.{7S\-107.    Ui*^.    (" Mdodramen," no.iv,Pilsen,1791.) 
One  act.    Argument.  Schatz  8643 

Ino  e  Temisto,  ballet.    See  Nasolini's  La  Calliroe. 

Arien  und  gesaenge  aus  dem  singspiel  Die  insel  der  Alcina  in  zwey 
aufzuegen,  aus  dem  italianischen  uebersetzt  von  C.  Herklots.     Die 
musik  ist  von  dem  saenger  des  koenigl.  Nationaltheaters,  Herrn 
Bianchi. 
Berlin,  n.  puhl,  1794.    32  p.     W"^. 

Cast.  Translation  of  Bertati's  libretto,  "L'isola  d'Alcina,"  composed  by  Antonio 
Bianchi. 

First  performed  at  Berlin,  Nationaltheater,  February  16,  1794.  Schatz  972 

Die  insel  der  Alcina.     Tr.  of  Gazzaniga's  L'isola  di  Alcina. 

Die  insel  der  liebe.     Tr.  of  Sacchini's  L'isola  d'amore. 

L'interesse  gabba  tutti.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Regio  Teatro  di  via  della  Pergola  la  primavera  del 
MDCCXCV  .  .  . 

Firenze,  Pietro  Fantosini,  1795.    39,  [1]  p.     16^""". 

Two  acts.  By  Cosimo  Mazzini,  who  is  not  mentioned.  Cast  and  name  of  Graetano 
Marinelli  as  the  composer.  ("La  musica  b  nuova.")  With  the  opera  was  performed 
Charles  Auguete  Favier's  ballet,  "II  matrimonio  per  gratitudine.  The  composer  of 
the  music  is  not  mentioned.  Schatz  5961 

Intermezzi  in  derisione  della  setta  Maomettana,  coll'  espres- 
sione  d'alcuni  riti  de'  Tm-chi  nel  porgere  preghiere  al  falso  loro  pro- 
feta.  Da  recitarsi  in  Seminario  Romano  nella  commedia  de'  Signori 
Convittori  delle  Camere  Piccole  per  le  vacanze  del  carnevale  del  1717. 
La  musica  e  del  Sig.  Francesco  Gasparini  .  .  . 

Napoli,  Felice  Mosca,  n.  d.     16  p.     20^"^. 

Three  parts.  Author  not  mentioned  and  unknown  to  me.  The  characters  are 
Ali,  Balocco,  Despino,  Osmino.     Cast  and  brief  prefatory  note.         ML  50.2.I59G2 

Intramezzi  da  rappresentarsi  nella  Filli  di  Sciro  in  Ancona  quest' 
anno  1639.     Stampati  per  facilitame  I'intelligenza  a  gli  spettatori  .  .  . 
Ancona,  Marco  Salvioni,  1639.     15  p.     19*^^. 

Prologue  and  four  intermedii.  Salvioni's  dedication,  dated  Ancona,  February  23, 
1639,  contains  this  information: 

"Dovendosi  per6  tr^  pochi  giomi  rappresentare  da  questa  nobilt^  la  Filli  di  Sciro, 
pastorale  della  lelice  memoria  del  Sig.  conte  Guid'  Ubaldo  Bonarelli  onore,  e  gloria 
di  questa  patria,  &  havendole  aggiunti  alcuni  intramezzi  il  Sig.  conte  Prospero  fra- 
tello  di  lui,  h5  risoluto  per  commodo  degl'  ascoltanti,  stamparli  ..." 

The  composer  is  not  mentioned.  ML  50.2.16 


OPERA   LIBRETTOS  635 

Grintrichi  di  Don  Facilone.  Dramma  ffiocoso  per  musica  da  rap- 
presentarsi  nel  Real  Teatro  di  Salvaterra  nel  camovale  dell'  anno  1786. 

[Lishona],  Stamperia  reale,  n.  d.     67  p.     16"". 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Scenario,  cast,  and 
name  of  Pietro  Guglielmi  as  the  composer. 

First  performed  as  "Gl'intrighi  di  D.  Facilone,"  at  Rome,  Teatro  Valle,  carnival, 
1776.  Schatz  4296 

Griutrighi  amorosi.  Dramma  giocoso  per  musica  del  Sig.  abbate 
Giuseppe  Petrosellini  P.  A.  Da  rappresentarsi  nel  Teatro  di  San 
Samuel  il  camovale  dell'  anno  1772. 

Venezia,  Modesto  Fenzo,  1772.     69  p.     18<^. 

Three  acts.    Cast,  scenario,  and  name  of  Galuppi  as  composer.  Schatz  3504 

• 
L'intr^o  amoroso.     Dranmia  giocoso  per  musica  di  Giovanni  Ber- 
tati  ...     Da  rappresentarsi  nel  nobilissimo  Teatro  Giustiniani  in 
San  Moise  Fautunno  dell'  anno  1795. 

Venezia,  Modesto  Fenzo,  1795.     62  p.     18^"^- 

Two  acts.  Cast,  scenario,  and  name  of  Francesco  Ferdinando  Paer  as  the  com- 
poser. On  p.  57-62  cast,  prefatory  note,  and  argument  of  Pasquale  Brunetti's  "La 
selvaggia  ovvero  Adelia  e  Roberto,  ballo  di  mezzo  carattere."  The  composer  of  the 
music  IS  not  mentioned. 

first  performed,  as  indicated,  December  26,  1795  (Schatz),  "autunno"  (Wiel). 

Schatz  7505 

—  L'intrigo  amoroso.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  di  S.  Carlo  della  Principessa  Testate  dell'  anno 
1798. 

Lishoa,  Simone  Taddeo  Ferreira,  1798.     142  p.     l^""". 
Two  acts.     Cast  and  name  of  Ferdinando  Per  (Paer)  as  the  composer.     Bertati  is 
not  mentioned.    Portuguese  text  faces  the  Italian.  Schatz  7559 

—  L'intrigo  amoroso.  Dramma  giocoso  per  musica  in  due  atti  da 
rappresentarsi  nel  Teatro  elettorale  di  Sassonia. 

Dresda,  n.  publ.,  1799.     127  p.     15^"^. 

Two  acts.     By  Bertati,  who  is  not  mentioned.     Ferdinando  Par  (Paer)  is  men- 
tioned as  composer.    German  title  page,  "Die  liebesintrigue,"  and  text  face  Italian. 
First  performed  April  17,  1799,  as  indicated.  Schatz  7506 

—  Saed.  ossia  H  serraglio.  Dranmia  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  S.  il  Signor  principe  di  Carignano  nella 
primavera  dell'  anno  1798. 

Torino,  Onorato  Derossi,  n.  d.     54  p.     -?4i''™- 

Two  acts.  Cast,  scenario,  and  name  of  Ferdinando  Per  (Paer)  as  the  composer. 
Follows  closely  the  original  text  by  Bertati,  who  is  not  mentioned.        Schatz  7507 

L'intrigo  della  lettera.  Farsa  giocosa  per  musica  d'un  atto  solo 
da  rappresentarsi  nel  Teatro  Giustiniani  in  San  Moise  del  cittadino 
Giuseppe  Foppa. 

Venezia,  Modesto  Fenzo,  Anno  primo  della  Liherta  italiana  [1797]. 
38  p.     18'='". 

Cast,  scenario,  and  name  of  Simon  Mayr  as  the  composer.  Schatz  6154 

—  L'intrigo  della  lettera,  farsa  giocosa  per  musica  d'un  atto  solo 
da  rappresentarsi  nel  Regio  Teatro  di  S.  Carlo  della  Principessa. 

Lishoa,  Simone  Taddeo  Ferreira,  1798.     91  p.     14"^- 
Tho  author,  Giuseppe  Foppa,  is  not  mentioned.    Cast  and  name  of  Simon  Mayr 
as  composer.    Portuguese  text  faces  Italian.  ML  50.2.I65M2 


636  LIBBARY   OF   CONGRESS 

L'intrigo  delle  mogli.  Commedia  per  musica  di  Giuseppe  Palomba 
da  ra])preseiitarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  quart' 
opera  del  corrente  anno  1783. 

Napoli,  n.  puhl,  1783.     57  p.     15'^'^. 

Three  acta.    Cast  and  name  of  Giuseppe  Gazzaniga  as  the  composer. 

ScHATz  3679 

L'intrigue  portugaise.     A.  T.  of  Gaveaux'  Sophie  et  Moncars 

The  intriguing  chambermaid.     A  comedy  of  two  acts.     As  it  is 
acted  at  the  Theatre-Roj-al  in  Drury-Lane,  by  His  Majesty's  servants. 
Taken  from  the  French  of  Regnard,  by  Henry  Fielding,  Esq.  »  .  . 
London,  J..  Watts,  1750.     6  p.  l,  40  p.     20^"^. 

Ballad  opera.  Cast,  poem  "sent  to  the  author  by  an  unknown  hand,"  prologue, 
epilogue  and  a  very  complimentary  "Epistle  to  Mrs.  Clive,"  who  played  "Lettice" 
in  this  ballad  farce.    Fielding  says,  among  other  things: 

"It  is  your  misfortune  to  bring  the  greatest  genius  for  acting  on  the  stage,  at  a 
time  when  the  factions  and  divisions  among  the  players  have  conspired  with  the 
folly,  injustice,  and  barbarity  of  the  town,  to  finish  the  ruin  of  the  stage,  and  sacri- 
fice our  native  entertainments  to  a  wanton  affected  fondness  for  foreign  musick;  and 
when  our  nobility  seem  eagerly  to  rival  each  other,  in  distinguishing  themselves  in 
fa,vour  of  Italian  theatres,  and  in  neglect  of  our  own  ..." 

On  last  p.  1.  a  "table  of  the  songs"  (12),  the  airs  of  which  are  printed  in  the  text. 

First  performed  at  London,  Drury  Lane,  January  15,  1734.  ML  50.5.15 

—  The  intriguing  chambermaid.  In  two  acts.  By  Henry  Field- 
ing, Esq. 

\1S8\-168  p.  19^^.  {Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  Hi,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  (1781)  casts.    Ballad  opera.  Schatz  11753C 

The  intriguing  courtiers;  or,  The  modish  gallants.  A  comedy, 
(after  the  manner  of  Shakespear).  Wherein  the  secret  histories  of 
several  persons  are  faithfully  represented.  In  which  is  introduced, 
An  interlude,  (after  the  manner  of  a  rehearsal).  Call'd,  The  mar- 
riage promise;  or,  The  disappointed  virgin.  Consisting  of  variety  of 
new  songs,  set  to  several  English,  Irish,  and  Scots  ballad-tunes  and 
country-dances. 
London,  W.  James,  1732.     60  p.     20^-^. 

The  interlude  (four  characters)  is  introduced  in  the  final,  sixth  scene  of  the  fifth  act. 
The  tunes  are  indicated  in  the  headings  of  the  eight  songs.  The  comedy  otherwise  con- 
tained no  music.    Neither  author  nor  performance  recorded  by  Clarence.    Longb  197 

L'inutile  precauzione,  ballet.     See  Mayr's  Lauso  e  Lidia. 

L'inutile  precauzione.     L.  T.  of  Paisiello's  II  barbiere  di  Sevigha. 

L'inutile  precauzione,  ballet.     See  Tritto's  II  barone  in  angustie. 

Der  invalide.  Ein  militaerisches  original-lustspiel  in  drey  aufzuegen. 
Von  C.  F.  Hensler.  Die  mit  dem  stueck  verbundene  musik  ist  vom 
hrn.  Wenzel  Mueller,  kapellmeister  der  Marinellischen  schaubuehne. 

n.  i.,  n.  d.     p.  \12i\-22J^.     17^"^. 

Detached  copy.    First  performed,  as  indicated,  June  22,  1786.         Schatz  6934 

L'inverno  ossia  La  pianeUa  perduta,  ballet.  See  Guglielmi's  Le  due 
gemelle. 


OPERA   LIBRETTOS  637 

L'inverno  o  sia  La  pianella  persa,  Farsa  in  prosa  con  musica  alia 
francese  che  si  rappresenta  dalla  Compagnia  accademica  toscana  di 
Pietro  Andolf ati  addetta  al  Regio  Teatro  degli  Infuocati  di  Firenze  .  .  . 

Firenze,  Stajnperia  Albizziniana,  1790.     30  p.     16^^. 

Two  parts.    Author  aijd  composer  not  mentioned,  and  unknown  to  Schatz. 

SCHATZ  11344 

lole,  regina  di  Napoli.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  Ss.  Gio.  e  Paolo,  Tanno  MDCXCII. 
Di  Giulio  Cesare  Corradi  .  .  . 

Venetia,  Nicolini,  1692.     58  p.     l^Y"^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader,  in 
which  Corradi  says:  "la  virtu  del  Sign.  Carlo  Polarolo  [PollaroliJ  h^  questa  volta 
oltrepassato  il  credibile."  Schatz  8323 

Ipermestra. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1766,  t.  v,  {95\-171  p. 

J  gem 

Three  acts  and  licenza.     Argument.  ML  49.A2M42 

—  Ipermestra.  Dramma,  scritto  in  gran  fretta  dall'  autore  in 
Vienna  d'ordine  sovrano,  per  essere  eseguito  nell'  interno  della  Corte 
con  musica  dell'  Hasse  da  grandi,  e  distinti  personaggi  a  loro  privatis- 
simo  trattenimento :  ma  pubblicamente  poi  rappresentato  la  prima 
volta  da  musici,  e  cantatrici  nel  gran  Teatro  di  Corte  ...  in  occa- 
sione  delle  nozze  delle  AA.  RR.  di  Marianna,  arciduchessa  d' Austria, 
e  del  principe  Carlo  di  Lorena,  I'anno  1744. 

pi.,  [97]-180  p.  26^'^.  (Metastasio J  Opere,  t.  vi,  Parigi,  vedova 
Herissant,  1780.) 

Three  acts  and  licenza.    Argument.  ML  49.A2M44 

Ipermestra.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  Venier  in  San  Benedetto  la  fiera  dell'  Ascensione  dell' 
anno  1789. 

Venezia,  Modesto  Fenzo,  1789.    48  p.     18^"^. 

Two  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  Gennaro 
Astaritta  as  composer,  but  not  of  librettist..  On  p.  23-33,  argument,  cast,  and 
detailed  description  of  the  first  ballet,  "Alessio  ed  Eloisa  o  sia  II  disertore,  ballo 
eroicomico,"  by  Douberral,  and  originally  performed  in  London  (p.  24);  and  on  p.  48, 
the  title  of  the  second  ballet,  "Le  due  nvali  o  sia  La  prova  del  vero  amore,  ballo 
campestre."    The  composers  of  the  music  are  not  mentioned.  Schatz  387 

Ipermestra.  Drama  per  musica  da  rappresentarsi  nel  Teatro  novis- 
simo  a  S.  Samuele  per  la  fiera  delF  Ascens??  I'anno  1748. 

[Venezia],  n.  puhl.,  n.  d.     1  p.  I.,  I^  p.     15Y^. 

Three  acts,  with  argument,  cast,  scenario,  and  name  of  composer,  Ferdinando 
Giuseppe  Bertoni,  but  not  of  librettist,  Metastasio.  Schatz  926 

Ipermestra.  Drama  per  musica  da  rappresentarsi  nel  Regio  ducal 
Teatro  di  Milano  nel  carnovale  dell'  anno  1728  .  .  . 

Milano,  Giuseppe  Ttichino  Malatesta,  1727.  59  p.  ISY^- 
Three  acts.  By  Antonio  Salvi  (not  mentioned).  Dedication  dated  Milan,  Decem- 
ber 24,  1727,  and  signed  by  the  composer,  "G^'useppe  Ferdinando  Brivio  e  compagni " 
("la  nostra  prima  opera  "),  argument,  cast,  and  scenario.  According  to  the  argument, 
several  arias  were  interpolated  "a  piacimento  de'  signori  attori,"  which  would  explain 
"nelle  arie  qualche  sentimento  non  troppo  addattato  alia  scena."         Schatz  1327 


I 


638  LIBRABY  OF   CONGRESS 

L'lpermestra.     L.  T.  of  Cavalli's  L'Hipermestra. 

Ipermestra,  dramma  per  miisica,  da  rappresentarsi  nel  Ducal 
Teatro  di  Bronsevico,  nella  fiera  estiva  MDCCLIX. 

n.  i.,  n.  d.     131  p.     19^"^. 

Three  acts.  Argument,  Bcenario,  and  names  of  the  author,  Metastasio,  and  the 
composer,  ' '  ^^azio  Fiorillo,  maestro  di  capella  in  attual  eervizio  di  corte. ' '  German 
title-page,  "Hypermenestra,"  and  text  face  Italian. 

Fust  performed,  as  indicated,  August  13,  1759.  Schatz  3201 

L'lpermestra.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Vendramin  di  S.  Salvadore  nella  fiera  dell  Ascensione  dell'  anno 
MDCCLXI. 

Venezia,  Modesto  Fenzo,  1761.     48,  [8]  p.     IJ^Y"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  the  composer,  Baldassare  Galuppi  ("La  musica  sar^  nuova").  The  addi- 
tional pages  contain  the  plot  of  the  ballets,  "L'Asiatico  generoeo"  and  "I  due  ver- 
gognesi  da  nozze,"  by  Pierre  Granget,  the  composers  of  the  music  not  being  men- 
tioned. 

An  opera  by  Galuppi,  of  the  same  title,  was  performed  at  Milano,  Regio  Ducal 
Teatro,  1758.  Schatz  3457 

Ipermestra.     Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  San  Gio.  Grisostomo  il  carnovale  dell'  anno  1724. 
Venezia,  Marino  Rossetti,  1724.     48  p.     15^"^. 

Three  acts.  By  Ant.  Salvi,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Geminiano  Giacomelli  as  the  composer.  Schatz  3813 

Ipermestra.     Dranama  per  musica  da  rappresentarsi  nel  famosis- 
simo Teatro  Grimani  di  S?  Gio  Grisostomo  nell'  autunno  1744. 
n.  i.,  n.  d.     50  p.     15^'='^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Gluck  as  the  composer. 

First  performed,  as  indicated,  at  Venice,  November  21,  1744.  Schatz  3930 

L'lpermestra.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  in  occasione  delle  relicissime  nozze  della  serenissima  arci- 
duchessa  Maria  Anna  d'Austria  .  .  ,  e  .  .  .  Carlo  Alessandro  di 
Lorena  .  .  .  I'anno  1744,  La  poesia  e  del  Sig.  abb.  Pietro  Metas- 
tasio ...  La  musica  e  del  Sig.  Giovanni  Adolfo  Hasse  ...  La 
musica  della  licenza  e  dell'  ultimo  coro,  e  del  Sig.  Luca  Predieri .  .  . 

Vienna,  Gio.  Pietro  v.  GJielen,  n.  d.     4  P-  ^v  ^^>  U]  V-     15Y^. 

Three  acts.  Argument,  scenario,  and  name  of  Ignaz  Holzbauer  as  composer  of  the 
ballet  music. 

First  performed  at  the  Burg,  January  8, 1744,  and  at  the  Hoftheater  January  25, 1744. 

Schatz  4542 

—  Ipermestra,  dramma  per  musica  da  rappresentarsi  nella  villa  di 
Sant'  Uberto  festeggiandosi  il  felicissimo  giorno  natalizio  di  S.  R.  M. 
Augusto  III  .  .  .  Fanno  MLCCLI. 

n.  i.,  n.  d.     5  p.  I.  {double),  72,  {4]  p.     W"^. 

At  end:  "Friedrichsstadt,  appresso  la  vedova  Harpeter."  Three  acts  and  licenza. 
Argument,  scenario,  and  names  of  Metastasio  as  author,  of  Johann  Adolph  Hasse  as 
composer.  German  title  page,  "Hypermenestra,"  and  text  face  Italian,  which  is  not 
quite  the  same  as  in  the  Vienna  (1744)  edition.  Forinstance,  theariain  1, 1,  "Abbiam 
penato,  ^  ver,"  has  become  "Tomerai  nel  fido  amante,"  and  that  in  III,  6,  "Perdono 
al  crudo  acciaro,"  has  become  "L'amato,  bene."  Schatz  and  Mennicke  call  this 
Basse's  second  version . 

First  performed,  as  indicated,  October  7,  1751.  Schatz  4543 


OPERA  LIBRETTOS  639 

Ipermestra — Hipermenestre,  ballet.     See  Jommelli's  Demofoonte. 

Ipermestra.  Drama  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  MDCCLXXIV. 
Venezia,  Modesto  Fenzo,  1774.  1  P-  I;  ^^  V-  ^^'"*- 
Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Johann  Gottlieb  Nauraann  as  the  composer.  On  p.  20-25  description 
of  Antoine  Trancard's  "II  ratto  di  Proserpina,  ballo  eroico."  The  composer  of  the 
music  is  not  mentioned. 

First  performed,  as  indicated,  February  1,  1774.  Schatz  7049 

Ipermestra.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo Nuovo  Teatro  di  Padova  lafiera  di  Giugno  dell'  anno  1791  .  .  . 

Padova,  Conzatti,  n.  d.     Ifi  p.     17 Y"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  and  name  of  Faisiello  as  the  composer.  With  the  opera 
was  performed  Filippo  Beretti's  ballet,  "Gli  Sciti."  The  composer  of  the  music  is 
not  mentioned.  Schatz  7702 

Ipermestra.  Dramma  per  musica  da  rappresentarsi  in  Alessandria 
nel  Teatro  Solerio  coll'  occasione  della  solita  fiera  d'autunno  nell' 
anno  MDCXLV. 

Alessandria,  Ignazio  Vimercati,  n.  d.     56  p.     W^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Cast,  argument,  scenario,  and 
name  of  "Guiseppe  Re,  dilettante"  as  the  composer.  Schatz  8618 

Iperm.estra.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  carnevale  dell'  anno  1786  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     6  p.  I.,  44  V-     i^*'^- 

Three  acts.  Dedication,  argument,  cast,  name  of  Salvatore  Bispoli  as  the  com- 
poser^  and  allusion  to  Metastasio,  the  author,  with — 

"nncrescimento  di  aver  tolti  tanti  eccellenti  pezzi,  per  sostituime  degli  altri 
infinitamente  inferiori,  onde  uniformarsi  al  costume,  o  per  dir  meglio  all'  abuso  che 
si  h  introdotto  negli  spettacoli  musicali  in  Italia." 

With  the  opera  were  performed  Sebastiano  Gallet's  ballets,  "Ludovico  il  Moro," 
"L'amore  maestro  di  scuola,"  and  "Popolo  d'Aigo."  The  composer  of  the  music  is 
not  mentioned. 

First  performed,  as  indicated,  December  26,  1785.  Schatz  8815 

Second  copy.    ML  48.A5    v.l 

L'Ipermestra  o  Le  Danaidi,  ballet.     See  Anfossi's  L'Olimpiade. 

Ipermestra  ossia  La  morte  di  Danao,  ballet.  See  Giordani's  Nico- 
mede. 

Iphide  Greca,  drama  per  musica. 

By  Conte  Nicol6  Minato,  composed  by  Antonio  Draghi  for  the  birthday  of  Empress 
Mareherita  July  12,  1670. 

Not  in  L.  of  C.    Compare  Wotquenne. 

—  Iphis  auss  Griechen-Land.  Gesungene  vorstellung  an  dem 
geburths-tag  Ihrer  Kaiserlichen  Mayestat  frawen  Margariten  gebor- 
ner  infantin  auss  Hispanien  ...  In  sing-kunst  gerichtet  durch 
herm  Antoni  Draghi  .  .  .     Aus  dem  welschen  ins  teutsch  uebersetzt. 

Wienn,  Mattheo  Cosmerovio,  1670.     4^  V-     14Y^- 

Three  acts,  the  original  Italian  "von  herm  Nicola  Minato."  With  "Inhalt," 
"Wahrscheinende  erfindung  hierueber,"  " Under-redner "  (characters),  "Veraen- 
derungen  des  schaw-platzes "  ("Erfindungen  herm  Ludwigen  Bumacini"),  and 
"Taentz"  (designed  by  the  imperial  balletmaster  Ventura  Santo.         Schatz  2801 


640  LIBRABY   OF  CONGRESS 

Iphide  Greca.     Drama  per  musica  del  conte  Nicolo  Minato. 

Venetia,  li  Bertani,  1671.     66,  [5]  p.     13^"^. 

Three  acts.    Argument,  scenario,  and  notice  to  the  reader,  which  reads  in  part: 

"Questo  nobilisaimo  drama,  se  ne  passa  dal  soglio  de  Cesari  k  dilettar  il  genio  do 
gli  Adriatici  eroi  .  .  .  E  vero,  che  per  la  disparity  del  loco,  e  di  chi  ih,  rappresen- 
tarla,  egli  ^  un  colosso  rimesso  fra  I'angustie  d'un  nichio  non  suo;  i  saloni  di  Venetiaj 
non  Bono  la  regia  di  Cesare  .  .  .  Per  questo  capo,  si  tralasciano  il  piu  bello  degli 
apparati  .  .  . 

''La  musica  del  primo  atto sar^  parto  delle  virtil  dell'  ecc.  dottor  Gio.  Domenico 
Parterdo;  nel  second©  del  Sig.  D.  Domenico  Freschi  e  nel  terzo  del  Sig.  Gaspare 
Sartorio  .  .  . 

' '  Si  eono  a^onte  alcune  seconde  strofEe,  &  altre  nove  ariette  .  .  .  Queste  earanno 
etampate  nel  fine  del  libro  cole  sue  annotationi  havendo  cosi  voluto  chi  le  scrisse, 
confessando  non  pater  aggiungersi  perfettioni  al  perfetto  ..." 

First  performed  at  Venice,  by  the  Accademici  Soliti,  spring,  1671. 

ScHATZ  7779 

Iphigenia  in  einem  sing-spiel  auf  dem  Hambnrgischen  Schau-platze 
vorgestellet.     Im  jahr  1731. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.     Unpaged. 


cm 


m 

Three  acts.  Ailment  and  scenario.  Neither  Christian  Heinrich  Postel,  by 
whom  this  libretto  originally  was  written,  nor  the  composer,  Carl  Heinrich  Graun, 
is  mentioned.  Christian  Heinrich  Postel's  "Die  wimderbahr  errettete  Iphigenia" 
had  been  composed  1699  by  Reiser  for  Hamburg.  Retouched  by  Georg  Caspar 
Schiirmann,  as  "Iphigenia  in  Aulis,"  the  libretto  with  Graun 's  music  was  first  per- 
formed at  Brunswick  on  August  16, 1728  (compare  Uffenbach's  Reisebeechreibung  of 
this  year).  The  opera  was  revived  there  on  February  5,  1731.  Further  retouched, 
the  opera  was  then  first  performed  at  Hamburg  on  December  3,  1731. 

SCHATZ  4103 

Iphigenia,  ein  singspiel  in  zween  aufzuegen. 

p.  [5-12]  of  "  Thoas,  Koenig  und  feWierr  der  Lemnier.  Ein  trauer- 
sjnel  .  .  .  aufgefuehrt  von  der  studierenden  jugend  des  Katholischen 
SchuThauses  zu  Augsburg  bey  St.  Salvator.  den  2,  3  und  6ten  herhst- 
mondes  1779.     [Augsburg],  Joseph  Simon  Hueber." 

Cast  and  name  of  Ludwig  Bartholomaeus  Piindter  as  the  composer. 

SCHATZ  8514 

Iphigenia  in  Aulis.     An  opera. 

English  translation  of  conte  Francesco  Algarotti's  five-act  libretto,  "Iphigenie  en 
Aulide."    See  [125J-177  p.  of  his  "An  essay  on  the  opera,"  Glasgow,  1768. 

ML  3858. A39 

Iphigenia  in  Aulis.     Tr.  of  Graun's  Ifigenia  in  Aulide. 

Iphigenia  in  Tauris.     Tr.  of  Gluck's  Iphigenie  en  Tauride. 

Jphigenie  en  Aulide,  opera. 

A  five-act  opera  text,  written  by  conte  Francesco  Algarotti  and  included  to  illus- 
trate his  esthetic  theories  on  librettos  (p.  97-157)  in  his  "Saggio  sopra  I'opera  in 
musica,"  of  which  the  L.  of  C.  has  the  Livomo  (1763)  ed.  ML  3858.A37 

—  Iphigenia  in  Aulis.     An  opera. 

The  above  in  English  translation  (p.  [12o]-177)  of  "An  essay  on  the  opera."  Glas- 
gow, 1768.  MX  3858.A39 


OPERA   LIBRETTOS  641 

Iphigenie  en  Aulide,  tragedie-opera,  en  trois  actes;   representee, 
pour  la  premiere  fois,  par  1  j^cad^mie-royale  de  musique,  le  mardi  12 
avril  1774. 
Paris,  Delormel,  1774.     63  p.     23'^. 

Three  acts.  By  Du  RouUet,  who  is  not  mentioned  by  name  but  who  wrote  the 
"Avertissement "  according  to  which  the  verses  retained  from  Racine  are  so  marked 
in  the  text.    Cast  and  name  of  Gluck  as  the  composer. 

The  first  performance  took  place  on  April  19,  not  12.  Schatz  3898 

—  Iphigenie  en  Aulide,  trag6die  opera,  en  trois  actes,  dont  la 
musique  est  de  M.  le  chevalier  Gluck,  representee,  pour  la  premiere 
fois,  par  TAcademie  royale  de  musique  le  mardi  12  avril  1774.  Nou- 
velle  edition. 

Bordeaux,  Pierre  Philippot,  1783.    38  p.    W^. 

Three  acts.  ML  48.M2L 

Iphigenie  en  Tauride,  tragedie  represents  par  TAcademie  royale 
de  musique  I'an  1704.  Les  paroles  de  M.  Duche  &  la  musique  de 
M.  Desmarets.  Mise  au  Theatre  par  MMrs.  Danchet  &  Campra. 
LXI.  Opera. 

n.  i.,  n.  d.  front,  p.  233-290.  {Recueil  general  des  opera,  t.  viiif 
Paris,  1706.)     W"^. 

Detached  copy.  Prologue  and  five  acts,  with  "Avertissement:" 
"II  y  a  huit  ans  que  cet  opera  est  fait,  &  que  Mr.  Desmarests  I'a  mis  en  musique  h 
la  reserve  de  la  plus  grande  partie  du  cinqui^me  acte  qui  est  de  Mr.  Campra,  aussi 
bien  que  quelques  endroits  qui  ^toient  demeurez  imparfaits,  &  le  Prologue,  dont  les 
paroles  ne  sont  point  de  celuy  qui  a  fait  la  piece,  mais  de  Mr.  Danchet  qui  a  bien 
voulu  s'en  charger." 

First  performed,  as  indicated.  May  6,  1704.  Schatz  2537 

Second  copy.    ML  48. R4 

—  Prologue  de  la  tragedie  d'Iphigenie,  represente  par  I'Academie 
royale  de  musique,  en  1704. 

[12S]-131  p.  17h  *^.  {Antoine  Danchet,  Thedtre,  t.  11,  Paris, 
1751.) 

The  avertissement  on  p.  127  says  that  Danchet  wrote  this  prologue  for  and  finished 
Duchy's  text,  written  in  1697,  and  composed  by  Desmarets  with  exception  of  most 
of  the  fifth  act,  which  was  composed  by  Campra.  PQ  1972. D2 

Iphigenie  en  Tauride,  tragedie  en  quatre  actes,  representee  pour 
la  premiere  fois,  par  I'Academie  royale  de  musique  le  mardi  11  mai 
1779. 
[Paris],  P.  deLormel,  1779.    vi,  50  p.    25""^. 

Four  acts.  Cast  and  names  of  Guillard  as  the  author  and  of  Gluck  as  the  composer. 
Owing  to  the  indisposition  of  Mile.  Levasseur,  the  first  performance  was  deferred  to 
May  18,  the  date  printed  on  the  full  score.  Schatz  3903 

—  Iphigenia  in  Tauris.  Ein  tragisches  singspiel  in  vier  aufzuegen. 
Aus  dem  franzoesischen  des  herrn  Guillard.  Die  musik  ist  vom 
herrn  ritter  Gluck.    Aufgefuhrt  auf  dem  K.  K.  Nationalhoftheater. 

Wien,  heym  logenmeister,  1781.    Ifi  p.     17'^'^. 

German  version,  by  Johann  von  Alzinger,  who  is  not  mentioned,  but  who,  in  a 
preface,. challenges  his  critics  to  furnish  a  better  translation. 

First  performed,  as  indicated,  Oct.  23,  1781.  Schatz  3904 

72251°— VOL  1—14 41 


642  LIBRABY   OF   CONGRESS 

Iphigenie  en  Tauride — Continued. 

—  L'Ifigenia  in  Tauride.  Tragedia  in  quattro  atti.  Tradotta  dal 
francese  in  Italiano,  dall'  abate  Lorenzo  da  Ponte  poeta  de'  Teatrali 
imperiali.     La  musica  ^  del  Signer  cavalier  Gluck. 

Vienna,  Giuseppe  noh.  de  Kurzheck,  1783.    91  p.     16'^^. 

German  text  (by  v.  Alzinger)  and  t.-p.  "Iphigenia  in  Tauris,"  face  Italian. 
Firet  performed  at  Vienna,  Nationaltheater  n.  d.  Burg,  December,  1783. 

ScHATZ  3905 

Iphigenie  en  Tauride,  tragedie-lyrique  en  quatre  actes,  representee, 
pour  la  premiere  fois,  par  FAcademie  royale  de  musique,  le  mardi  23 

ianvier  1781.     Les  paroles  sont  de  M.  Dubreuil.     La  musique  de  M. 
'iccini. 
Paris,  P.  de  Lormel,  1783,    28  p.     ISY"^- 
Cast.  ML  50.2.I65P3 

Iphis  aus  Griechen-Land.     Tr.  of  Draghi's  Iphide  Greca. 

L'ipocondriaco.     Intermezzo. 

{231]-246  p.  16Y^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  iv,  Tmino,  1757.) 

Two  parte.     First  composer  unknown  to  Schatz.  ML  49.A2G6 

—  L'ippocondriaco.     Intermezzo  di  due  parti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  jigli,  1788-95,  v.  35, 
[231]-249  p.     18^"^. 

L'ipocondriaco.  Drama  per  musica  rappresentato  neUa  viUa  di 
Pratolino. 

Firenze,  Gio.  Filippo  Cecchi,  1695.    4  p.  I.,  77  p.     17'''^. 

Three  acts,  without  the  names  of  the  composer  or  the  author  of  the  libretto,  which 
Schatz  attributes  to  Giovanni  Cosimo  Villaf ranchi .  According  to  the  author's  preface, 
he  intended  to  call  "Quest'  operetta  ..."  "Heautontimerumenos."  Composer 
unknown  to  Schatz.  Giuseppe  Maria  Bin'ni  too  yoimg  to  have  been  the  composer, 
though  somewhere  so  stated.  Schatz  1395 

L'ipocondriaco.     Dranuna  giocoso  per  musica  del  Signore  Giovanni 
Bertati  da  rappresentarsi  nel  riccolo  Teatro  di  S.  A.  S.  E.  di  Sassonia. 
Bresda,  n.  publ.,  1776.     143  p.     16^"^. 

Three  acts.  Johann  Gottlieb  Naumann  is  mentioned  as  the  composer.  German 
title  page,  "Der  hypochondriste,"  and  text  face  Bertati's  Italian  text,  originally 
called  "II  principe  ipocondriaco." 

First  performed,  as  indicated,  March  16,  1776.  Schatz  7050 

L'ipocondrico  risanato.     Intermezzi  per  musica  a  cinque  voci,  da 
cantarsi  nel  Teatro  alia  Valle  I'anno  1746  ... 
Roma,  Komarelc,  1746.     40  p.     15'="'. 

Two  parts.  Dedication  by  the  impresario  Angiolo  Lvmgi,  cast  and  name  of  Gioac- 
chino  Cocchi  as  composer.  The  characters  are  Pandolfo,  Drusilla,  Purgone,  Rosalba, 
Lesbino.    Author  not  mentioned  and  unknown  to  me.  ML  50.2.I67C6 

L'Ipolito  [!],  dramma  per  musica  da  rappresentarsi  nel  Regio-Ducal 
Teatro  di  Milano  nel  carnovale  dell'  anno  1745  ... 

Milano,  Giuseppe  Richino  Malatesta,  1745.    5  p.  I.,  63  [1]  p.    i^i""* 
Three  acts.    By  marchese  Gioseffo  Gorini  Corio,  who  is  not  mentioned.    Dedica- 
tion dated  Milan,  January  31,  1745,  argument,  cast,  scenario,  and  name  of  Cristoforo 
Kluck  (Gluck)  as  the  composer.    The  additional  page  contains  the  substitute  arias 
(I,  13)  "Sovra  la  preda  esangue"  and  (III,  1)  "Dirai  all'  idol  mio."     Schatz  3931 


OPERA   LIBEETTOS  643 

L'Ippolita.  Commedia  per  musica  di  Gennarantonio  Federioo, 
Napoletano  da  rappresentarsi  nel  Teatro  de'  Fiorentini,  nella  prima- 
vera  di  questo  anno  1733  .  .  . 

Napoli,  Nicola  di  Biase,  n.  d.     79  p.     i^i*^"*- 

Three  acts.    Dedication,  cast,  and  name  of  the  composer,  Niccolo  Conti. 

ScHATz  2207 

Ippolito  ed  Alicia.  Dramma  per  musica  da  rappresentarsi  alia 
Corte  elettorale  Palatina  in  giorno  del  nome  del  serenissimo  elettore 
.  .  .  I'anno  MDCCLIX. 

Mannheim,  Stamperia  elettorale,  n.  d,    8  p.  I.,  96  p.     W^. 

Five  acts.  By  Carlo  Innocenzio  Frugoni,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  names  of  Ignaz  Holzbauer  as  composer  of  the  opera  ("nuova  com- 
posizione")  and  of  Christian  Cannabich  as  composer  of  the  "arie  dei  balli,  che  non 
ei  cantano." 

First  performed  at  Mannheim,  Hoftheater,  November  4,  1759.  Schatz  4784 

L'ircana  in  Julfa,  ballet.     See  Calegari's  Le  due  sorelle  incognita. 

Ircano  inamorato.  Intermezzi  per  musica  da  rappresentarsi  nel 
Nuovo  Teatro  di  S.  Margerita  Fautunno  1729. 

Venezia,  Carlo  Buonarrigo,  1729.     11  p.     15'^'^. 

Two  parts.  Neither  the  author,  Belisario  Valeriani,  is  mentioned,  nor  Fortxmato 
Chelleri,  the  composer. 

First  performed  at  Ferrara,  Teatro  Bonacoesi  k  S.  Stefano,  May,  1715,  with  his 
"La  caccia  in  Etolia."  Schatz  1816 

Irene,  dramma  per  musica,  rappresentato  aUa  Regia  elettoral  corte 
di  Dresda. 

n.  i.,  n.  d.     149  p.     16"^. 

Three  acts.  By  Stefano  Benedetto  Pallavicini,  who  is  not  mentioned.  Argu- 
ment and  name  of  Johann  Adolph  Hasse  as  the  composer.  German  title  page, 
"Irene  .  .  .  Dresden  .  .  .  bey  der  verwittibten  Hof-buchdr.  Stoesselin,  1738,"  and 
text  face  Italian. 

First  performed,  as  indicated,  February  8,  1738.  Schatz  4544 

Irene.     Tragedia  per  musica  da  rappresentarsi  nel  Teatro  Grimano 
di  San  Gio.  Grisostomo  I'anno  MDCXCV  .  .  . 
Venetia,  Nicolini,  1695.    front.,  69  p.     15''^. 

Five  acts.  Dedication  by  the  author,  conte  Girolamo  Frigimelica  Roberti,  and 
one  of  his  lengthy  esthetic-dramaturgic  prefaces,  argument,  scenario,  and  on  p.  11 
the  substitute  arias,  "De  la  gloria,  e  de  I'amor"  (III,  1),  "Ne  I'amante  son  gran 
nimici"  (III,  8)  and  "A  morire,  a  morir''  (IV,  9).  Music  attributed  by  Allacci  and 
Schatz  to  Carlo  Francesco  Pollaroli,  who  is  not  mentioned.  Schatz  records,  but 
incorrectly,  fall  1694  as  the  date  of  first  performance.     Allacci  has  1695,  as  above. 

«  Schatz  8299 

Second  copy.    ML  48.M20 

L'Irene.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Bartolomeo  di  Napoli  .  .  . 

Napoli,  Parrino  &  Mutio,  1704.    4  P-  ^-j  ^i  P-     14'^^- 

Three  acts.    By  conte  Girolamo  Frigimelica  Roberti  (who  is  not  mentioned),  but 

condensed  to  permit  the  insertion  of  buffo  scenes,  supposedly  by  Nicola  Barbapiccola, 

who  signs  the  dedication.    Argument,  scenario,  cast,  and  notice  to  the  reader: 

"Questo  drama  dovendosi  rappresentare  in  questo  teatro  di  Napoli,  per  ridurlo 

in  s\  breve  tempo  a  luce,  h^  ricevuto  qualche  alteratione  dalla  sua  prima  forma  .  .  . 

Sappi  in  tanto,  che  per  non  defraudare  alia  lode  (che  degnamente  h  dovuta  al  Sig. 

Gio.  Battista  Pullaroli  [Carlo  Francesco  Pollaroli?]  prime  compositore  della  musica) 

si  segneranno  I'arie  del  medesimo  col  segno  §.    Tutte  I'altre  sono  del  Sig.  Domenico 

Scarlatti." 


644  LIBRARY  OF  CONGRESS  ^ 

L'Irene — Continued. 

The  marked  arias  are  "Sento  una  forza  in  petto"  (I,  2),  "Guerra,  guerra,  voelio 
guerra"  (I,  4),  "Non  h^  pena  Tamor  piii  crudele"  (I,  5),  "Belle  catene"  (I,  C)^  *°La 
eperanza  d'un  core  ardente"  (I,  6)  etc.,  etc.,  in  fact,  at  least  one  half  of  the  anas  in 
the  opera.  Schatz  9539 

Irene  augusta.     Drama  per  musica  da  rappresentarsi  nel  famoso 
Teatro  Griman-  di  S.  Gio.  Grisosostomo.     L'autunno  dell'  anno  1713. 
Venezia,  Marino  Rossetti,  1713.     70  p.     74i*"". 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Areument,  cast, 
scenario,  and  name  of  Antonio  Lotti  as  composer.  Schatz  5720 

Irene  e  Costantino  drama  per  musica  nel  Theatro  Vendramino  di 

S.  Salvatore  I'anno  1681  .  .  . 

Venetia,  Francesco  Nicolini,  1681. 

Three  acts.  By  Andrea  Rossini,  who  is  not  mentioned.  Publisher's  dedication, 
argument,  scenario,  and  notice  to  the  reader,  in  which  Nicolini  says: 

"L'anno  passato  doveva  rappresentarsi  in  quest'  istesso  teatro,  ma  accidenti  non 
ordinarii  &  insidiosi  furono  i  contradestini,  che  ne  lo  divertirono  ...  Le  corde 
della  musica  sono  torture  della  penna,  e  la  circonferenza  delle  scene  6  un  carcere  dell' 
ingegno." 

The  composer,  Antonio  Zannettini  is  not  mentioned.  Schatz  11142 

Iride.     See  Traetta's  Le  feste  d'Imeneo. 

The  Irish  mimic;  or  Blunders  at  Brighton:  A  musical  entertain- 
ment in  two  acts.     As  performed  at  the  Theatre-Royal,  Covent- 
Garden.    With  universal  applause.     Written  by  John  O'Keeffe. 
London,  T.  N,  Longman,  1795.     1  p.  L,  64  p.     20'='^. 

Cast.    The  composer,  William  Shield  (Squire),  is  not  mentioned. 

First  performed  April  23, 1795.  Lokge  229 

The  iron  chest:  a  play;  in  three  acts.    Written  by  George  Colman, 
the  younger.    With  a  preface.     First  represented  at  the  Theatre- 
Royal,  in  Drury-Lane,  on  Saturday,  12th  March,  1796  .  .  . 
London,  CadeU  and  Davies,  1796.     1  p.  I.,  xxiii,  [1],  127  p.    21'^'^. 

Cast,  notice  to  the  reader  dated  Picadilly,  July  20,  1796,  and  preface.  The  latter, 
in  which  Stephen  Storace  is  appreciatively  mentioned  as  the  composer,  gives  a 
narrative  of  the  incidents  and  accidents  leading  up  to  the  first  performance,  at  which 
the  piece  was  saved  from  a  fiasco  by  Storace's  music  (his  last  work),  but  principally 
the  preface  assails  Kemble,  the  acting  manager  and  principal  performer,  whom 
Colman  held  responsible  for  the  near  fiasco.  (The  piece  became  eminently  popular 
afterwards  and  by  1798  three  editions  had  appeared.)  In  the  notice  to  the  reader, 
Colman  states  his  indebtedness  for  the  ground  work  of  the  play  to  William  Godwin's 
novel,  "Things  as  they  are,"  and  that  "the  songs,  duets,  and  chorusses,  are  intended 
merely  as  vehicles  for  musical  effect."  Longe  236 

Der  irrende  ritter.     Tr.  of  Traetta's  II  cavaliero  errante. 

Das  irrlicht,  oder  Endlich  fand  er  sie.  Ein  singspiel  in  drey  auf- 
zuegen,  nach  herm  Bretzner  frey  bearbeitet,  una  fuer  das  k.  k. 
Nationalhof theater  zugerichtet.  Die  musik  neu  vom  herm  Umlauf. 
Aufgefuehrt  auf  dem  k.  k.  Hoftheater  naechst  dem  Kaemthuer  thor. 

Wien,  beym  Logenrneister,  1785.     71  p.     15''^*. 

First  performed,  as  indicated,  October  21,  1785;  at  Vienna,  Burgtheater,  January 
17,  1782.  Schatz  10526 


OPEKA   LIBRETTOS  645 

Das  irrlicht — Continued. 

—  Arien  und  gesaenge  aus  dem  Irrwisch,  oder  Endlich  fand  er  sie, 
einer  komischen  oper,  in  drey  aufzuegen.  Von  herrn  Bretzner.  Die 
musik  ist  von  herrn  Umlauf. 

Riga,  Gottlob  Christian  Froelich,  n.  d.     19  p.     i5^<"'*. 

Firet  performed  at  Riga,  Vietinghof'echee  Theater,  14/25  May,  1786;  at  Mannheim, 
Nationaltheater,  February  5,  1786.  Schatz  10527 

Die  irrthuemer.     Tr.  of  Storace's  Gli  equivoci. 

Der  irrwisch,   oder  Endlich  fand  er  sie.    Eine  operetta  in  drey 

akten. 

Stuttgart,  Christoph  Gottfried  Maentler,  1782.     91  p.     HY"^- 

By   Christoph   Friedrich   Bretzner.    Composed   by   Christian   Ludwig  Dieter. 

Neither  author  nor  composer  is  mentioned. 

First  performed  at  Stuttgart,  Kl.  Schauspielhaus  a.  d.  Planie,  September  23,  1782. 

Schatz  2579 

Arien  und  gesaenge  aus  dem  Irrwisch.  Ein  singspiel  in  drey  auf- 
zuegen von  C.  F.  Bretzner.  Die  musik  ist  vom  fteyherrn  von  Kos- 
both. 

n.  L,  1784.     20  p.     16^"^. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  October  2, 1780. 

ML  50.2.I68K6 

—  Arien  aus  der  operette:  Der  irrwisch,  oder  Endlich  fand  er  sie;  in 
drey  acten,  von  herrn  C.  F.  Bretzner.  Die  musik  ist  vom  herrn  baron 
von  Kospoth. 

n.i.,1787.     22  p.     W^"". 

Schatz  5218 

Dar  irrwisch,  oder  Endlich  fand  er  sie.     Eine  operette  in  drey  akten 
[silhouette]    Componirt  vom  herrn  Preu  in  Leipzig. 
98  p.     16^'".     iC.  F.  Bretzner,  Operetten,  1.  hand,  Leipzig,  1779.) 

The  silhouette  is  a  portrait  of  the  actress  F.  R.  Koch. 

First  performed  at  Leipzig,  Theater  am  Rannstadter  There,  1779.    Schatz  11680 

—  Der  irrwisch,  oder  Endlich  fand  er  sie.  Eine  operette  in  drey 
akten.     Von  C.  F.  Bretzner.    Componirt  vom  herrn  Preu  in  Leipzig. 

Leipzig,  Carl  Friedrich  Schneidem,  1788.    84  p.     IS'^^. 

Schatz  8464 

Der  irrwisch  oder  Endlich  fand  er  sie.  L.  T.  of  Umlauf's  Das  irr- 
licht oder  Endlich  fand  er  sie. 

Isabella,  e  Rodrigo  o  sia  La  costanza  in  amore.  Dramma  giocoso 
per  musica  di  Giovanni  Bertati  da  rappresentarsi  nel  nobflissimo 
Teatro  in  S.  Samuele  nell'  autunno  dell'  anno  1776. 


cm 


Venezia,  Gio.  Battista  Ca^ali,  1776.     71  p.     17 

Two  acts.    Cast,  scenario,  and  name  of  Pasquale  Anfossi  as  composer. 

Schatz  241 

—  Isabella  e  Rodrigo,  o  sia  La  costanza  in  amore.  Dramma  per 
musica  da  rappresentarsi  nel  Teatro  Elettorale  di  Dresda. 

Dresda,  n.  p.,  1784.     117  p.     16'="'. 

Two  acts.  Cast  (added  in  pencil),  with  name  of  Anfossi  as  composer.  German 
title-page,  "Isabella  und  Rodrigo,  oder  die  Bestiindigkeit  in  der  liebe,"  and  text 
face  Italian.  Schatz  242 


646  LIBRARY   OF   CONGRESS 

Isabella  und  Rodrigo  oder  Die  bestandigkeit  in  der  liel)e.     Tr.  of 
Anfossi's  Isabella  e  Rodrigo. 

Isabelle  et  Gertrude,  ou  Les  sylphes  supposes,  comedie  en  un  acte 
meslee  d'ariettes,  par  M.   Favart.     Representee  pour  la  premiere 
fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  14  aoM  1765. 
Paris,  la  revive  Duchesne,  1765.     ^5,  [5]  p.     IQ""^. 

The  additional  unnumbered  p.  contain:  "Poeme,  qui  a  donn^  lieu  k  la  comedie 
d'Isabelle  &  Gertrude,  i)ar  Monsieur  de  Voltaire."  The  composer  and  arranger  of 
the  score,  Adolphe  Blaise,  is  not  mentioned.  Schatz  1064 

—  Isabella  et  Gertrude  ou  Les  sylphes  suppose ;  comedie  en  un 
acte,  meslee  d'ariettes;  par  Mr.  Tavart  [!]  La  musique  est  de  M. 
Blaise.  Reprfeentee  pour  la  premiere  fois  par  les  Comediens  italiens, 
ordinaires  du  roy,  le  14  aotlt  1765. 

Mannheim,  Charles  Fontaine,  1767.     139  p.     16^"^. 
German  title  page:  "Isabella  und  Gertraude  oder  Die  erdichtete  luft-geiater,"  and 
text  face  the  French.     In  a  note  Favart  acknowledges  his  indebtedness  to  Voltaire 
and  Marmontel.  Schatz  1065 

—  Isabelle  et  Gertrude,  ou  Les  sylphes  supposes;  comedie  en  un 
acte,  meslee  d'ariettes;  par  M.  Favart.  La  musique  est  de  M. 
Blaise. 

n.  i.,  n.  d.  63  y.  19'^^.  (Theatre  de  M.  Favart,  Paris,  Duchesne, 
1763-77,  t.  ix.) 

On  p.  53-63,  seven  "Airs  d'Isabelle  et  Gertrude."     Text  preceded  by  Favart'a 
dedication  to  Voisenon,  and  the  same  avertissement  as  in  Schatz  1065. 

ML  49.A2F1 

—  Isabelle  et  Gertrude  ou  Les  sylphes  supposes.  Comedie  en  un 
acts,  mel6e  d'ariettes,  par  M.  Favart.  La  musique  est  de  M.  Blaise. 
Representee  pour  la  premiere  fois  par  les  Comediens  italiens  ordi- 
naires du  roi,  le  14  aotit  1765. 

Paris,  la  veuve  Duchesne,  1784-.     Ifi  jp.     W'^"*. 

On  p.  41-42,  the  vaudeville,  "Pour  nous  est  fait  le  plaisir,"  and  on  p.  44-46  the 
air  of    O  nuit!  charmante  nuiti"  Schatz  11677 

Isacio  tiranno.  Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  di  San  Gio.  Grisostomo  I'autunno  dell'  anno 
1710  .  .  . 

Venezia,  Marino  Rossetti,  1710.     72  p.     14''"'. 

Three  acts.  Dedication,  cast,  argument,  scenario,  and  notice  to  the  reader,  which 
begins: 

"Ecco  la  presente  seconda  mia  fatica,*qual'  prende  cora^io  dal  tuo  generoso  com- 
patimento  donato  alia  prima  mia  del  Vincitor  generoso  I'anno  1708  ..." 

This  points  to  Francesco  Briani  as  author.  The  composer,  Antonio  Lotti,  is  not 
mentioned.  Schatz  5721 

Les  Isies.  A.  T.  of  Arneris,  entree  in  Rameau's  Ijes  f^tes  de  I'Himen 
et  de  I'Amour. 

IsiS)  tragedie  en  musique,  ornee  d'entr^es  de  ballet,  de  machines,  & 
de  changements  de  theatre,  representee  devant  Sa  Majesty  h  Saint 
Germain  en  Laye.     Suivant  la  copie  imprim^e  a  Paris. 

[Amsterdam,  Antoine  Schelte],  1682.     69  p.  (incl.frant.)     13Y^- 
Prologue  and  five  acts.    Without  name  of  composer  and  author,  but  with  names 
of  the  dancers  in  the  prologue  and  in  the  ballets.     {See  below.)         ML  50.2.I69L9 


OPEBA  LIBEETTOS  647 

Isis — Continued. 

—  Isis,  tragedie  en  musique,  ornee  d'entrees  de  ballet,  de  machines,  & 
de  changemens  de  theatre.  Representee  devant  Sa  Majesty  a  Saint 
Grermain  en  Laye.     Suivant  la  copie  imprimee  a  Paris. 

[Amsterdam,  Antoine  Schelte],  1686.     69  p.  {incl.  frmd.) .     IS^""^. 

Prologue  and  five  acts.  Without  name  of  composer  and  author,  but  with  names  of 
the  dancers  in  the  prologue  and  the  ballets.  ML  49.A2L9 

—  Isis,  tragedie  representee  par  I'Academie  royale  de  musique  I'an 
1677.  Les  paroles  de  M.  Qumault,  &  la  musique  de  M.  de  LuUy. 
IX.  opera. 

n.  i.,  n.  d.  14"^.  front.,  1-68  p.  (Recueil  general  des  opera,  t.  ii, 
Paris,  1703.) 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  Augiist,  1677  (Schatz),  April,  1677  (Prunieres);  pre- 
viously, at  Saint  Germain  en  Laye,  January  5,  1677.  Schatz  5768 

Second  copy.     ML  48. R4 

—  Isis,  tragedie  en  musique,  ornee  d'entrees  de  ballets,  de  machines 
&  de  changemens  de  theatre.  Representee  devant  Sa  Majesty,  h, 
Saint  Germain  en  Laye  le  5.  Janvier  1677. 

Quinault,  Theatre,  Paris,  1739,  t.  iv,  pi,  p.  \337\-Ifi7 .     17^"^. 
Prologue  and  five  acts.     Lully  is  not  mentioned.  PQ  1881. Al    1739 

The  island  of  St.  Marguerite,  an  opera,  in  two  acts,  and  first  per- 
formed at  the  Theatre  Royal,  Dniry  Lane,  on  Fridav,  November  13, 
1789. 
Lond(yn,J.I)ebrett,1789.    vi,[7\-32  p.     21''^. 

Prologue,  cast,  and  editor's  Advertisement,  dated  Piccadilly,  November  30,  1789, 
in  which  he  says  that  the  piece  is  founded  on  Voltaire's  story  of  the  Man  in  the  Iron 
mask,  and  that — 

"The  author  [John  St.  John],  as  appears  from  his  prologue,  knows  the  value  of  lib- 
erty, and,  consequently,  could  not  withhold  his  applause  from  a  people  struggling  for 
a  free  constitution :  but  delicacy  required  that  even  the  appearance  of  anything  that 
might  be  construed  into  an  insult  to  a  foreign  country  should  be  avoided  ..." 

The  composer,  Thomas  Shaw,  is  not  mentioned.  The  music  was  partly  selected 
by  the  author.  Longe  203 

The  island  princess;   or,  The  generous  Portuguese:   Made  into  an 
opera:    as  it  is  performed  at  the  Theatre  Royal.     All  the  musical 
entertairmients,  and  the  greatest  part  of  the  play  new,  and  written 
by  Mr.  Motteux. 
London,  Printed  hy  John  Darhy  for  Mary  Poulson,  1724-     72  p. 

Five  acts,  with  prologue  and  epilogue.  Cast,  Peter  [Anthony]  Motteux's  dedica- 
tion and  preface,  in  whicn  he  says  that  this  piece  is  based  on  Fletcher's  Island  princess: 

"As  I  found  it  not  unfit  to  be  made  what  we  here  call  an  opera,  I  undertook  to 
revise  it,  but  not  as  I  wou'd  have  done,  had  I  design'd  a  correct  play  .  .  .  The 
success  has  answer'd  my  intent,  far  beyond  expectation.  However,  I  am  not  willing 
to  attribute  it  to  myself,  but  chiefly  to  the  excellency  of  the  musical  part.  What  Mr. 
Daniel  Purcel  has  set  is  so  fine,  that  as  he  seems  inspir'd  with  his  brother's  wonderful 
genius,  it  cannot  but  be  equally  admir'd.  The  notes  of  the  interlude  set  by  Mr. 
ueremiah]  Clarke  have  air  and  humour  that  crown  them  with  applause:  and  the 
dialogue  and  Enthusiastic  song,  which  Mr.  Leveridge  set,  are  too  particularly  lik'd 
not  to  eng^e  me  to  thank  him  for  gracing  my  words  with  his  composition,  as  much  as 
for  his  celebrated  singing  ..." 

The  piece  is  not  an  opera  in  our  sense — merely  a  play  with  some  incidental  music. 
The  composers  are  again  mentioned  in  the  text,  Daniel  Purcell  being  the  chief  con- 
tributor.    The  text  of  Clarke's  interlude  is  printed  on  p.  63-70.  under  the  title:  "  The 


648  LIBRARY   OF  CONGRESS 

The  island  princess — Continued. 

POUE  SEASONS,  or  Love  in  every  age.  A  musical  interlude.  Set  to  mueick  by  Mr. 
Jeremy  Clarke,"  and  a  note  readis: 

"This  entertainment  is  perform'd  at  the  end  of  the  last  act,  but  was  design'd  for 
another  season,  and  another  occasion  ..." 

The  "opera"  was  first  performed  at  London,  Drury  Lane,  1699.  Longb  75 

L'isle  des  Amazones.  Pi^ce  d'un  acte.  Par  Mrs  le  S  *  *.  & 
D'Or  *  *.  Qui  devoit  6tre  representee  k  la  Foire  de  Saint  Laurent 
1718.  mais  dont  on  n'eut  pas  besoin,  &  que  la  suppression  de  rOp6ra 
comique  a  emp^che  d'etre  jou^e  depuis. 

Le  Theatre  de  U  foire,  Paris,  1737,  t.  Hi,  pi,  [331]-S76  p.     n^"^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Qillier,  the  "compositeur"  of  the  theatre,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

Parfaict  says  that  the  piece  was  first  performed  at  the  Foire  Saint  Laurent  in  1720. 

ML48.L2  III 

L'isle  des  foux,  comedie  en  deux  actes  mMee  d'ariettes,  parodie  de 
I'Arcifanfano   de  Goldoni,   par    Messieurs    *    *    *     &   Anseaume. 
Representee    par    les    Comediens   italiens   ordinaires   du   roi.     La 
musique  est  de  M.  Duny. 
Paris,  Claude  Herissant,  1762.    Jfi  p.     19^"^. 

By  Anseaume,  Lef^bure  de  Marcouville,  and  L.  A.  Bertin  d'Antilly. 

First  performed  at  Paris,  as  indicated,  December  29,  1760.  Schatz  2846 

L'isle  du  manage.  Opera-comique  en  un  acte.  Representee  j)our 
la  premiere  fois  sur  le  Theatre  de  la  Foire  S.  Laurent  le  20^  jour 
d'aoM  1733. 

Le  Theatre  de  U  foire,  Paris,  1737,  t.  ix,  2,  pi.,  [223]-279  p.     17'^'^. 

By  Carglet.  Largely  en  vaudevilles.  The  airs,  a  few  of  which  by  Cor(r)ette,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

Parfaict  gives  July  20,  1733,  as  date  of  first  performance.  ML  48.L48X 

L'isle  sonnante,  opera-comique,  en  trois  actes.     Representee  par 
les  Comediens  italiens  ordinaires  du  roi,  le  lundi  4  Janvier  1768. 
Paris,  Cluade  [!]  Henssant,  1768.     43  p.     W^"^. 

Neither  the  author,  Charles  Colle,  nor  the  composer,  Monsigny,  is  mentioned. 
First  performed  1767  at  Villers-Cotterets,  private  theatre  of  the  duke  of  Orleans. 

ScHATZ  6576 

—  L'isle  sonnante,  opera  comique  en  trois  actes,  represent e  par 
les  Comediens  italiens  ordinaires  du  roi,  le  lundi  4  Janvier  1768.  La 
musique  de  M    *     *     * . 

Paris,  la  veuve  Duchesne,  1771.     Ifi  p.     19*^^ . 

Cast.  Composed  by  Monsigny.  Neither  he  is  mentioned,  nor  Charles  Colle,  the 
author.  Schatz  11727 

Ismene,  pastorale  heroique,  donnee  a  Versailles,  en  1747  &  1748. 
Representee  pour  la  premiere  fois  par  I'Academie  royale  de  musique, 
le  vendredi  28  ao(it  1750.  Reprise  le  jeudi  18  fevrier,  1751.  Et 
remise  au  The&tre,  le  vendredi  3  aoM  1759. 

n.  i.,  n.  d.     18  p.     24'^'^. 

One  act.  Cast  and  names  of  de  Moncrif  as  author,  of  Rebel  and  Francoeur  as 
composers.  ML  50.2.17R22 


OPEBA  LIBBETTOS  649 

Isxuene — Continued . 

—  Ismene,  pastorale  heroique.     Representee  devant  Sa  Majeste,  a 

Fontainebleau,  le  12  octobre  1769. 

[Paris],  Pierre  Robert  CTiristophe  BaUard,  1769.     24  p.     20'^'^. 

One  act.  Cast  and  names  of  de  Moncrif  as  author,  of  Rebel  and  Francoeur  as 
composers.  ML  50.2.I7R24 

Isxnene  et  Isxnenias;  tragedie  en  trois  actes,  representee  devant 
Leurs  Majest^s,  a  Choisy,  le  lundi  13  juni  1763,  et  pour  la  premiere 
fois  par  rAcademie-royale  de  musique,  le  mardi  11  decembre  1770. 

Paris,  de  Lormd,  1770.    64  p.    22^"^- 

Cast  and  Avertissement  (argiunent).  By  Laujon,  who  is  mentioned  as  author. 
J.  B.  de  La  Borde,  the  composer,  is  not  mentioned.  ML  50.2.I7L2 

L'isola  capricciosa.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno  1780. 
Venezia,  Modesto  Fenzo,  1780.     64  p.     16""^. 

Two  acts.  By  Caterino  Mazzola,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  Giacomo  Bust  as  the  compoeer.  On  p.  [33^39,  cast  and  description  of  Francesco 
Clerico's  "Gustavo  Vasa,  ballo  eroico  pantomime  in  cinque  atti,  without  name  of 
the  composer  ot  the  music.  Schatz  9174 

L'isola  d'Alcina.  O.  T.  of  Broschi's  Bradamante  nell'  isola 
d'Alcina. 

L'isola  d^Alcina.     See  Gazzaiiiga's  L'isola  di  Alcina. 

L'isola  d'Alcina.  Tragedia  del  Sig.  Co.  Fulvio  Testi  posta  in  musica 
da  Francesco  Sacrati  .  .  . 

Bologna,  gli  eredi  del  Dozza,  1648.    57  p.     16^'^^. 

Five  acts,  with  prologue.  Dedication  by  Sacrati  and  notice  to  the  reader,  in  which 
he  says: 

"Se  rozza  ti  parerk  la  musica  dell'  Alcina,  scusala,  ti  suplico,  b  lettore,  che  nata 
fra  le  rozezze  deila  villa,  non  puo  esser  che  tale.  Per  ingannar  I'otio,  mi  diedi  k  com- 
porla,  mentre  k  Panzano,  delitie  vilereccia,  dell'  illustriss.  Sig.  Comelio  Malvasia, 
attendevo  il  di  lui  ritomo  dal  campo;  non  con  pensiero,  che  giamai  ella  havesse  k 
rendersi  ardita  di  comparire  ne  publici  teatri  di  Bologna  .  .  . 

"Averti  in  oltre,  che  se  la  vedrai  introdotta  sii  la  ecena  da  un  prologo  di  verso  da 
quelle  che  ne  suoi  primi  natali  la  conduese  sotto  gl'occhi  de'principi  Estensi,  b  oppor- 
timit^  ricercata  dal  tempo,  e  dal  loco  dove  ha  da  rapresen tarsi." 

First  performed  at  Bologna,  1648,  as  indicated.  Schatz  9250 

L'isola  d'amore.  Commedia  in  musica  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  Mois^  nel  carnovale  dell'  anno  MDCCLII. 

Venezia,  .n-  pull.,  1752.    front,  72,  3  p.     15^"^. 

Three  acts.  By  Antonio  Rigo,  called  Gori,  who  is  not  mentioned.  Ailment, 
cast,  scenario,  and  name  of  Gaetano  Latilla  as  composer.  Page  72  and  the  3  add.  p. 
contain  substitute  arias,  "Alia  guerra,  che  questo  mio  core"  for  "Or  con  I'immagine 
d'un  bel  Torello"  (I,  6),  "Net  mio  core  poverino"  for  "Non  so  se  m'intendete" 
(I,  4),  "Lavorando  Nina  mia"  for  "Mamma  mia"  (II,  2),  "Non  dubitate  o  cara"  for 
"Soccorso  bramate."  Schatz  5461 

L'isola  d'amore,  azione  comica  per  musica  da  rappresentarsi  alia 

Corte  ellettorale  palatina  .  .  . 

Mannheim,  Stamperia  elettorale  ed  academ.,  n.  d.     71  p,     16Y^' 
Two  acts.    Cast,  scenario  and  name  of  Antonio  Sacchini  as  composer.    Author 

not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Mannheim,  Hoftheater,  January  1772;  at  Rome,  Teatro  alia 

Valle,  carnival  1766.  ML  50.2.I73S3 


650  LIBRARY   OF   CONGRESS 

Llsola  d'amore — Continued. 

—  L'isola  d'amore.  Intermezzo  per  musica  a  quattro  voci  da  rap- 
presentarsi  in  Lisbona  nel  Teatro  della  rua  dos  Condes  nella  prima- 
vera  dell'  anno  1774. 

[Lishona],  Stamperia  reale,  n.  d.    62  p.     /^<^™. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Antonio  Sacchini  as  the  composer. 

First  performed  at  Lisbon,  as  indicated,  April  20,  1774.  Schatz  9225 

—  L'isola  d'amore.  Dramma  giocoso  da  rappresentarsi  nel  Thea- 
tro  di  Ratisbona  .  .  . 

Ratishona,  n.  puhl,  1775.     139  p,     17^"^. 

Two  acts.  Cast  and  name  of  Antonio  Sacchini  as  the  composer.  German  title- 
page,  "Die  insel  der  liebe,"  and  text  face  Italian. 

First  performed  1775,  as  indicated.  Schatz  9227 

—  La  colonie,  comedie  en  deux  actes,  imitee  de  I'italien,  et  parodi^e 
sur  la  musique  du  Sig.  Sacchini.  Representee  pour  la  premiere  fois 
par  les  ComMiens  italiens,  le  16  aout  1775. 

Faris,  la  veuve  Duchesne,  1776.     47  p.     18"^. 

Two  acts.  Bv  Nicolas  Etienne  Framery.  Cast  and  prefatory  note,  in  which 
Framery  gives  the  "canevas  italien"  of  L'isola  d'amore  to  show  the  differences 
between  this  and  his  parodie  and  to  ask  the  public's  indulgence  for  his  irregularities, 
etc.,  caused  by  the  difficulty  to  "conserver  tous  les  morceaux  de  musique"  and  yet 
to  turn  the  text  of  the  "auteur  inconnu  de  I'intermMe  italien"  into  acceptable 
French.  In  the  text  are  printed  the  airs  of  "D6s  ce  soir  I'hymen  m'engage"  (I,  1), 
"Ah,  ma  honte  en  est  extreme"  (I,  2),  "Qu'est-ce  done  vous  arr§te"  (11,  2),  "Quel 
sort  famine  "  (II,  3).  Schatz  9228 

—  Die  kolonie,  ein  singspiel  in  zween  aufzuegen.  Aus  dem  fran- 
zoesischen.     Mit  musik. 

Frankfurt  am    Mayn,  mit  Andreaeischen  schriften,  1778.    60  p. 

iSY"^. 

The  music  is  wanting  in  this  copy.  Two  acts.  German  version  by  Johann  Andre. 
Neither  Framery  nor  Sacchini  is  mentioned. 

First  performed  at  Mannheim,  Churf.  deutsche  Schaubiihne  im  Schiitthause, 
February  21,  1779.  Schatz  9229 

—  Arien  aus  dem  singspiele:  Die  colonie.  In  zwey  aufzuegen. 
Die  musik  ist  von  Sacchini. 

Hamburg,  J.  M.  Michaelsen,  1780.    23  p.     i^J<"». 

Two  acts.    Joh.  Andre's  version. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  February  8,  1780. 

Schatz  9230 

—  Die  insel  der  liebe,  ein  singspiel  in  zween  aufzuegen,  aufgefuehret 
an  dem  Churpf aelzischen  hofe  im  jalir  1772. 

Mannheim,  Hofu.  Akademie-huchdruckerei,  n.  d.     52  p.     16"^. 

Cast  and  name  of  Antonio  Sacchini  as  the  comp)oser.  German  Tr.  of  the  Italian 
Mannheim  ed.  of  1772.  Schatz  9226 

—  Die  insel  der  liebe.  Ein  singspiel  in  zwey  aufzuegen.  Theils 
aus  der  franzoesischen,  theils  aus  der  italieniscaen  gleichen  namens 
opera,  neu  bearbeitet  fuer  die  Hochfuerstlich  Thurn  und  Taxische 
Schaubuehne. 

Regensburg,   gedruckt   mit  Breitfeldischen   schriften,    1781.     55   p. 


OPERA   LIBRETTOS  651 

Llsola  d'amore — Continued. 

Cast  and  names  of  Sacchini  as  composer  of  the  opera,  of  baron  [Theodor]  von 
Schacht  as  composer  of  the  choruses  and  dances,  who  says  in  the  dedication : 

"Cet  opera  vous  fit  autre  fois,  grand  plaisir,  &  vous  admiri^s  a  juste  titres  les  talens 
du  felebre  Sacchini.  Empress^e  de  contribuer  k  vos  plaisirs,  la  troupe  allemande 
qui  jouit  du  bonheur  de  se  voir  appuy^e  par  vous,  voulut  redonner  cette  piece,  se 
vit  arretee  par  plusieurs  mor^eaux  omis  dans  la  traduction.  Encourage  par  le  succ^ 
de  Lausus  &  Lydie,  j'entrepris  de  remettre  la  piece,  avec  toute  la  musique,  laiseant 
Boigneusement  les  belles  scenes  que  nous  devons  a  I'auteur  de  la  Colonie,  &  pour  en 
faire  un  spectacle  nouveau,  j'y  aioutaia  les  choeurs,  vaudevilles,  duos  &  danses." 

SCHATZ  9231 

L'isola  de'  cannibali,  ballet.     See  Tritto's  La  molinara  spiritosa. 

L'isola  della  fortuna.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Real  Teatro  dell'  Ajuda  nelF  autunno  dell'  anno 
MDCCLXVII. 

Lishona,  Michele  Manescal  Da  Costa,  n.  d.     79  p.     W^. 

Three  acts.  Cast,  scenario,  and  names  of  Giovanni  Bertati  as  author,  of  Andrea 
Luchesi  as  composer. 

First  performed  at  Venice,  Teatro  di  S.  Samuele,  fall  of  1765.  Schatz  5742 

L'isola  della  luna.     Dramma  giocoso  per  musica  in  due  atti  di 
Antonio  Piazza  Venetiano  da  rappresentarsi  nel  nobile  Teatro  di 
San  Samuele  1' autunno  dell'  anno  1780  .  .  . 
Veneda,  Modesto  Fenzo,  1780.     64  p.     16^"^, 

Two  acts.  Impresario's  dedication,  cast,  and  name  of  Giovanni  Valentini  as  the 
composer.  Schatz  10585 

L'isola  di  Alcina.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniani  di  S.  Moise  il  carnevale  dell  anno  1772  di  Giovanni 
Bertati. 

Venezia,  Antonio  Graziosi,  1772.     64  p.     lOV"^. 

Three  acts.     Cast,  scenario,  and  name  of  Giuseppe  Gazzani^a  as  the  composer. 

Schatz  3665 

—  L'isola  di  Alcina.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1773.     139  p.     15^^. 

Three  acts.  Witlx  the  names  of  Bertati  and  Gazzaniga.  German  title  page,  * '  Die 
insel  der  Alcina,"  and  text  face  Italian,  which  follows  fairly  closely  the  original. 

Schatz  3666 

—  L'isola  d'Alcina ;  dramma  giocoso  per  musica  da  rappresentarsi 
nel  Regio  Teatro. — Alcines  0e,  et  lystigt  synge-spil  .  .  .  Oversat 
paa  dansk  af  R.  Soelberg. 

Ki0henhavn,  H.  J.  Graae,  1777.     103  p.     16\'^^. 

Three  acts.    Cast  and  name  of  Giuseppe  Gazzaniga  as  the  composer. 

First  performed,  as  indicated,  March  6,  1777.  Schatz  3667 

—  L'isola  d'Alcina.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Zagnoni  in  Bologna  il  carnevale  dell'  anno  1779. 

Bologna,  Sassi,  n.  d.     57  p.     15^"^. 

Three  acts.  Cast,  scenario,  and  oame  of  Giuseppe  Gazzaniga  as  composer.  Ber- 
tati is  not  mentioned.  ML  48. A5    v.30 


652  LIBBARY   OF  CONGRESS 

L'isola  di  Bellamarina.  Dramma  giocoso  per  musica  di  Domenico 
Mantile  da  rappresen tarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terz' 
opera  di  quest  anno  1791. 

Napoli,  Vincenzo  MazzolorVocola,  1792.    ^8  f,    i5<^™. 

Two  acts.  Ar^ment,  cast,  and  name  of  the  compoeer,  Francesco  Antonio  De 
Blasis.  ScHATZ  2420 

L'isola  di  Bengodi.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  S.  Moisd  I'autunno  dell'  anno  1777. 
n.  i.,  n.  d.     51  p.     18'^'^. 

Two  acts.  Cast,  name  of  Gennaro  Astaritta  as  composer  ("la  musica  sara  tutta 
nuova"),  and  Avvertiments: 

"Riconoscer^  il  leggitore  in  queeto  dramma,  sotto  altro  titolo,  la  Cuccagna  del 
celebre  Sig.  Goldoni  ...  II  gusto  de'  finali  introdottosi  nelle  opere  buffe  poeterior- 
mente  alia  rappresentazione  del  dramma  euddetto,  ha  fatto,  che  per  necessity  si 
doveese  cambiar  I'ordine  del  libretto,  riducendolo  a  due  soli  atti,  per  eesersi  traspor- 
tata  nel  prime  finale  una  parte  dell'  argomento  dell'  atto  secondo,  e  nel  finale  secondo 
la  catastrofe  del  dramma.  Qualche  altro  cambiamento,  che  vi  e'incontra  si  nella 
introduzione,  che  nelle  arie,  non  fe  stato  eseguito  che  per  adattarsi  in  parte  al  gusto 
corrente  de'  signori  compositori  di  musica,  ed  in  parte  ai  personaggi,  che  le  devono 
cantare,  non  intendendo  mai  con  simili  cambiamenti  di  volerei  correggere  I'opera 
d'un  autore  troppo  cognito  e  rispettato." 

With  the  opera  were  performed,  composer  of  the  music  not  mentioned,  Riccardo 
Bilk's  ballets,  "II  pentimento  amoroso    and  "Lo  spyoso  deluso."         Schatz  382 

L'isola  disabitata.  Dramma  di  tre  atti  per  musica.  Rappresen- 
tato  per  la  prima  volta  in  Bologna  nell'  estate  dell'  anno  MDCJCLII. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  J^2, 
[327]-S75  p.     18'"^.  PQ 

First  composer  unknown  to  Schatz. 

L'isola  disabitata. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  1755,  t.  iv,  [405]-439  p. 

JQcm 

One  act.    Ailment.  ML  49.A2M42 

—  L'isola  disabitata.  Questa  azione  teatrale  fu  scritta  dall'  autore 
in  Vienna  I'anno  1752,  per  la  Real  Corte  Cattolica,  dove  venne  mag- 
nificamente  rappresentata  la  prima  volta  con  musica  del  Bonno,  sotto 
la  direzione  del  celebre  cavalier  Broschi. 

[341]-378  p.  26'^^,  {Pietro  Metastasio,  Opere,  t  II,  Parigi,  vedova 
Herissant,  1780.) 

One  act.    Argument.  ML  49.A2M44 

L'isola  disabitata.  Azione  per  musica  da  rappresentarsi  nel  Ducal 
Teatro  di  Louisbourg  .  .  .  il  di  4.  novembre  1761.  Giorno  di  S. 
Carlo,  festa  dell'  insigne  suo  ordine  ducale.  La  poesia  e  del  Signor 
abbate  Pietro  Metastasio  .  .  .  La  musica  e  nuovamente  composfa 
dal  Signor  Nicolo  Jommelli  ...  I  balli  sono  inventati  e  diretti  dal 
Signor  Giovanni  Giorgio  Noverre  .  .  . 
[StutgaH],  Cotta,  n.  d.     65,  [6]  p.     W"^. 

Two  acts.  Argument  and  cast.  German  title  page,  "Die  unbewohnte  insel," 
and  text  face  Italian.  On  p.  [32}^[33]  brief  description  of  the  ballet,  "Amore  vinci- 
tore  deir  indifferenza,"  on  the  six  add.  p.  of  "II  riconoscimento  inaspettato."  Of 
these  ballets  the  music  probably  was  composed  by  either  Deller  or  Rudolph . 

First  vereion  first  performed  at  Genoa,  Teatro  del  Falcone,  spring  of  1756. 

Schatz  4863 


OPERA   LIBRETTOS  653 

L'isola  disabitata.  Azione  per  musica  del  Sig.  abbate  Pietro  Meta- 
stasio  .  .  . 

Venezia,  Aloise  Valvasense,  1775.    Jfi  p.     17 Y^. 

Two  parts.    Argument  and  name  of  Johann  Gottlieb  Naumann  as  the  composer. 
First  performed  at  Venice,  Teatro  particolare  (Schatz),  February,  1773. 

SCHATZ  7061 

L'isola  disabitata:  cantata  seria  j)er  musica  da  rappresentarsi  nel 
Regio  Teatro  di  S.  Carlo  della  Principessa  Testate  dell  anno  1799. 
Lishona,  Simone  Taddeo  Ferreira,  1799.     59  p.     IJ^'^^. 

One  act.    Metastasio  is  mentioned  as  author,  Paisiello  as  composer. 

First  performed,  as  indicated,  July  3,  1799.  Schatz  7693 

L'isola  disabitata.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo,  pastor  Ai'cade.  Da  rappresentarsi  nel  Teatro  Grimani  di  S. 
Samuel  rautunno  dell'  anno  1757. 

Venezia,  Modesto  Fenzo,  1757.     58  p.     15""^. 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Giuseppe  Scarlatti  as  the 
composer.  Schatz  9546 

—  L'isola  disabitata.  Dramma  giocoso  per  musica  di  Polisseno 
Fegeio  P.  A.  Da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di 
Sassonia  .  .  .     Drescla  I'autumno  del  1767. 

n.  i.,  n.  d.     2  p.  I.,  157  p.     16^"". 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Giuseppe  Scarlatti  as  the 
composer.  German  title  page,  "Die  unbewohnte  insel,"  with  date,  "Dresden.  Im 
fruehlinge  des  1767  sten  jahres,"  and  text  face  the  Italian,  which  seems  to  follow  the 
Venice,  1757,  ed.  closely,  though  differences  are  noticeable.  For  instance,  "Povere 
donue;  che  s'ha  da  far?"  has  become  "Ah  meschinella,  che  deggo  far?" 

Schatz  9547 

L'isola  disabitata.  Azione  drammatica  per  musica  da  rappresen- 
tarsi nel  Nuovo  Teatro  del  pubblico  di  Bologna  in  occasione  del  faus- 
tissimo  passaggio  per  detta  cittk  della  Maesta  di  Maria  Carolina 
arciduchessa  d'Austria,  real  sposo  di  sua  Maesta  siciliana  .  .  .I'anno 
MDCCLXVIII. 

Bologna,  Lelio  daUa  Volpe,  n.  d.  xii  (incl.  front.:  coat  of  arms), 
28  p.    23^"^. 

The  imprimatur  is  dated  April  8, 1768;  count  Giov.  Luca  Pallavicino's  dedication, 
Bologna,  April  26,  1768.  The  libretto,  with  argument,  cast,  and  name  of  Tommaso 
Trajetta  as  composer,  is  by  Pietro  Metastasio,  but 

"si  sono  aggiunte,  e  camlaiate  alcune  arie,  e  recitativi  a  fine  di  ridurla  in  due  parti 
e  d'introdurvi  dei  balli  coerenti  alia  azione  medesima." 

All  such  changes  are  marked  with  an  asterisk.  Schatz  10394 

—  L'isola  disabitata,  azione  per  musica  del  Signor  abate  Pietro 
Metastasio;  da  rappresentarsi  nel  Regio  Teatro  danese!  — Den 
ubeboede  0e  .  .  . 

Ki0henhami,  H.  J.  Graae,  1772.    55  p.     17"^. 

Two  acts.  Cast,  ai^ument,  and  name  of  Tommaso  Trajetta  as  composer.  Danieb 
text  faces  Italian. 

First  performed,  as  indicated,  January  8, 1773  (Schatz).  Schatz  10395 

La  isola  incantata  di  Circe  la  maga,  ballet.  See  Pampani's 
Demofoonte. 

L'isola  place  vole,  ballet.     See  Gardi's  La  semplice. 


654  LIBRARY   OF  CONGRESS 

L'isola  piacevole.  Dramma  ^iocoso  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  Giiistiniani  in  San  Mois^  il  camovale  deD' 
anno  1797. 

Venezia,  Modesto  Femo,  1797.     59  p.     18'''^. 

Two  acts.  By  Lorenzo  da  Ponte,  who  is  not  mentioned .  Argument,  caet,  ecenario, 
and  name  of  Vicenzo  Martini  (Martin  y  Soler)  as  the  composer.    A  note  on  p.  7  says: 

"La  sinfonia  esprime  una  gran  burraeca  di  mare,  che  a  poco  a  poco  v^ 
abbonazzando." 

On  p.  34,  short  description  of  "Li  epoei  contenti  ballo  anala^o  all'  opera  ...  La 
musica  h  tutta  nuova  del  Signor  Antonio  Cappuci."  This,  like  the  second  ballet 
(title  on  an  inserted  slip),  "La  piazza  di  Pusilipo  in  Napoli,"  by  Carlo  Taglioni. 

First  performed  at  London,  Haymarket,  1795.  Schatz  6011 

—  L'isola  piacevole.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Regie  Teatro  di  via  S.  Maria  nail'  estate  dell'  anno  1797  .  .  , 

Firenze,  Stamperia  Albizziniana,  1797.     4^  p.     16^'^'^. 
Two  acts.    Argument,  cast,  and  name  of  Vincenzo  Martini  (Martin  y  Soler)  ae 
composer.     Da  Ponte  is  not  mentioned.  ML  48.A5    v.  15 

Isse,  pastorale  heroique.  Representee  par  I'Academie  ro^ale  de 
miisique  I'an  1697.  I^es  paroles  de  M.  de  la  Mothe,  &  la  musique  de 
M.  Destouches.     XLIV.  opera, 

n.  i.,  n.  d.  pi.,  p.  171-228.  (Recueil  general de^  opera, Paris,  1703, 
t.  vi.)     14^"^. 

Detached  copy.  Three  acts  and  prologue,  with  ' '  Epistre  "  addressed  to  the  duke  of 
Bur^ndy,  and  a  sort  of  ailment. 

First  performed,  as  indicated,  December  30,  1697;  at  Trianon  before  the  King, 
December  17,  1697.  Schatz  2546 

.Second  copy.    ML  48.R4 

—  Isse,  pastorale  heroique,  representee  pour  la  premiere  fois  devant 
Sa  Majeste,  en  trois  actes,  h,  Trianon,  le  17.  decembre  1697  par 
I'Academie  royale  de  musique.  Et  remise  au  theatre  le  14  octoore 
1708  en  cinq  actes.  Les  paroles  de  M.  de  la  Mothe,  &  la  musique  de 
M.  Destouches.     LXXI.  Opera. 

n.  i.,  n.  d.  front.,  p.  333-386.  (Recueil  general  des  opera,  t.  ix, 
Paris,  1710.)     14^"^. 

Detached  copy.    With  Prologue.    The  "Epistre"  has  not  been  reprinted. 

Schatz  2547 
Second  copy.    ML  48. R4 

—  Isse,  pastorale  heroique,  en  cinq  actes,  representee,  devant  Sa 
Majeste,  a  Versailles,  le  18  decembre  1773. 

\Paris\  P.  Robert  CJiristople  Ballard,  1773.     54  p.     W"^. 

Five  acts.    Cast  and  note: 

"Les  paroles  sont  de  feu  M.  Lamothe.  La  musique  de  feu  M.  Destouches,  avec 
des  changements  dans  les  Fetes,  par  M.  [Pierre  Montan]  Barton,  Maitre  de  la  Musique 
du  roi,  Directeur  de  I'Opera."  ML  50.2.I75D2 

Issea.  Favola  pastorale  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  per  le  auguste  nozze  della  real  principessa  Maria 
Giuseppa  Luisa  Benedetta  di  Savoia  col  real  principe  Luigi  Stanislao 
Saverio  .  .  .  I'anno  MDCCLXXI. 

Torino,  Onorato  Derossi,  n.  d.    viii,  42  p.     16*^^. 

Two  acte.  Cast,  scenario,  and  names  of  Vittorio  Amedeo  Cigna-Santi  as  the  author, 
of  Gaetano  Pugnani  as  the  composer  of  the  opera,  and  of  Giuseppe  Antonio  Le  Messier 
of  the  ballet  music.  Schatz  8507 


OPEEA   LIBRETTOS  655 

L'Issipile. 

[299]-~S68  p.  IG'^^K  {Pietro  Metastasio,  Opere  drammatiche,  Ven- 
ezia,  Giuseppe  Bettinelli,  1733-37,  t.  i.) 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2M4 

—  Issipile. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1765,  t.  ii,  [105]-192  p. 

jQcm 

Three  acts.    Argument.  ML  49.A2M42 

—  Issipile.  Dramma  rappresentato  la  prima  volta  con  musica  del 
Conti  nel  picciolo  interno  Teatro  della  Corte  Cesarea,  alia  presenza 
degli  augustissimi  sovrani,  nel  carnevale  del  1732. 

pi.,  [lSiy-218  p.  26^"^.  (Pietro  Metastasio,  Opere,  t.  ii,  Parigi, 
vedova  Herissant,  1780.) 

Three  acts.    Argument.  ML  49.A2M44 

—  Hypsipile. 

Metastasio,  Tragedies  opera,  Vienne,  1751,  t.  v.,  103  p,     1^'^. 
Three  acts.    Richelet's  translation  of  "Issipile."  ML  49.A2M47 

L'Issipile.  Drama  per  musica  da  rappresentarsi  nel  Teatro  delle 
Dame  nella  primavera  dell'  anno  1732  .  .  . 

Roma,  Si  vendono  a  Pasquino,  1732.     72  p.     15*^^. 

Three  acts.  By  Metastasio,  who  is  mentioned  as  author.  Argument,  scenario  and 
dedication  by  Francesco  Cavanna  from  which  it  would  appear  that  this  "nuova 
fatica"  of  Metastasio's  was  sent  to  Cavanna  "che  si  esponga  al  giudizio  di  Roma." 
No  composer  is  mentioned  and  no  cast  is  given.  These  points  combined  with  the 
fcict  that  Metastasio  himself  recorded  as  first  performance  that  at  Vienna,  carnival 
1732  in  Conti's  setting  would  lead  to  the  conclusion  that  the  planned  performance  at 
Rome  in  1732  did  not  materialize.  ML  50.2.178 

L'Issipile.  Drama  per  musica  da  rappresentarsi  nella  Cesarea 
Corte  .  .  .  nel  carnevale  delF  anno  MDCCXXXII.  La  poesia  e  del 
Sig.  abbate  Pietro  Metastasio  ...  La  musica  e  del  Sig.  Francesco 
Conti  .  .  . 

Vienna  d^ Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.     68  p.     16Y™'- 
Three  acts.    Ailment,  scenario.    The  ballet  music  was  by  Nicola  Matteis. 

ScHATz  2205 

Issipile.  Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino,  nel  camovale  del  1738  alia  presenza  delle  Maesta  Loro. 

Torino,  Gio.  Battista  Scotto,  1738.     4  p.  I,  71,  [1]  p.     15'='^. 

Three  acts.  By  Metastasio,  but  the  reader  is  informed  that  the  first  scene  of  the 
third  act,  and  the  two  substitute  arias  printed  at  the  end — "Svenasti  il  padre  intanto  " 
(I,  14)  and  "No,  non  vedrete  mai"  (II,  1) — are  not  by  him.  Argument,  scenario, 
cast,  and  names  of  Galuppi  as  composer  of  the  opera;  of  the  ballet  music,  Aleseio 
Basetti.     Schatz  calls  this  Galuppi's  first  setting  of  the  text. 

First  performed,  as  indicated,  December  26,  1737.  Schatz  3499 

—  Issipile.  Dramma  per  musica  da  rappresentarsi  nel  Regio-Ducal 
Teatro  di  Parma  nel  camovale  dell'  anno  MDCCLVI 

Parma,  Monti,  n.  d.     76  p.     /<§<="*. 

Three  acts.  By  Metastasio,  with  indicated  alterations.  Argument,  cast,  scenario, 
and  name  of  Galuppi  as  the  composer,  whose  second  setting  of  the  text  this  was, 
according  to  Schatz.  Schatz  3514 


666  LIBRARY   OF   CONGRESS 

L'Issipile.     Dramina  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tinian  di  S.  Mois6  nel  carnovale  dell'  anno  1758. 
Venezia,  Modesto  Fenzo,  1758.     78  p.  '  15^"^. 

Three  acts.  By  Metastasio.  Cast  and  name  of  Florian  Leopold  Oassmann  as 
the  composer.  Schatz  3622 

Issipile.  Dranuna  per  musica  del  Sig.  abbate  Pietro  Metastasio  da 
rappresentarsi  nel  noDilissimo  Teatro  La  Fenice  I'autunno  dell'  anno 
1796. 

Venezia,  Stamperia  Valvasense,  n.  d.     61,  [1]  p.     18*"*. 

Three  acts.  Cast  and  name  of  Gaetano  Marinelli  as  the  composer.  On  p.  [29]-42, 
argument,  cast,  and  description  of  Lorenzo  Panzieri's  "Odervik,  ballo  eroico  in  cinque 
atti;"  music  "tutta  nuova,  ed  espreseamente  scritta"  by  Vittorio  Trento.  A  second 
ballet  (author  and  composer  not  mentioned)  had  the  title,  "Un  consiglio  per  li 
vecchj." 

First  performed,  as  indicated,  November  12,  1796.  Schatz  5956 

L'Issipile.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Macerata  nel  camevale  dell'  anno  1748  .  .  . 

Macerata,  gli  eredi  del  PanneUi,  1748.     70,  [1]  p.     IS'^^. 

Three  acts.    Metastasio  is  mentioned  as  the  author  in  the  impresario's  dedication, 
dated,  "Macerata  15.  [!]  del  1748."    Argument,  cast,  scenario,  and  name  of  Antonio 
Maria  Mazzoni  as  the  composer.    The  additional  page  contains  a  substitute  aria : 
•  Parti,  deh!  fuggi  "  for  "  Perchfe  Taltrui  miflura."  Schatz  6226 

L'Issipile.     Dramma    per    musica    di    Pietro    Metastasio    trk    gli 
Arcadi  Artino  Corasio.     Da  rappresentarsi  nel  Teatro  Grimani  di  S. 
Gio.  Grisostomo  I'autunno  dell  anno  MDCCXXXII, 
Venezia,  Carlo  Buonarrigo,  n.  d.     60  p.     15"^. 

Three  acts.  Dedication  signed  by  Domenico  Lalli,  argument,  scenario,  cast,  name  of 
Giovanni  Porta  as  the  composer,  and  notice  that  the  recitatives  not  by  Metastasio 
are  marked  in  quotation,  and  the  arias  not  by  Metastasio  are  marked  with  an  asterisk. 
To  the  latter  belong,  for  instance,  "Non  h  terribile"  (1,  8),  "Chi  da  un  bel  volto 
amato"  (I,  10),  "Leon  ne  la  foreeta"  (II,  15).  Such  substitute  ariaa,  etc.,  were  prob- 
ably by  Domenico  Lalli.  Schatz  8391 

L'Issipile.  Dramma  da  rappresentarsi  in  musica  nel  Teatro  privi- 
legiato  vicino  alia  corte  nell'  autunno  dell'  anno  1760. 

Vienna  d' Austria,  Stamperia  di  Ghelen,  n.  d.      Unpaged.     16*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  and  name  of 
Giuseppe  Scarlatti,  who  is  mentioned  as  composer.  Schatz  9548 

—  Hypsipile.  Ein  musicalisch-theatralisch.es  schau-spiel,  so  in 
Wien  auf  der  privilegirten  Schaubuehne  naechst  der  Burg  sur  herbst- 
zeit  aufgefuehjet  worden,  im  jahr  1760.  Verf asset  von  herrn  abbate 
Metastasio  .  .  .  und  in  das  teutsche  uebersetzt  von  J.  A.  E.  v.  G. 

[Tfien],  mit  von  Ghelischen  schriften,  n.  d.     Unpaged.     15^'^. 

Three  acts.  Translated  by  Johann  Anton,  edler  von  Ghelen.  Argument,  cast,  and 
name  of  Giuseppe  Scarlatti  as  the  composer.  Schatz  9549 

Ist's  nicht  die  eine,  so  ist's  die  andere.  A.  T.  of  Lorazi's  Der 
kapellmeister. 

L'ltalia  rigenerata,  ballet.     See  Cristiani's  L'amante  democratico. 

L'ltalia  rigenerata,  ballet.     See  Zingarelli's  Meleagro. 


OPERA   LIBRETTOS  657 

L'ltaliana  in  Londra.     Intermezzo  in  musica  a  cinque  voci  da  rap- 
presentarsi  nel  Teatro  Valle  dell'  illnii  Signori  Capranica.     Nel  car- 
nevale  delF  anno  1779  .  .  .- 
Roma,  Agostino  Palomhini,  1779.     J^  p.     15^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Domenico  Cimarosa  as  composer.  ML  50.2. I8C2 

—  L'ltaliana  in  Londra.     Opera  in  musica  da  rappresentarsi  nel 

Picolo  Teatro  di  S.  A.  S.  di  Brunsuic-Luneburg. 
Bmnsuic,  n.  puhl.,  1781.     151  p.     W"^. 

Two  acts,  with  name  of  the  composer,  Cimarosa.    Author  unknown  to  Schatz. 
German  title-page,  "Die  Italienerin  zu  London,"  and  text  face  Italian. 
First  performed,  as  indicated,  in  1781;  at  Rome,  Teatro  Valle,  1779. 

Schatz  1939 

— -  L'ltaliana  in  Londra.  Conmiedia  per  musica  da  rappresen- 
tarsi nel  Teatro  Nuovo  sopra  Toledo  per  quart'  opera  di  questo  cor- 
rente  anno  1794. 

Napoli,  n.  puhl,  1794.     43  p.     15'^'^. 

Two  acts.  Author  unknown  to  Schatz.  Cast  and  notice  to  the  public  that  this 
opera,  by  Cimarosa,  has  never  before  been  performed  at  Naples,  and  that 

"vi  61  h  aggiunto  un  quartetto  nel  primo  atto,  che  prima  non  vi  era,  e  due  arie 
nuove  dell'  istesso  maestro.  Tutto  il  dippiii  della  musica  non  ei  b  punto  alterato 
giacche  la  medesima  ha  sempre  sortito  un'  esito  felice  in  tutti  que'  luoghi  ove  ei  ^ 
rappresentata."  Schatz  1938 

—  Die  Italienerin  zu  London.  Eine  komische  oper  in  2.  auf- 
zuegen.  Nach  dem  italiaenischen  frey  bearbeitet  von  H.  C.  Pleiss- 
ner  .  .  .  [vignette]. 

Frankfurt  am  Mayn,  Johann  Georg  Fleischer,  1783.     91,  [1]  p.    16^^. 

Two  acts,  with  Heinrich  Christian  Pleissner's  dedication  to  Grosemann,  the  director 
of  the  "  Chur-Coellnische  Hof-Schauspielergesellschaft,"  to  wjjich  Pleiesner  appears 
to  have  belonged  "seit  .  .  .  drei  jahren." 

First  performed  at  Bonn,  Hoftheater,  1783.  Schatz  1941 

—  Gesaenge  aus  dem  singspiele:  Die  Italienerin  zu  London,  in 
zwey  aufzuegen,  nach  dem  italienischen.  In  musik  gesezt  von 
Cimarosa. 

Hamburg,  J.  M.  Michaelsen,  1789.    36  p.     14^'^'^, 

German  version  in  two  acts  by  Johann  Christoph  Bock. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  July  3,  1789;  at  Weimar, 
Hoftheater,  Oct.  7,  1786.  Schatz  1940 

L'ltaliano  maritato  a  Parigi,  ballet.     See  Bianchi's  Pizzarro. 

Die  Italienerin  zu  London.  Tr.  of  Cimarosa's  L'ltaliana  in  Lon- 
don. 

L'ivrogne  corrige  ou  Le  mariage  du  diable. 

In  1759  at  the  Foire  St.  Laurent  this  was  performed  (text  by  Anseaume)  with 
music  adapted  by  Laruette  to  popular  airs  and  vaudevilles.  {See  Schatz  5434, 
"L'yvro^e  corrig^.")  For  Vienna,  1760,  Qluck  then  arranged  and  partly  com- 
posed this  anew. 

The  Vienna,  1760,  libretto  not  in  L.  of  C. 

72251°— VOL  1—14 42 


658  LIBRARY  OP   CONGRESS 

L'ivrogne  corrige — Continued. 

—  Der  letzte  rausch,  ein  singspiel  in  zwei  aufzuegen  nach  dem 
franzoesischen  I'yrogne  [!]  corrig^  des  herrn  Anseaume.  Die  musik 
ist  von  hrn.  ritter  Gluck. 

Mannheim,  C.  F.  Schwan,  1780.    56  p.     ^5i<="». 

Translator  not  mentioned  and  unknown  to  Schatz.  The  "Anmerkung"  on  p.  2 
reads: 

"Zu  der  mueik  des  hm.  de  la  Ruette  ist  diese  uebersetzung  nicht  zu  brauchen. 
Diejenignen  also,  welche  die  Gluckische  musik  nicht  haben,  und  das  stuerk  nach 
der  franzoesischen  composition  geben  woUen,  mussen  solche  nach  der  am  ende  ange- 
haengten  uebersetzung  einrichten."     [p.  49-56] 

This  refers  to  the  first  act,  scenes  3,  4,  and  5,  including  the  Vaudeville. 

First  performed  at  Vienna,  Nationaltheater,  1781,  by  the  pupils  of  I.  H.  F.  Miiller's 
Theaterpflanzschule  Schatz  3909 

Ldon.     See  Destouches  and  Lalande's  ballet  Les  Clemens. 

Jack  the  gyant  queller.     O.  T.  of  Little  John  and  the  giants. 

Die  jagd,  eine  komische  oper  in  zween  aufzuegen.  Auf  der  kais. 
koenigl.  privil,  deutschen  Schaubuehne  aufgefuehret  im  jahre  1766. 

\Yien,  Johann  Paul  Kravss,  n.  d.    48  p.     i5<=™. 

The  dedication  begins:  "So  soil  ich  es  denn  wagen  meine  komische  oper  drucken 
zu  lassen  "  and  renders  it  clear  that  the  author  was  a  "  junger  theatralischer  dichter." 
Composer  not  mentioned.  Schatz  11456 

Die  jagd.     Eine  komische  oper  in  drey  aufzuegen. 
Leipzig,  Byckische  huchhandhmg ,  1770.     5  p.  I.,  220  p.     15^'^. 

Neither  the  author,  Christian  Felix  Weisse,  nor  the  composer,  Johann  Adam  Hiller, 
is  mentioned.  On  verso  of  t.-p.  the  note:  "Dieses  stueck  ist  zum  theil  aus  dem 
lustspiele  La  partie  de  chasse  de  Henri  IV.  [by  Colle]  genommen."  The  other  p.  1. 
contain  Weisse's  dedicatory  poem  to  Anna  Amalia  von  Sachsen-Weimar  und  Bise* 
nach,  praising  her  forjier  protection  of  German  histrionic  art. 

First  performed  at  Weimar,  Kleines  Schlosstheater,  January  29,  1770. 

Schatz  4721 

—  Die  jagd.     Eine  komische  oper  in  drey  aufzuegen, 

C.  F.  Weisse,  Komische  opem,  Carlsruhe,  1778,  t.  Hi,  134  P-     18^^. 

On  p.  [2]  the  note:  "Dieses  stueck  ist  zum  theil  aus  dem  lustspiele:  La  partie  de 
chasse  ae  Henri  7F genommen."    The  composer,  Hiller,  is  not  mentioned. 

ML  49.A2W2 

Die  jagd.  Eine  komische  oper  in  zwey  aufzuegen  nach  Colle  und 
Weise.  Fuer  das  kaiserl.  koenigl.  Hoftheater.  Die  musik  ist  von 
hm.  Schenk. 

Wien,  Ohristoph  Peter  Rehm,  1799.    80  p-.     15^'"*- 

By  Karl  Friedrich  Hensler,  who  is  not  mentioned. 

First  performed  at  the  Kaemtnerthor  Theater,  May  7,  1799.  Schatz  9597 

Der  jahrmarkt.     Eine  komische  oper  in  zwei  aufzuegen. 
Leipzig,  Verlag  der  DyJcischen  huchhandlung ,  1778.     102  p.     16^'^. 

By  Friedrich  Wilhelm  Gotter,  who  says  in  his  "Nachricht"  (p.  [3]),  dated  Gotha, 
February,  1778: 

"Das  gegenwaertige  stueck  wird  schon,  seit  eingien  jahren,  auf  verschiedenen 
theatem  im  manuskript  aufgefuehrt.  Auch  ist  der  klavierauszug  von  der  dazu  gehoe- 
rigen  [Georg]  Benda  ischen  mu^ik,  unter  der  benennung  von  DorfjaJirmarkt,  im 
naemlichen  verlag  erschienen.  Diese  verschiedenheit  des  titels  wird  hoffentlich 
niemanden  irre  machen,  und  so  wenig,  als  eine  oder  die  andere  abweichung  im  text, 
einer  besonderer  eroerterung  beduerfen." 


OPERA   LIBBETTOS  659 

Der  jahrmarkt — Continued. 

The  "  Vorbericht"  of  the  vocal  ecore  as  published  by  Dyk  at  Leipzig  in  1776  helps 
to  give  precision  to  Gotter'e  rather  vague  "Nachricht."  The  Vorbericht  reads  in 
translation: 

"This  comic  opera  by  herr  Gotter  originally  had  but  one  act.  Afterwards  the 
opera  was  divided  into  two  acts  and  herr  [Joh.  Adam]  Hiller,  at  the  request  of  his 
fnend,  herr  Benda,  composed  the  song  at  the  end  of  the  first  act  and  the  introductory 
chorus  of  the  second.  Some  time  afterwards  a  new  actor  in  Seyler's  Theater,  for 
which  the  piece  originally  had  been  written,  took  the  part  of  the  colonel,  and  in 
order  to  recommend  him  also  as  a  vocalist  to  the  public,  the  herren  Engel  and  Hiller 
wrote  the  arias  p.  22  and  p.  68  [of  the  vocal  score],  Engel  the  text  and  Hiller  the 
music.  With  permission  of  the  herren  Benda  and  Gotter,  these  additional  numbers 
are  included  in  the  vocal  score,  made  by  Hiller  out  of  friendship  for  me  and  the 
author  of  the  opera  ..." 

The  text  of  the  1778  publication  is  practically  identical  with  that  of  the  vocal 
score  of  1776  (including  Engel's  contributions),  and  therefore  does  not  represent  the 
opera  as  it  was  first  performed  at  Gotha,  Schloeetheater,  February  10,  1775,  in  one 
act.  The  first  performance  at  Leipzig  took  place  at  the  Koch'sches  Theater  am 
Rannstaedter  Thor,  April  25,  1775,  and  at  Hamburg,  Theater  auf  dem  Gansemarkt, 
May  8,  1776.  The  opera  also  became  known  under  the  title  of  "Lukas  (Lucas)  und 
Barbchen."  ML  50.2.J2B2 

Second  copy.    Schatz  772 

—  Arien  und  gesaenge  zum  Dorfjahrmarkt. 

n,  i.,  1790.     16  p.     16^"^. 

First  performed  at  Mannheim,  Nationaltheater,  February  13,  1780.      Schatz  773 

Der  jahrmarkt  zu  Gruenwald.  A.  T.  of  Th.  WeigFs  Die  mario- 
nettenbude. 

Der  jahrmarkt  zu  Magerndorf .  Tr.  of  Fischietti's  II  mercato  di 
Malmantile. 

Der  jahrmarkt  zu  Malmantile.  Tr.  of  Fischietti's  II  mercato  di 
Mahnantile. 

Der  jahrmarkt  zu  Venedig.     Tr.  of  Salieri's  La  fiera  di  Venezia. 

Jakob  und  Benjamin,  aufgefuehrt  von  den  schuelern  der  zweyten 
classe  an  dem  Katholischen  schulhause  bey  St.  Salvat6r  im  monate 
May  1784. 

Augsburg,  Joseph  Simon  Hueber,  n.  d.     [lo]  p.     19^^, 

"Singspiel"  in  two  acts.  "Die  musik  ist  vom  herren  Michael  Demmler"  (p.  2). 
With  cast.  The  author  is  not  mentioned,  and  is  unknown  to  Schatz.  At  head  of 
this  title:  "Die  sieben  heil.  schlaefer,  ein  geistliches  schauspiel  in  dreyen  aufzuegen- 
und."  Schatz  2506 

Die  Jakobiner  in  Deutschland.  A.  T.  of  Kauer's  Gute  menschen 
lieben  iliren  fuersten. 

Le  jaloux  dupe.     A.  T.  of  Apell's  L'amour  peintre. 

Le  jaloux  puni  ou  La  serenade.  Entree  in  Bourgeois's  Les  plaisirs 
de  la  paix. 

Le  jaloux  puni. 

Le  Nouveau  theatre  itcHien,  Paris,  1753,  t.  Hi,  61-75  p. 

' '  Divertissement "  at  the  end  of  the  first  act  of  the  comedy, ' '  Le  jaloux, ' '  performed 
by  the  Com^diens  italiens  ordinaires  du  roi,  December  23,  1723.    The  text  of  "Le 

{'aloux  puni"  is  by  de  Beauchamp;  the  music  (en  vavdevilles)  composed  or  arranged 
>y  Mouret. 


660  LIBRARY  OF  CONGRESS 

Le  jaloux  trompe.     Entree  in  Fragments  de  Monsieur  LuUy. 

Jamie  and  Bess,  or,  The  laird  in  disguise ;  a  Scots  pastoral  comedy, 
in  imitation  of  the  Gentle  shepherd.     Second  edition. 

1  p.  Z.,  xv-xxvii,  [2],  30-185  p.  22'^'^.  {Poems,  chiefly  in  the 
Scotish  dialect,  hy  Andrew  Shirrefs,  Edinburgh,  Printed  for  the  author, 
1790.) 

Five  acts,  prologue,  and  epilogue.  Cast,  address  to  the  critics,  and  "An  address  in 
Scotch  .  .  .  spoken  bv  Mr.  Briarly,  previous  to  the  representation  of  Jamie  and  Bess, 
January  12,  1788."  After  the  epilogue,  an  "Address  to  his  crutch"  was  sung,  the 
music  rrom  "forty  pieces  of  original  music  inscribed  to  the  Right  Honourable  David, 
Earl  of  Buchan.  The  whole  was  in  the  nature  of  a  ballad  opera,  the  12  airs  used  all 
being  Scotch  tunes.  Longe  283 

Janguir.     Tr.  of  Zeno's  text  Gianguir. 

Janus.  See  Reiser's  Der  bey  dem  allgemeinen  welt-friede  .  .  . 
geschlossene  tempel  des  .  .  . 

Le  jardinier  de  Sidon,   tire  des  Oeuvres  de  M.  de  Fontenelle, 
comMie  en  deux  actes,  m^l^e  d'ariettes,  representee  pour  la  premiere 
fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le  lundi  18  juillet 
1768. 
Paris,  Claude  Herissant,  1768.    34  p.     lO""". 

In  the  avertissement  the  anonymous  editor  of  the  piece  says  that  the  "veritable 
auteur"  is  de  Fontenelle,  that  the  piece  is  now  performed  thirteen  years  after  his 
death,  and  that  a  comparison  with  de  Fontenelle's  "Abdolonime  "  will  show  just  how 
he,  the  editor,  modified  his  model  in  deference  to  the  exigencies  of  theatrical  action. 
Schatz  attributes  the  text  to  R.  T.  Regnard  de  Pleinchdne.  The  composer,  Francois 
Andr6  Danican  Philidor,  is  not  mentioned.  Schatz  8015 

—  Le  jardinier  de  Sidon,  tire  des  Oeuvres  de  M.  de  Fontenelle. 
Com6die  en  deux  actes,  meslee  d'ariettes.  Representee  pour  la 
premiere  fois  par  les  Comefliens  italiens  ordinaires  du  roi,  le  lundi  18 
juillet  1768. 

Paris,  Claude  Herissant,  1770.    32  p.    19'^. 

Neither  author  nor  Philidor,  the  composer,  mentioned.  Schatz  11739 

— .Der  gaertner  von  Sidon,  ein  singspiel  in  zween  aufzuegen  aua 
dem  franzoesischen  uebersetzt  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften  1773.  56  p.,  13 
p.  (folded  music). 

Cast.  Version  used  by  Theob.  Marchand's  company;  by  Johann  Heinrich  Faber. 
Neither  he  nor  Philidor  is  mentioned.  The  music  consists  of  "Meinen  garten  will 
das  Geechiok"  (I,  2,  "Laisser  Ik  mon  jardin"),  "Glaubt,  die  moisten  freunde"  (II,  6, 
"Je  compare  les  amis"),  "Gliicklich  ist  der,  den  die  eorgen"  (II,  7,  "Trop  heureux 
qui  pent ").  Schatz  8016 

Le  jardinier  et  son  seigneur,  op  era  comique,  en  iin  acte  et  en  prose, 
par  M.  Sedaine. 

Paris,  par  la  Compagnie  des  lihraires,  1769.    35  p.     19*^. 

The  composer,  Philidor,  is  not  mentioned.  Schatz  11740 

—  Le  jardinier  et  son  seigneur,  opera  comique,  en  un  acte,  en 

{)rose,  meie  de  morceaux  de  musicjue:  represente  sur  le  Theatre  de 
a  Foire  Saint-Germain,  le  mercredi  18  fevrier  1761.     Par  M.  Sedaine. 
La  musique  de  M.  Philidor. 
Paris,  Claude  Herissant,  1785.    38  p.     18'^"*. 

On  p.  36-38  the  airs  of  "Laissez  la  grandeur  qui  brille"  and  "La  beaute  dans  voa 
yeux.''    Cast.  Schatz  8017 


OPERA   LIBRETTOS  661 

La  jardinier  suppose.     A.  T.  of  Philidor's  L'amant  d^guise. 

Les  jardiniers,  comedie  en  deux  actes  et  en  prose,  mesl^  d'ariettes; 
par  M.  Davesne:  Repr^sent^  pour  la  premiere  fois  par  les  Com^diens 
italiens  ordinaires  du  Roi,  le  15  juillet  1771   .  .  . 
Paris,  la  veuve  Duchesne,  1772.    52  p.     W^. 

Cast.  The  composer,  Prudent,  is  riot  mentioned.  On  p.  50-62  the  air  of  the 
"Romance.    Lorsque  j'avois  du  chagrin,"  (U,  8).  Schatz  8475 

Second  copy.    Ytjdin  PQ 

Les  jardins  de  rHymen.     A.  T.  of  La  rose. 

Jason,  oder  Die  eroberung  des  gueldenen  finesses,  in  einem  musica- 
lischen  schau-spiele  auf  dem  Hamburgischen  Theatro  vorgestellet  im 
jahr  1720. 

[Hamburg],  Caspar  Jakhel,  n.  d.     Unpaged.     19"^. 

Three  acts.  Neither  the  author,  reep.  translator,  Friedrich  Christian  Bressand,  is 
mentioned,  nor  Reinhard  Keiser,  the  composer.  Several  Italian  arias  by  others 
were  interpolated.  Their  text  has  been  added  to  the  German.  The  text  was  based 
partly  on  the  opera,  "Giaeone  overo  La  conquista  del  velo  d'oro,"  partly  on  Bres- 
eand's  "Die  ungliickliche  liebe  des  tapferen  Jasons."  Schatz  5097 

Jason,  ou  La  toison  d'or,  tragedie  representee  par  I'Academie  royale 
de  musique  I'an  1696.  Les  paroles  sont  de  M.  Rousseau,  &  la  musique 
de  M.  Collasse.     XXXVII.  opera. 

n.  i.,  n.  d.  front,  233-290  p.  1/^'^.  (Recueil  general  des  opera, 
Paris,  1703,  t:  5.) 

Detached  copy.    Five  acts  with  prologue. 

First  performed,  as  indicated,  Jan.  6,  1696.  Schatz  2100 

Second  copy.    ML  48. R4 

The  jealous  clown:  or,  The  lucky  mistake.    An  opera  (of  one  act) 
as  perform'd  at  the  New  theatre  in  Goodman's-Fields.     By  Thomas 
Gataker,  Gent.     To  which  is  annex'd  the  musick. 
London,  Henry  Parlcer,  1730.    24  p.     W"^. 

Cast  and  dedicatory  poem  to  the  author  on  his  "maiden  works,"  by  T.  Keen, 
dated  Doctors  Commons,  December  14,  1730.  Ballad-opera,  the  airs  to  the  13  songs 
of  which  are  indicated  by  title.    The  music  is  not  annexed  to  this  copy. 

LONGE  136 

Jean  Jacques  Rousseau  dans  son  hermitage.     A.  T.  of  the 

pasticcio  La  vall6e  de  Montmorency. 

Jeanne tte,  eller  Den  fortraengte"  ubekiendte.  Tr.  of  Anfossi's 
L'incognita  perseguitata. 

Jeannot  et  Jeannette.     A.  T.  of  Les  ensorcel^s. 

Jephte.  Tragedie  tir^e  de  I'Ecriture  Sainte;  representee  pour  la 
premiere  fois  par  I'Academie  royale  de  musique,  le  quatriSme  mars 
1732.     Remise  le  vingt-sixi^me  revrier  1733. 

Paris,  Jean  Baptiste  Christophe  BaUard,  1738.    xvi,  57  p.    22^^. 

Prolc^ue  and  five  acts.  Cast.  Neither  the  author,  Simon  Joseph  de  Pellegrin^  is 
mentioned,  nor  the  composer,  Michel  Montgclair.  On  p.  iii-v  a  preface  in  which 
the  author  says: 

"Ce  n'a  pas  6t^  sans  trembler,  que  j'ay  entrepris  de  mettre  eur  le  Th6§.tre  de 
I'Academie  royale  de  musique,  un  sujet  tir6  de  I'Ecriture-Sainte:  Des  amis  judicieux 
avoient  beau  me  repr^eenter  que  ce  genre  de  tragedie  n'^toit  nouveau  que  par  rap- 


662  LIBRARY   OF   CONGRESS 

Jephte — Continued. 

port  au  lieu,  oil  i'allois  I'introduire,  &  que  cee  mati^ree  reepectables  ^toient  encore 
plus  propres  au  chant  qu'^  la  simple  declamation;  j'avois  la  prevention  i  combattre: 
et  la  prevention  ne  se  donne  pas  la  peine  de  raisonner." 

He  then  continues  to  answer  the  objections  of  his  critics  in  detail. 

"Pour  ce  qui  regarde  le  ballet  dont  on  faisoit  un  obstacle  insurmontable,  je  ne 
comprens  pas  surquoy  on  pouvoit  se  fonder,  pour  I'exclure  de  ma  tragedie.  L'art 
de  danser  n'est-il  pas  de  tons  lee  temps,  &  ne  convient-il  pas  k  tous  les  peuples?  La 
nation  juive  ne  s  y  adonnoit-elle  pas  autant  que  toutes  les  autres  ...  La  fille 
de  Jephte  n'alla-t-elle  pas  audevant  de  son  p^re,  vainqueur  dee  Ammonites,  avec 
des  tambourins  &  des  danses?  ..." 

The  printed  score  has  as  date  of  first  performance  (followed  by  the  reference  books), 
February  28,  1732.  ML  50.2.J3M6 

—  Jephte,  tragedie,  tiree  derEcritureSainte;  representee  par  I'Aca- 
demie  royale  de  musique,  I'an  1732.  Paroles  de  M.  Pellegrin.  Mu- 
sique  de  M.  Monteclair.     CXV.  opera. 

n.  i.,  n.  d.  pi.,  51-120  p.  Ij^'^.  (Recueil  general  des  opera,  Paris, 
1739,  t.  XV.) 

Detached  copy.  Prologue  and  five  acts.  On  p.  53-57  the  same  preface  as  in  the 
1738  ed.  ScHATz  6590 

Second  copy.    ML  48. R4 

Jerosme  et  Fanchonnette,  pastorale  de  la  Grenouillere,  en.  un 
acta.  Par  M.  Vade.  Representee  pour  la  premiere  fois  sur  le 
The&tre  de  rOpera-comique  le  18  f6vrier  1755.     Nouvelle  edition. 

Paris,  Duchesne,' 1757.     J^,  [6]  p.     19^"^. 

On  the  [6]  p.  "Catalogue  de  theatres." 

En  vaudevilles.  Cast.  On  p.  39-40  the  airs  of  the  duo  "Quand  I'amour  fait  d'l' 
ouvrage"  and  of  the  rondo  "L'amour  a  sur  la  riviere."  The  arranger  of  the  music 
unknown  to  me.  ML  50.2. J4 

—  Jerosme  et  Fanchonette,  pastorale  de  la  Grenouillere,  en  un 
acte.  Par  M.  Vade.  Representee,  pour  la  premiere  fois,  sur  le 
Theatre  de  I'Opera-comique  le  18  fevrier  1755. 

La  Haye,  Pierre  Gosse  junior,  1760.  J^B,  [/]  p.  W^.  {Vade, 
Oeuvres,  La  Haye,  1759,  t.  Hi.) 

^  En  vatidevilles.  Cast.  On  the  unnumbered  p.  the  air  note  of  the  duo,  "Quand 
I'Amour  fait  d'louvrage."  ML  49.A2V2 

—  Compliment  de  la  cloture  de  la  Foire  S.  Laurent,  1755.  Suivi 
de  celui  de  la  Foire  S.  G«rmain  de  la  m^me  ann^e.  Tous  deux 
chantes  h,  la  fin  de  Jerome  et  Fanchonette  le  6  octobre  1755. 

La  Haye,  Pierre  Gosse,  junior,  1759.  16  p.  16^"^.  {Vadi,  Oeuvres 
La  Haye,  1759,  t  III.) 

Cast.  On  p.  14-16,  "Autre  compliment  chante  &.  I'Opera  comique  ^  la  cldturede 
la  Foire  S.  Laurent." 

Jery  und  Bately.     Ein  singspiel.     Von  Goethe.    Achte  ausgabe. 
Leipzig,  Georg  Joachim  Goschen,  1790.    1  p.  I.,  56  p.    17^'^. 

One  act.  Edition  without  "Goschen's  Schriften,"  and  with  "zuruck  tretend"  on 
p.  52  in  two  words.  PT  1958.J5    1790 

—  Jery  und  Bately.     Ein  singspiel.    Von  Goethe.    Achte  ausgabe. 
Leipzig,  Georg  Joachim  Goschen,  1790.     1  p.  I.,  56  p.     17^^^. 

One  act.  Edition  without  "Goschen's  Schriften,"  and  with  "zurucktretend"  on 
p  52  in  one  word.  Goethe's  singspiel  had  been  first  performed  with  music  by  Carl 
Siegmund,  freiherr  von  SeckendorS  at  Weimar,  July  12,  1780.      PT  1958.J5    1790a 


OPERA  LIBRETTOS  663 

Le  jeune-vieillard.  Pi^ce  en  troia  actes,  tir^  des  Contes  Persaris. 
Representee  a  la  Foire  de  S.  Laurent  1722,  par  les  Comediens  italiens 
de  S.'  A.  R.  Monseigneur  le  due  d'Orleans  regent. 

Le  Theatre  de  la  foire,  Paris,  1724,  t.  v,  pi.,  [141]-268  p.     17^"^. 

Prose  play  by  Le  Sage,  Fuzelier,  and  d'Omeval.  The  few  incidental  musical  num- 
bers were  composed  by  Jean  Joseph  Mouret.  The  airs  are  printed  in  the  "Table  dee 
airs  "  at  the  end  of  the  volume.  ML  48.L2V 

Les  jeunes  maries.     Opera  comique  en  un  acte.    Par  Mr.  Par- 
mentier. 
La  Haye,  Pierre  Gosse  junior,  1751.     72,  [7]  p.     16^'^. 

Prose  and  vaudevilles.  The  [7]  p.  contain  the  airs  of  the  "Menuet  de  L'esprit 
folet — Qu'il  est  charmant,"  "Musette  nouvelle  de  Mr.  de  Blaise — Qu'il  m'est  doux 
d'etre  votre  6poux,"  "Musette  de  Monsieur  Bochar — Tout  suit  dans  I'uni vers,"  and 
the  vaudeville— "A  trente  ans  jadis  une  fiUe."  Both  Parfaict  and  Font  (also  Schatz) 
attribute  the  text,  not  to  Parmentier,  but  to  Favart,  and  claim  that  it  was  first  per- 
formed at  the  Foire  St.  Laurent  August,  1740  (Font),  July  1,  1740  (Parfaict).  Font 
says  that  the  next  entry  is  a  "reprise  avec  remaniements "  of  the  1740  play.  At  any 
rate,  the  differences  between  the  1755  version  and  that  of  1751  are  so  slight  as  to  be 
hardly  noticeable.  Schatz  11715 

—  Les  jeunes  maries,  opera-comi^ue  en  un  acte.  Represents  sur 
le  Theatre  de  la  Foire  S.  Germain,  le  15  mars  1755.  Nouvelle 
Mition. 

Paris,  Duchesne,  1757.  56  p.  19<^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  vii.) 

Several  of  the  airs  are  printed  in  the  text.  ML  49.A2F1 

—  Les  jeunes  maries,  opera-comique  en  un  acte.  Represents  sur 
le  Theatre  de  la  Foire  S.  Germain,  le  15  mars  1755. 

Paris,  la  veuve  Duchesne,  1767.    64  p.     19^^. 

On  p .  49-62,  seventeen  unaccompanied  '  'Airs  des  jeimes  maries. ' '    Schatz  1 1495 

La  jeunesse  ou  L' amour  ingenu.  EntrSe  in  Campra's  Les  ages, 
ballet." 

Les  jeux  olympiques.  Entries  in  Colin  de  Blamont's  Les  festes 
grecques  et  romaines. 

The  jew  decoy 'd;  or  The  progress  of  a  harlot.  A  new  ballad  opera 
of  three  acts.     The  airs  set  to  old  ballad  tunes. 

London,   E.  Rayner,   E.   Nutt    [etc],    1783.    53  p.     (incl.  front.) 

Three  acts  and  introduction.  Table  of  the  17  songs,  the  airs  of  which  are  indicated 
by  title  in  the  text.  Of  this  ballad  opera,  founded  on  Hogarth's  prints,  no  author  and 
no  performance  recorded  by  Clarence.  Longe  73 

Joas,  ein  koenig  der  Juden.     Tr.  of  Michl's  Gioas  rd  di  Giuda. 

Le  jockei,  comSdie  en  un  acte  et  en  prose,  mSlSe  d'ariettes;  repre- 
sentee sur  le  Thefi,tre  de  I'Gpera-comique,  ci-devant  The&,tre  italien, 
le  16  nivdse.  Tan  IV,  (6  Janvier  1796,  vieux  style.).     Paroles  du 
citoyen  Hoffman.    Musique  du  citoyen  Solie. 
Paris,  Vente,  un  IV'  {1796  vieux  style.)    29  p.     19^"^. 

ML  50.2.J6S6 


664  LIBBABY   OF   CONGRESS 

Johann,  der  znuntere  seifensieder.     Ein  deutsches  singspiel  in 
drey  aufzuegen  von  Wilhelm  Rothammer. 

Wien,  Franz  Anton  Hofmeister,  1791.     71  p.     W"". 

Not  recorded  by  Schatz,  Riemann,  Towers.  Schatz  11626 

Jordens  lyksalighed.     A.  T.  of  Sarti's  Astrea  tilfredsstillet. 

Joseph,   der  unterkoenig  in   Aegypten,   von  seinen  bruedem 
erkannt,   ein  singspiel   in   zween    aufzuegen,   aufgefuehrt  von   der 
studirenden  jugend  des  katholischen  schulhauses  zu  Augsbiu'g  bey 
St.  Salvator.  den  4,  5,  und  6  ten  Herbsmondes  [Sept.]  1785. 
[Augsburg],  Joseph  Simon  Hueher,  n.  d.     18  p.     20'^'^. 

With  cast^  "Vorbericht,"  and  name  of  the  composer,  Johann  Evangelist  Drexel. 
The  author  is  unknown  to  Schatz.  The  singspiel  was  preceded  by  "Georgius,  der 
grosse  heilige  martyrer,  ein  trauerspiel."  Schatz  2817 

Le  joueur.     Parody  of  Orlandini's  H  giocatore. 

The  jovial  crew.     A  comic  opera.    As  it  is  acted  at  the  Theatre- 
Royal,  by  His  Majesty's  servants  ...    With  the  music  prefix'd  to 
eacn  song. 
London,  J.  Watts,  1731.    4  p.  Z.,  68  p.    ;?0«™. 

Thrpe  acts.  Author  imknown.  The  p.  1.  contain  a  2  p.  list  of  "Books  printed  for 
J.  Watts."  Cast,  table  of  the  fifty -three  songs,  and  "advertisement,"  wnich  reads 
in  part: 

It  may  be  perhaps  necessary  to  inform  the  world,  that  the  groundwork  of  this 

giece  is  an  old  comedy  of  Richard  Brome's;  the  prose  part  of  it  consisting  chiefly  of 
agments,  collected  from  the  Merry  beggars,  and  so  disposed  as  to  introduce  the  songs 
witn  propriety.  The  songs,  (except  about  half  a  dozen)  were  written  about  three 
years  ago,  by  a  gentleman  who  is  since  dead.  This  circumstance  is  mentioned  here 
only  to  obviate  some  idle  rumours  which  have  been  spread  about  relating  to  the 
author  ..." 

The  "idle  rumours"  perhaps  refer  to  the  statement,  recorded  also  by  Baker  and 
Schatz,  that  the  interpolations  were  written  by  Edward  Roome,  Matthew  Concanen, 
and  Sir  William  Yonge. 

Ballad  opera,  the  airs  being  printed  in  the  text  with  their  titles. 

Performed  at  Drury  Lane  February  8,  1731.  ML  50.5.J6 

—  The  jovial  crew:  or,  The  merry  beggars.    A  comic  opera.    As  it 
is  performed  at  the  Theatre-Royal  in  Covent^Garden.     A  new  edi- 
tion, with  additional  songs,  and  alterations. 
London,  J.  and  R.  Tonson,  1767. 

Three  acts.  Cast.  This  edition  has  only  43  "airs,"  without  music  and  without 
even  the  titles  of  the  airs.  Schatz  enters  under  "The  jovial  crew  or  The  merry  beg- 
Kirs"  an  opera  by  William  Bates,  London,  Covent  Garden,  February  14,  1760. 
The  present  libretto  may  be  a  later  edition  or  this  (according  to  Schatz)  revised  text 
of  "The  jovial  crew."  Grove  records  under  Bates:  "The  ladies'  frolic,  an  alteration 
of  The  jovial  crew  (jointly  with  Dr.  Ame)  1770."  Cummings  lists  under  Ame  both 
"The  jovial  crew  "  (1769)  and  "The  ladies^  frolic  "  (1770).  The  vocal  score  mentions 
as  composers  Bates  and  Ame.  Longb  27 

Die  jubelhochzeit.    Eine  komische  oper  in  drey  aufzuegen. 

Leipzig,  Dyckische  Jmchhandlung,  1778.    208  p.     15Y'^. 

Neither  the  author.  Christian  Felix  Weisse,  nor  the  composer,  Johann  Adam 
Hiller,  is  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  November  2,  1774,  as 
"Das  jubelfest;"  April  5,  1773,  at  Berlin,  Theater  in  der  Behrenstrasse. 

Schatz  4722 


OPERA   LIBRETTOS  665 

The  judgment  of  Paris.  An  English  burletta.  In  two  acts.  As 
it  is  performed  at  the  Theatre-Royal  in  the  Hay-Market.  The  music 
composed  by  Mr.  Barthelemon  ... 

London,  T.  Becket  and  P.  A.  Be  Eondt,  1768.    34  p.     W"^. 

Two  acts.     By  Ralph  Schomberg,  who  is  not  mentioned.    Cast  and  dedication. 

First  performed  1768,  as  indicated.  Longe  52   ' 

The  judgment  of  Paris;  or,  The  triumph  of  beauty.    A  pastoral 
ballad  opera  of  one  act.     As  it  is  perform  d  at  the  Theatre-Royal  in 
Lincoln's-Inn-Fields  .  .  . 
London,  Printed  and  sold  hy  J.  Roberts,  1731.    2  p.  Z.,  15  p.     18^^, 

The  19  airs  used  are  indicated  by  title.    Author  not  recorded  by  Clarence. 
First  performed  May  6,  1731.  Longe  290 

Judith,  oder  Der  entsatz  BethuUens.  Ein  singspiel  in  zweyen 
choeren  nach  dem  herrn  abte  Metastasio. 

Page  [3-14]  (20"™.)  of  "Die  niederlage  der  Hunnen  vor  Augsburg.  Ein  trauerspiel 
in  dreyen  aufzuegen,  aufgefuehrt  von  der  studirenden  jugend  des  katholischen  schul- 
hauses  zu  Augsburg  bey  St.  Salvator  den  4.  5.  und  6.  herbstmondes  [Sept.  4r-6],  1780. 
Gedruckt  bei  Joseph  Simon  Hueber    .     .     ." 

Two  acts  with  cast.  Johann  Michael  Deinler  is  mentioned  as  the  composer. 
The  translator  is  not  mentioned  and  is  imknown  to  Schatz.  Translated  from  Meta- 
Btasio's  "La  Betulia  liberata."  Schatz  2507 

Le  jugement  de  Midas,  com6die.  En  trois  actes  et  prose:  melee 
d'ariettes,  representee  pour  la  premiere  fois  par  les  Com^diens  ita- 
liens,  ordinaires  du  roi,  le  samedi  27  juin  1778.  Par  Monsieur  d'Hele. 
Musique  de  M.  Gretry. 

Paris,  Ruault,  1778.     52  p.     W'^. 

Cast.  ML  50.2. J9G7 

—  Le  jugement  de  Midas,  com^die  en  trois  actes,  en  prose,  m616e 
d'ariettes,  f)ar  M.  d'Hele;  representee  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  Roi,  le  samedi  27  juin  1778.  Mu- 
sique de  M.  Gretry. 

Paris,  la  veuve  Duch^esne,  1779.    64  p.     18^*^^. 

Cast.  Schatz  4161 

—  Das  urtheil  der  Midas,  eine  operette  in  drey  aufzuegen.  Aus 
dem  franzoesischen  des  hrn.  d'Hele.     Die  musik  ist  von  hrn.  Gretry. 

Muenster,  Philipp  HeinricTi  Perrenon,  1781.     72  p.     16^*^^. 

By  Rothmann,  who  is  not  mentioned.  Schatz  4162 

—  Das  urtheil  des  Midas.  Komische  oper,  in  drei  aufzuegen. 
Nach  dem  franzoesischen.     Mit  beibehaltung  der  Gretryschen  musik 

von  Ch.  F.  V.  B n  [Bonin],  und  von  J.  Andre.     Zum  erstenmal 

in  Berlin  aufgefuehrt  den  9ten  Julius  1781. 

n.  i.,  n.  d.    p.  [148]-230.     15^"^. 

Detached  copy. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  July  9,  1781.        Schatz  4163 

—  Gesaenge  aus  dem  Urtheile  des  Midas,  einer  komischen  oper  in 
drey  akten.     In  die  musik  gesetzt  von  Gretry. 

Mitau,  Johann  Friedrich  Steffenhagen,  1783.     39  p.     16*^. 

German  translation  by  Christian  Gottlob  Neefe. 

First  performed  at  Bonn,  Churi.  Koln.  Hoftheater,  February  21, 1781. 

Schatz  4164 


666  LIBRARY  OF   CONGRESS 

Le  jugement  de  Paris.  Pastorale  h^roique,  representee  par  I'Aca- 
demie  royale  de  musique,  I'an  1718.  Paroles  de  Monsieur  Pellegrin- 
Barbier.     Musique  de  M.  Bertin.     XLIV.  opera. 

n.  i.,  n.  d.  jil.,  259-316  p.  i^*""*  {Recueil  general  des  opSra, 
Paris,  1734,  t.  xii.) 

Detached  copy.  Prologue  and  three  acts.  The  text  was  by  Simon  Joseph  de 
Pellegrin  and  Marie  Anne  Barbier. 

¥ii6i  performed  according  to  Schatz  on  June  14,  1718,  but  the  score  gives  June  21, 
1718.  Schatz  880 

Second  copy.     ML  48. R4 

—  I^e  jugement  de  Paris.  PiSce  d'un  acte.  Par  Monsieur 
D'Or    *    *.     Representee  k  la  Foire  de  Saint  Laurent  1718. 

Le  Thedtre  de  la  foire,  Paris,  1737,  t.  Hi,  pi,  [61]-93  p.     17""^. 

By  d'Omeval.  The  airs,  selected  or  composed  and  arranged  by  Jean  Claude 
Oillier,  the  "compositeur  "  of  the  theatre,  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs.  The  piece  was  a  parody  of  the  pastorale  h^roique  of  the  same 
title,  by  abb6  Pellegrin,  music  by  Bertin.  ML  48.L2III 

Le  jugement  de  Paris,  ballet-pantojnijne  en  trois  actes,  par  le 
citoyen  Gardel.     Musique  d'Haydn,  Plesyel  [!  Pleyel],  et  du  citoyen 
Mehul.     Donne  pour  la  premiere  fois  sur  le  Theatre  de  PAcademie 
de  musique,  le  5  mars  1793,  an  II  de  la  Republique. 
Paris,  la  veuve  Delormel,  an  VI  [1797-98].     x,  21  p.     i^"™. 

Cast,  detailed  scene-by-scene  synopsis,  and  avant-propos,  in  which  Gardel  says: 
"J'ai  tou jours  remarqu6  dans  les  ballets  d 'action  que  les  effete  de  decorations,  et 
les  divertissements  varies  et  agrdables,  6toient  ce  qui  attiriot  le  plus  la  foule  dea 
epectateurs,  et  les  vifs  applaudissements;  d'aprfes  cette  remarque,  j'ai  cherch^  un 
Bujet  qui  p{it  se  plier  h.  faire  valoir  les  grands  talens  que  I'Op^ra,  de  Paris  seul,  possMe 
en  danse,  et  qui  me  permit  d'^tendre  les  id^es  que  le  nasard  pourroit  m'offrir :  I'nistoire 
po^tique  estle  terrein  in^puisable  que  le  maltre  de  ballet  doit  cultiver  ..." 

ML  52.2.J9 

Le  jugement  de  Paris — Das  urtheil  des  Paris,  ballet.  See  Tozzi's 
Zenobia. 

Julchen  und  Peter.     Tr.  of  WeigFs  Giulietta  e  Pierotto. 

Julia.  A.  T.  of  Reiser's  Die  durch  verstellung  .  .  .  siegende  Hebe 
oder  .  .  . 

Julie,  comedie  en  trois  actes,  m^iee  d'arietles;  par  Mr.  Monvel.     La 
musique  est  de  Mr.  Des  Aides.     Representee  pour  la  premiere  fois 
par  les  Comediens  italiens  ordinaires  du  roi,  le  22  septembre  1772. 
Paris,  La  veuve  Duchesne,  1773.    59  p.     19^'^. 

At  end,  list  of  contents  (3  p.)  of  F.  J.  Desoeur's  "Recueil  g^n^ral  des  Op^ra 
bouffons,"  in  seven  volumes.  On  p.  58-59  (incorrectly  numbered  69)  the  melody 
of  the  final  "Choeur.    Le  plaisir  succfede  auix  larmes."  Schatz  2520 

—  JuHe,  comedie  en  trois  actes,  m^iee  d'ariettes;  par  Mr.  Monvel, 
la  musique  est  de  Mr.  Des  Aides.  Representee  pour  la  premiere  fois 
par  les  Comediens  italiens  ordinaires  au  roi,  le  22  septembre  1772. 

Paris,  la  veuve  Duchesne,  1775.    69  p.     17^^. 

Cast.    On  p.  68-69,  the  air  of  the  final ' '  Choeur  " :  "  Le  plaiair  euccMe  aux  larmes." 

YUDIN  PQ 


OPERA   LIBRETTOS  667 

Julie — Continued. 

—  Julie,  ein  'singspiel  in  drey  aufzuegen  aus  dem  franzoesischen 
uebersetzt  mit  musiK, 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  177 4-  128,  12  p. 
IBY"^. 

The  12  p.  of  music  (folded,  obi.  engraved)  contain  melody  and  base  of  the  ^^Arie' 
Sanft  schUef  einst  Lieschen  in  dem  grase"  (II,  1)  and  ^'Arie  Ay,  ay,  ay,  ay,  ay" 
(III,  3).    The  translator,  Johann  Heinrich  Faber,  is  not  mentioned. 

First  performed  at  Frankfort  o/M,  Theater  im  Junghof,  1774.  Schatz  2521 

—  Was  einem  recht,  ist  dem  andern  billig.  Ein  singspiel  in 
drey  aufzuegen  von  Monvell.  Nach  einer  freyen  uebersetzung,  von 
G.  '¥.  W.  Grossmann.     Die  musik  ist  von  Desaides. 

FranTcfurt  und  Leipzig,  Eermannische  huchhandlung ,  17 83.     116  p. 

16'^'^. 

First  performed  at  Frankfort,  Neues  Schauspielhaus  im  Junghof,  1783. 

Schatz  2522 

Julie  oder  Die  dankbare  tochter,  ein  lustspiel  mit  gesang.  Von  F.  G. 
von  Nesselrode.  Die  musik  ist  vom  fuerstl.  Taxiscnen  operndirecteur 
hrn.  Kirzinger. 

Regenshurg,  Montagische  huchhandlung,  1780.     102  p.     W^'^™. 

First  performed  1780,  as  indicated.  Schatz  5339 

Julie  und  Armidor.     Tr.  of  Cimarosa's  Giuletta  ed  Armidoro. 
Julie  und  Romeo.     L.  T.  of  Benda's  Romeo  und  Julie. 
Julie  und  Romeo.     Tr.  of  Zingarelli's  Giulietta  e  Romeo. 
Julius  Caesar.     /See  Reiser's  Der  durch  den  fall  .  .  .  erhoehete  .  .  . 
Julius  Caesar  i  Aegypten.     Tr.  of  Sarti's  Cesare  in  Egitto. 
Julius  Caesar  in  Aegypten.     See  Handel's  Giulio  Cesare  in  Egitto. 
Julius  Satainus.     Tr.  of  Sarti's  Giulio  Sabino. 

Dem  Jupiter  abgelegte  huldigung. 

Unpaged.     19""^. 

At  end:   "Muenchen,  gedruckt  bey  Maria  Magdalena  Riedlin,  wittib,  1727." 
One  act.    Ai^ument.     Not  recorded  by  Schatz.  Schatz  11628 

Jupiter  en  Argos.     Tr.  of  Lotti's  Giove  in  Argo. 

Jupiter  et  Calisto.     See  Mondonville's  Les  projets  de  I'amour. 

Jupiter  et  Niobe.     See  I^es  amours  des  dieux. 

Just  in  time.     A  comic  opera,  in  three  acts.     As  performed  at  the 
Theatre-Royal,  Co  vent-Garden  with  the  greatest  applause.     Written 
by  Thomas  Hurlstone. 
London,  J.  Dehrett,  n.  d.    2  p.  I.,  67,  [1\  p.     20^^*^. 

PubUflher's  book-list  on  last  page.  Cast,  dedication  dated  November  27,  1792, 
and  preface,  in  which  the  author  calls  this  "his  first  dramatic  bantling."  Originally, 
he  says,  it  waa  a  two-act  comedy,  written  at  a  very  early  age,*!for  private  perform- 
ance by  a  party  of  friends.    The  manuscript  fell  into  Mr.  Colman,  sen.'s  hands, 


668  LIBRARY   OF   CONGRESS 

Just  in  time — Continued. 

who  agreed  to  produce  it,  if  Bonge  were  added.    This  was  done,  but  Colman'e  death 

Erevented  the  performance.  The  piece  was  finallv  brought  out  for  the  benefit  of 
[r.  Munden,  May  10,  1792,  at  Covent  Garden.  The  composer,  Thomas  Carter,  is 
not  mentioned.  In  Lon^an  and  Broderip's  vocal  score  "When  the  lads  and  the 
lasses  "  is  headed  as  "written  and  composed  by  Mr.  Johnstone  "  and  text  of  "Fell 
war  "  as  written  by  Carter.  Longb  220 

Justinus.  See  Schieferdecker's  Der  von  dem  ackers-pflug  zu  den 
thron  erhabene  kaeyser  Justinus. 

Das  kaestchen  mit  der  chifFer.     Tr.  of  Salieri's  La  cifra. 

Die  kantons- revision.  Eine  komische  oper  in  drei  aufzuegen  von 
Ludwig  V.  Baczko. 

Koenigsherg,  Eartung,  1794.     96  jp.     15Y"^. 

Wilhelm  Ferdinand  Halter  is  mentioned  as  the  composer. 

First  performed  at  Koenigsberg,  Ackermann'sches  Scnauspielhaus,  1794. 

ScHATZ  4449 

Der  kapellmeister;  oder  Ist's  nicht  die  eine,  so  ist's  die  andre. 
Ein  komisches  singspiel  in  zwey  aufzuegen  nach  einem  italiaen- 
ischen  texte,  und  Lorazi's  Komposition,  von  Bock. 

n.  %.,  n.  d.  p.  [111]-196.  17*^'^.  {Komische  opem  der  Italiener, 
Leipzig,  1781,  Bd.  I.) 

Detached  copy.    Added  to  text,  a  2  p.  book  list  of  the  publisher. 

First  performed  at  Leipzig,  Theater  beim  Rannstaedter  There,  October  14,  1779, 
and  at  Dresden,  Churfuerstl.  Kleines  Theater,  in  the  same  year.  This  is  a  German 
version  of  Girolamo  Lorazi's  "II  maestro  di  cappella  burlato,"  Rome,  Teatro  della 
Pace,  carnival,  1777.  Schatz  5684 

Der  kapellmeister.     Tr.  of  Pergolesi's  II  maestro  di  cappella. 

KaroUne  oder  Die  parforcejagd,  eine  operette  in  vier  aufzuegen. 

n.  i.,  1781.     84  p.     16^"^. 

Dedication  to  Friedrich,  fuert  zu  Waldeck  by  Carl  August  Seidel.  Not  recorded 
by  Schatz,  Riemann,  Towers.  ML  50.2.K2 

Kaspar  der  mundkoch.     A.  T.  of  Schack's  Die  drey  ripge. 

Kaspars  zoegling,  oder  Der  sieg  der  bescheidenheit  auf  der  insel 
des  vergnuegens.  Ein  original-singspiel  in  zween  aufzuegen,  fiir  das 
kinderinstitut  dieses  theaters  verfertiget  von  J.  Perinet.  Die  musik 
ist  vom  hxn.  Ferdinand  Kauer,  lehrer  der  Marinellischen  Singschule. 
Wien,  Maihias  Andreas  Schmidt,  1791.     50  p.     17'^'^. 

'    Cast. 

First  performed,  as  indicated,  February  1,  1791.  Schatz  5035 

Der  kaufmann  von  Smyrna,  eine  operette  in  einem  aufzuge.  Die 
musik  ist  von  herrn  Holly  in  Prag. 

Frarikfurth  und  Leipzig,  n.  publ.,  177 4.     86  p.     18^'^. 

The  author.  Christian  Friedrich  Schwan,  is  not  mentioned. 

First  performed  at  Berlin,  Kochsches  Theater  in  der  Behrenstrasse,  November  13, 
1773.  Schatz  4770 

Gesaenge  aus  dem  singspiele:  Der  kaufmann  von  Smirna,  in 
einem  aufzuge,  nach  dem  franzoesischen  des  herrn  von  Champfort, 
von  Schwan.     In  musik  gesezt  von  Stegmann. 

Hamburg,  J  oh.  Matthias  Michaelsen,  1792.     15  p.     16^*^. 

First  performed  at  Konigsberg,  Ackermann'sches  Theater,  1773.      Schatz  10040 


OPERA   LIBRETTOS  669 

Der  kaufmann  von  Smyrna,  eine  operette  in  einem  aufzuge.  Die 
jnusik  ist  von  herm  G.  Vogler. 

Mannheim,  C.  F.  Schwan,  1771.     75,  [4]  p.     15*^. 
'  The  unnumbered  pages  contain  a  sale's  catalogue  of  the  pul^lisher. 

In  a  prefatory  note  dated  Mannheim,  July  22,  1771,  C.  F.  Schwan,  who  was  also 
the  author  of  the  piece,  says: 

"Das  lustspiel,  'der  Kaufmann  von  Smyrna,'  so  wie  ich  es  vor  einem  jahre  aus  dem 
franzoesischen  des  hn.  von  Champfort  uebersetzt,  hat  zwar  gefallen;  allein  man  setzte 
mit  recht  daran  aus,  dass  es  zu  kurz  sey.  Ich  habe  diesem  lehler  dadurch  abzuhelfen 
geglaubt,  wenn  ich  es  in  eine  operette  yerwandelte  .  .  .  Wegen  den  veraender- 
imgen,  die  ich  hie  und  da  gemacht,  werde  ich  mich  wohl  nicht  entschuldigen  duerfen. 
Es  waere  unschicklich  gewesen,  wenn  Dornal  und  Amalie  keine  arien  bekommea 
haetten,  und  wenn  dieses  seyn  soUte,  so  musste  ich  eie  allein  auf  das  theater  bringen 
und  also  eine  scene  einschalten .  Den  rechtsgelehrten  habe  ich  mit  vielem  vorbedacht 
weggelassen.  Ich  finde  es  sehr  unnatuerlich,  wenn  jemand  sich  selbst  veraechtlich 
macht  .  .  ." 

First  performed  at  Mannheim,  Schauspielhaua  auf  dem  Fruchtmarkt,  1771. 

ScHATZ  10797 

Kayser  Hadrianus.     /SeeBroschi'sDerinSyrientriumphirende  ,  .  . 

The  Kentish  barons:  a  play  in  three  acts.  Interspersed  with 
songs.  By  the  Honourable  Francis  North.  First  performed  at  the 
Theatre-Royal,  Hay-Market,  Saturday,  June  25th,  1791. 

London,  J.  Ridgway,  1791.    2  p.  I.,  U  p.     19^"^. 

Cast.    The  composer  is  not  mentioned,  and  is  unknown  to  Schatz.    Lokoe  216 

Kierligheds-brevene.  Et  syngespil  i  tre  acter  af  Charlotta 
Dorothea  Biehl. 

Ki0henhavn,  Nicolaus  M0Uer,  1774-     72  p.     W"^. 

Cast.     Sarti,  the  composer,  is  not  mentioned. 

First  performed  at  Copenhagen,  Courttheatre  in  Christiansborg  Slot,  March  22, 
1775.  ScHATZ  9446 

Kildar,  ballet.     See  Zingarelli's  II  ratto  delle  Sabine. 

Die  kinder  der  natur,  ein  singspiel  in  zween  aufzuegen  nach  dem 
franzosischen  des  Marivaux.  Aurgefuhrt  auf  der  K.  K.  National- 
schaubiihne.     Die  musik  ist  von  herm  Aspelmayer. 

"Wien,  zujinden  hey  dem  logenmeister,  17.78.     ^7  p.     W"*. 

Author  unknown  to  Schatz. 

First  performed  on  July  15,  1778,  as  indicated.  Schatz  364 

Kindliche  Uebe.     Tr.  of  Gaveaux's  L'amour  filial. 

King  Arthur:   or,  The  British  worthy.     A  dramatick  opera.     Per- 
form'd  at  the  Qveens  theatre  by  Their  Majesties  servants.     Written 
by  Mr.  Dryden. 
London,  J.  Tonson,  1691.     6  p.  I,  51,  [1\  p.     22\'^. 

Five  acts,  prologue  and  epilogue.  Cast  and  dedication  to  the  marquis  of  Hallifax, 
largely  an  eulogy  of  Charles  II.    It  reads,  in  part: 

"This  Poem  was  the  last  Piece  of  Service,  which  I  had  the  Honour  to  do,  for  my 
Gracious  Master,  King  Charles  the  Second:  And  though  he  liv'd  not  to  see  the  Per- 
formance of  it,  on  the  Stage;  yet  the  Prol^ue  to  it,  which  was  the  Opera  of  Albion 
and  Albanius,  was  often  practis'd  before  Him  at  Whitehal,  and  encourag'd  by  His 
Royal  Approbation  .  .  . 

In  the  mean  time,  while  the  Nation  is  secur'd  from  Foreign  Attempts,  by  so 
powerful  a  Fleet,  and  we  enjoy  not  only  the  Happiness,  but  even  the  Ornaments  of 
Peace,  in  the  Divertisement  or  the  Town,  I  humbly  oflfer  you  this  Trifle,  which  if  it 
succeed  upon  the  Stage,  is  like  to  be  the  chieiest  Entertainment  of  our  Ladies  and 


670  LTBRABY   OF  CONGRESS 

King  Arthur — Continued. 

Gentlemen  this  Summer.  When  I  wrote  it,  seven  Years  aco,  I  employ'd  some  reading 
about  it,  to  inform  my  self  out  of  Beda,  Bochartus,  and  otntr  Authors,  concerning  the 
Rites  and  Customs  oi  the  Heathen  Saxons;  as  I  also  us'd  the  little  Skill  I  have  in 
Poetry  to  adorn  it.  But  not  to  offend  the  present  Times,  nor  a  Government  whicli 
has  hitherto  protected  me,  I  have  been  oblig'd  so  much  to  alter  the  first  Design,  and 
take  away  so  many  Beauties  from  the  Writing,  that  it  is  now  no  more  what  it  waa 
formerly,  than  the  present  Ship  of  the  Royal  Sovereign,  after  so  often  taking  down, 
and  altering,  to  the  vessel  it  was  at  the  first  Building.  ^  There  is  nothing  betterj  than 
what  I  intended,  but  the  Musick;  which  has  since  arriv'd  to  a  greater  Perfection  in 
England,  than  ever  formerly;  especially  passing  through  the  Artful  Hands  of  Mr. 

! Henry]  Purcel,  who  has  Compos  d  it  with  so  great  a  Genius,  that  he  has  nothing  to 
ear  but  an  ignorant,  ill-judging  Audience.  But  the  Numbers  of  Poetry  and  Vocal 
Musick,  are  sometimes  so  contrary,  that  in  many  places  I  have  been  oblig'd  to  cramp 
my  Verses,  and  make  them  rugged  to  the  Reader,  that  they  may  be  harmonious  to 
the  Hearer:  Of  which  I  have  no  Reason  to  repent  me,  because  these  sorts  of  Enter- 
tainment are  principally  design 'd  for  the  Ear  and  Eye;  and  therefore  in  Reason  my 
Art  on  this  occasion,  ought  to  be  subservient  to  his.  And  besides,  I  flatter  my  self 
with  an  Imagination,  that  a  Judicious  Audience  will  easily  distinguish  betwixt  the 
Songs,  wherein  I  have  comply 'd  with  him,  and  those  in  which  I  have  followed  the 
Rules  of  Poetry,  in  the  Sound  and  Cadence  of  the  Words.  Notwithstanding  all  these 
Disadvantages,  there  is  somewhat  still  remaining  of  the  first  Spirit  with  which  I 
wrote  it:  ..." 

First  performed  1691,  as  indicated.  ML  50.2.K54 

—  King  Arthur:  or,   The  British  worthy.     A  masque.    Altered 
from  Dryden,  by  David  Garrick,  Esq.     And  now  performed  at  the 
Theatre-Roval  in  Drury-Lane.     The  music  by  Purcell  and  Dr.  Arne. 
The  scenes  by  French  and  Carver. 
London,  W.  Strahan,  T.  Lovmde^,  [etc.],  1781.     56  p.     21'='^. 

Cast  of  1781  and  prefatory  note: 

"The  names  of  Dryden  and  Purcell  have  made  the  following  performance  hitherto 
regarded  as  one  of  the  best  calculated  to  shew  the  effects  of  poetry,  action  and  music 
.  .  .  The  success  of  this,  as  well  as  of  all  other  theatrical  exhibitions,  will  wholly 
depend  upon  the  present  taste;  but  it  is  hoped,  and  believed,  that  two  of  our  greatest 
geniuses  in  poetry  and  music,  if  they  have  justice  done  them  upon  the  stage,  t)id  fair 
for  public  approbation. — There  are  some  slight  alterations  made,  for  the  greater 
convenience  of  representation;  and  some  few  songs  added,  where  it  was  thought 
Buch  additions  would  be  of  service  to  the  whole." 

Detailed  information  on  Ame's  share  in  this  new  version  will  be  foimd  in  Cum- 
mings'  book  on  Arne. 

First  performed,  as  indicated,  December  13, 1770.  Longe  251 

King  Pepin's  campaign.     A  burlesque  opera,  of  two  acts.    Acted 
at  the  Theatre  Royal  in  Drury-Lane  in  the  year  1745  [!] 
London,  W.  Reeve,  1756.  [!]    2^  f.     W^'".. 

Two  acts.  Cast.  Neither  William  Shirley,  the  author,  is  mentioned,  nor  Thomaa 
Augustine  Arne,  the  composer. 

First  performed  April  15,  1745,  as  indicated.  Longe  59 

Second  copy.    Longe  204 

The  kingdom  of  the  birds.     A.  T.  of  Wonders  in  the  sim. 

Ki^bmanden  som  adelsmand,  og  bondepigen  som  fr0ken.  A.  T 
of  Piccinni's  Bondehovmod. 

Arien  aus  der  operette  Die  kleine  aehrenleserin.     Aus  Weissens 
Kinder-freund.     In  musick  gesetzet  von  herm  Wittrock.     Nebst 
einem  prolog  von  herm  Goedicke. 
Luebeck,  den  SI  maerz  1785,  n.  puhl.     16  p.     16'^™^. 

The  operetta  was  followed  by  Gellert's  comedy,  "Die  kranke  frau."  Casts  for 
both.  The  "Prolog  fuer  Bemh.  Aug.  v.  Wickeae"  consumes  five  pages  of  the 
sixteen.  Schatz  11068 


OPERA   LIBRETTOS  671 

Die  kleinen  wagehaelse,  ein  singspiel  in  zween  aufziiegen,  von  den 
schuelem  der  dritten  classe  an  dem  katholischen  schulhanse  bey  St. 
Salvator  aufgefuehrt  im  Maymonate  1785  zu  Augsburg. 

[Augshurg],  Joseph  Simon  Eueher,  n.  d.     I4  P-     19"^. 

With  "Vorbericht,"  cast,  and  name  of  the  composer,  Johann  Evangelist  Drexel. 
Preceded  by  "Die  kinderzucht,  ein  lustepiel."  Schatz  2818 

Die  kleinmuehtige  selbst-moerderin  Lucretia  oder  Die  staats- 
thorheit  des  Brutus.  Musicalisches  trauer-spiel  auf  dem  Ham- 
biu^ischen  Schau-platz  aufgefuehret.     Im  jahr  1705. 

n.  i.,  n.  d.     Unpaged.     19<'^. 

Five  acts.    Lengthy  historical  "vorbericht,"  which  reads,  in  part: 

"Die  fehler,  so  in  den  italiaenischen  arien  moechten  angemercket  werden,  sind 
niemanden  als  dem  verfasser  dieser  opera  beyzumessen  [Barthold  Feind],  denn  er  hat 
dem  zuschauer  lieber  seine  eigne  gedancken  in  dieser  sprache  verkauffen,  als  die 
arbeit  mit  fremden  fedem  schmuecken  wollen,  so  viel  wie  moe^lich  hat  er  sich  nach 
dem  deutschen  metro  gerichtet,  weil  die  caesur  der  ital.  verse  msgemein  etwas  hart 
klinget.  Des  Comeille  Lucrece  haben  wir  nicht  gelesen,  und  die  italiaenische  comedie 
des  Sigre  dottore  Bonnicelli  hat  uns  eben  so  wenig  als  des  cardinals  Delfino  Lucrezia 
Romana,  so  nur  eine  tragoedia  Meta  .  .  .  dienen  koennen  .  .  .  Wir  koennen  nicht 
erachten,  was  die  Deutschen  bissher  abgeschreckt,  ein  schauspiel  in  ihrer  mutter- 
eprache  von  dieser  beruehmten  liebes-geschichte  zu  verfertigen  .  .  .  Die  aria  im  4. 
auftrittder  4.  handlung  'Hab  ich^  zuviel  verbrochen '  ist  des  verfassers  nicht,  doch 
war  von  des  hn.  capellmeisters  Kaeyeers  [Reinhard  Keiser]  composition,  wie  daa 
gantze  schauspiel." 

First  performed,  as  indicated,  November  23,  1705.  Schatz  5099 

—  Die  kleinmuehtige  selbst-moerderin  Lucretia.  Oder:  Die 
staatsthorheit  des  Brutus.     Musicalisches  trauer-spiel. 

BaHh.  Feind's  Deutsche  gedichte,  Stade,  1708,  pi.,  p.  [175]-260.  17^. 

Five  acts.  Date  for  first  performance  as  Hamburg,  November  29,  1705,  and  same 
"Vorbericht." 

The  composer,  Reinhard  Keiser,  is  not  mentioned.  ML  49.A2F2 

Das  kleinod  Ceraunia  von  tJlissipone  jetzo  genannt  Lisbona. 

Tr.  of  La  gemma  Ceraunia  .  .  . 

Der  kluge  Jakob.     Eine  komische  oper  in  drey  akten  von  J.  K. 
Wezel. 
Leipzig,  DyTcische  huchhandlung,  1787.     IJ^S  p.     15^*^^. 

The  composer,  freiherr  von  Kospoth,  is  not  mentioned. 

First  performed  at  Berlin,  National  Theater,  February  26, 1788.  Schatz  5219 

Arien  imd  gesaenge  aus  dem  singspiele:  Der  kluge  naann,  oder:  Die 
drey  wuensche,  in  einem  aufzuge. 

Hamburg,  Friedrich  Hermann  NesUer,  n.  d.     15^'^'^. 

Schatz  enters  this  under  Georg  Benda's  "Der  holzhauer,"  but  "Der  kluge  mann" 
and  "Der  holzhauer"  have  nothing  in  common  except  a  few  of  the  characters,  the 
sub-title^  and  the  idea  of  the  piece.  In  Benda's  opera  the  main  characters  are  called, 
"Valentin,  der  holzhauer;  Brigitte,  Valentins  frau;  Wilhelmine,  Valentins  tochter; 
Konrad,  Wilhelminens  liebhaber;  Wenzel,  ein  alter  Pachter;  Der  amtmann;"  etc. 
In  "Der  kluge  mann"  the  characters  are:  "Hanns,  ein  armer  holzhauer;  Grete, 
seine  frau;  Lieschen,  seine  tochter  erster  ehe;  Conrad,  ein  junger  bauer;  Wenzel,  ein 
reicher  pachter;  Der  amtmann."  It  is  now  easy  to  see  now  Schatz  was- led  to  his 
entryj  though  the  texts  are  absolutely  different. 

A  BLDgspiel  of  the  title,  "Der  kluge  mann,"  was  performed  at  Berlin  by  Koch  on 
March  30, 1774.  Schatz  771. 

Koenig  der  elfen.     A.  T.  of  Wranitzky's  Oberon. 


672  UBBARY  OF   CONGRESS 

Koenig  Saul,  ein  singspiel  in  zween  aufzuegen,  aufgefiiehrt  von  der 
studirenden  jugend  des  Katholischen  schulhauses  bey  St.  Salvator  in 
Augsburg  den  3.  4.  und  6  ten  des  herbstmonates  [September]  1798. 

[AiLgsburg],  Joseph  Anton  Hueber,  n.  d.     [16]  p.     18"^. 

Cast  and  "Vorbericht,"  mentioning  Matthaus  Fischer  as  composer.  At  head  of 
title,  "Kaiser  Mauritius,  ein  trauerspiel  .  .  .  und."  Schatz  3222 

Der  koenig  Theodor.     Tr.  of  Paisiello's  II  re  Teodoro  in  Venezia. 

Der  koenig  Theodor  in  Venedig.  Tr.  of  Paisiello's  II  re  Teodoro 
in  Venezia. 

Der  koenig  Theodor  zu  Venedig.  Tr.  of  Paisiello's  II  re  Teodoro 
in  Venezia. 

Der  koenig  und  der  pachter.  Tr.  of  Monsigny's  Le  roi  et  le 
fermier. 

Gesaenge  zu  dem  heroisch-komischen  singspiel  in  drey  aufzuegen: 
Die  koenigin  der  Schwarzen  inseln  als  fortzetzun^  vom  Wohl- 
thaetigen  derwisch.  Die  musik  ist  vom  herrn  Suessmaier,  und  nach 
dem  bekannten,  und  beliebten  Spiegel  von  Arkadien,  auf  dieses  sing- 
spiel adaptirt,  weil  des  grossen  aufwandes,  und  der  schweren  be- 
setzung  weger  der  Spiegel  nicht  auf  alien  theatem  kann  gegeben 
werden. 

71.  i,  1797.     16  p.     16^"^. 

Text  probably  by  Johann  Schwaldopler.    Not  recorded  by  Schatz. 

ML  50.2.K7S9 

Der  koenigliche  printz  aus  Pohlen,  Sigismundus,  oder  Das 
menschliche  leben  wie  ein  traum  in  einem  singe-spiel.  Auf  dem 
Hamburgischen  schau-platz  vorgestellet.     1693. 

n.  i.,  n.  d.     Unpaged.     17 Y"^. 

Three  acts.  By  Christian  Heinrich  Postel.  Neither  he  is  mentioned  nor  the 
composer,  Johann  Georg  Conradi.  Argument  and  "Bericht  an  den  leser,"  in  which 
Postel  says: 

"Diese  erzehlte  geschicht,  oder  vielmehr  dieses  gedicht,  guenstiger  leser,  ist  durch 
eine  hollaendische  leder  erstlich  in  einer  comoedie  auf  den  schauplatz  gefuehrt,  und 
weil  es  von  sonderbarer  artigkeit,  hat  man  es  in  eine  opera,  aber  versichert  ni,cht 
ohne  groese  muehe  wollen  uemkleiden,  ob  es  nun  vei^uegung  oder  missbehagen 
erwecken  werde,  will  man  mit  der  zeit  erwarten  .  .  .  Wo  aber  einer  gedencket  hier 
eine  vollkommene  version  der  hoUaendischen  comoedie  zu  finden,  betriegt  er  sich, 
weil  man  aus  derselben  nur  den  verstand  genommen,  doch  mit  ein  imd  andem 
zusaetzen  denselben  ausgeziert.  Ist  nun  jemand,  der  meinet,  dass  solches  uebel 
gethan,  der  versuch  es  auf  eine  andere  art.  Geraeth  es  ihm  denn  besser,  wol!  Phil- 
lida  solus  habebit."  Schatz  2179 

Der  koenigliche  printz  Regnerus.  In  einer  opera  aufF  dem  Ham- 
burgischen schau-platz  vorgestellet. 

[Hamburg],  Conrad  Neumann,  1702.     Unpaged.     16^^'^, 
Three  acts.    Neither  the  author  is  mentioned  (unknown  to  Schatz)  nor  the  com- 
poser, Johann  Christian  Schieferdecker.    Argument  and  scenario. 

First  performed,  as  indicated,  1702.  Schatz  9602 

Der  koenigssohn  aus  Ithaka.  Eine  grosse  heroisch-komische  oper 
in  2  aufzuegen.  Verfasst  von  hm.  Emanuel  Schikaneder.  In  musik 
gesetzt  von  hm.  Franz  Anton  Hoffmeister. 

Wien,  Franz  Anton  HoffmdsUr,  1797.     100,  [2]  p.     16^'^'". 

First  performed  at  Vienna,  Theater  auf  der  Wieden.  June  27, 1795,    Schatz  4750 


OPERA   LIBRETTOS  673 

Der  koenigssohn  aus  Ithaka — Continued. 

—  Gesaenge  aus  dem  singspiele:  Telemach,  in  vier  abtkeilungen. 
(Neu  bearbeitet).     In  musik  gesezt  von  Hofmeister. 

Hamburg,  Friedrich  Hermann  Nestler,  n.  d.     ^8  p.     15'^. 

Schikaneder's  text  is  hardly  to  be  recognized  in  this  version  by  unknown  editor. 
First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  January  26,  1797. 

SCHATZ  4751 

—  Arien  und  gesaenge  aus  Telemach,  koenigssohn  aus  Ithaka. 
Eine  heroisch-komiscne  oper  in  zwey  aufzuegen.  Die  musik  ist  von 
Franz  Anton  Hofmeister. 

FranTcfuH  am  Main,  n.  puhl,  1798.     32  -p.     16^"^. 

Follows  Schikaneder's  original  text  (at  least  of  the  arias)  fairly  closely. 

First  performed  at  Frapkfurt  a/M,  Nationaltheater,  1798.  Schatz  4753 

—  Telemach,  prinz  von  Ithaka.  Eine  heroisch-komische  oper  in 
zwei  aufzuegen.  Ganz  neu  bearbeitet.  Die  musik  ist  von  Hof- 
meister. Aufgefuehrt  zum  ersten  male  den  11.  februar  1797  auf  dem 
Hoftheater  zu  Weimar. 

Weimar,  Hoffmann,  1797.     119  p.     15<^. 

This  version  was  by  Christian  August  Vulpius  (not  mentioned),  who  left  prac- 
tically nothing  of  Schikaneder's  text.  Schatz  4752 

Der  kohlenbrenner,  ein  lustspiel  mit  gesang  in  einem  aufzug  von 
Ludwig  Ysenburg  von  Buri. 

Neuwied,  Gehra  und  Eaupt,  1789.     48  p.     lA^'^, 

Text  and  music  by  the  above. 

First  performed  at  Neuwied,  Hoftheater,  1779.  Schatz  1422 

Die  kolonie.     Tr.  of  Sacchini's  La  colonie. 

Gesaenge  aus  der  oper  Der  kopf  ohne  mann.  Eine  grosse  heroisch- 
komische  zauber-oper  in  zwey  aufzuegen  nach  der  geschichte  frey 
bearbeitet  von  Joacnim  Perinet  .  .  .  Die  musik  ist  vom  herm  Joseph 
Woelfl  .  .  . 

Wien,  n.  pull.,  1798.     32  p.     16'='^. 

First  performed  at  Vienna,  Theater  auf  der  Wieden,  December  3,  1798. 

Schatz  11106 

Kora  und  Alonzo,  ein  drama  mit  musik  Vermischt.     Nach  Marmon- 
tels  erzaehlung  frei  bearbeitet.     Die  musik  ist  von  herrn  Winter. 
Mit  begnehmigung  eines  kurfuerstl.  Buecher-censurkollegiums. 
[Miinchen],  J  oh.  Paul  Voetter,  n.  d.     Unpaged.     16*^. 

Two  acts.    By  Franz  Joseph  Marlus  von  Babo,  who  is  not  mentioned. 
First  performed  at  Ratisbon,  Thurn  &Taxische  Schaubuehne  im  Ballhause,  1781. 

Schatz  11038 

Die  kranckende  liebe  oder  Antiochus  und  Stratonica.  German 
T.  of  Graupner's  L'amore  ammalato. 

Der  krieg.     Ein  lustspiel  des  herrn  Goldoni  als  eine  komische  oper 
in  drey  akten. 
Leipzig,  Adam  Friedrich  Boehme,  1773.     182,  [1]  p.     IS*^. 

Goldoni's  comedy  was  "La  guerra."  Saal's  translation  of  this,  revised  by  Carl 
Wilhelm  Ramler,  had  been  unsuccessful.  Christian  Felix  Weisse  saved  the  situa- 
tion byadding  songs  and  intermezzi  which  Johann  Adam  HiUer  composed.  In  this 
form  as  singspiel,  "Der  krieg"  was  first  performed  at  Berlin,  Theater  m  der  Behren- 
Btrasse,  August  17, 1772  (Schatz).  Schatz  4723 

72251°— VOL  1—14 43 


674  UBRABY  OF  CONGRESS 

Kriegs-liste  des  Bias.     Tr.  T.  of  Draghi's  Gli  stratagemi  di  Biante. 

Der  kurze  irrthum.     See  DezMe's  L'erreur  d'un  moment. 

Labino,  e  Carlotta.     Farsa  per  musica  di  Gaetano  Rossi  da  rap- 
presentarsi  nel  nobilissimo  Teatro   Venier  in  San  Benedetto  I'au- 
tunno  dell'  anno  1799. 
n.  i.,  n.  d.     40  p.     18<^^. 

Cast  and  name  of  Johann  Simon  Siayr  as  the  composer.  Pasted  on  p.  4  a  page 
with  the  substitute  aria  "Amore  h  un  ragazzo"  (I,  9). 

First  performed,  as  indicated,  October  9,  1799.  Schatz  6155 

I  ladri  di  spirito.  Commedia  per  musica  di  Giuseppe  Palomba  da 
rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  invemo  di  quest'  anno 
1769. 

Napoli,  Stamperia  AveUiniaria,  1769.     78  p.     15*^. 

Three  acts.    Scenario,  cast,  and  name  of  the  composer,  Vincenzo  Curcio. 

Schatz  2310 

II  ladro  convertito  per  amore.  L.  T.  of  Pergolesi's  Livietta  e 
Tracollo  o  sia  La  contadina  astuta. 

The  lady  of  the  manor.     A  comic  opera :  as  it  is  performed  at  the 
Theatre-Royal  in  Covent-Garden.     Written  by  Dr.  Kendrick.     The 
songs  set  to  music  by  Mr.  Hook.     The  second  edition. 
London,  E.  and  C.  DiUy,  J.  Wilkie  [etc.],  1778.     4  p.  l,  64  p.     21'^'^. 

Three  acts.     Cast  and  preface,  in  which  the  author  says: 

"The  outline  of  the  following  opera  (written  about  ten  years  ago,  by  way  of  relaxa- 
tion from  severer  studies)  was  taken  from  the  Country  Lasses  of  Mr.  Charles  Johnson, 
particularly  the  pleasing  and  romantic  episode,  borrowed  from  the  Custom  of  the 
Counfn/ of  Beaumont  and  Fletcher  ..." 

First  performed  November  23,  1778,  as  indicated,  Lonqe  85 

The  entertainments,  set  to  musick,  for  the  comic-dramatick  opera, 
called  The  lady's  triumph.     Written  by  Mr.  Theobald,  and  set  to 
musick  by  Mr.  Galliard. 
London,  Jonas  Browne,  1718.     2  p.  I.,  27  p.     19'^'^. 

In  the  acts  one  to  four  the  "entertainments,  set  to  musick"  in  this  play  were  few 
and  far  between,  the  first,  at  least  according  to  Browne's  publication,  occurring  in 
the  second  act  in  form  of  a  scene,  with  song;  the  second  in  the  third  act,  as  a  "ballad 
sung  by  Mr.  Pack."  In  the  fifth  act  there  occurred  "The  masque  of  Dmws  and 
Paulina,"  and  the  full  text  of  this  appears,  with  cast,  on  p.  [12]-27  of  this  publication. 

The  piece  evidently  belongs  to  "The  curious  admixtures  of  masque  and  harle- 
quinade" (Grove)  which  Rich  produced,  with  music  by  Galliard,  from  about  1717  on 
as  pantomimes .  L  on  g  e  59 

Der  laecherliche  printz  Jodelet.  [vignette.]  In  einem  schertz- 
haften  singspiele  auf  dem  Hamburgischen  Schau-Platz  vorgestellet 
imjahr  1726. 

[HaTriburg],  mit  Stromerischen  schrifften,  n.  d.     Unpaged.     19*^. 

Five  acts.  Cast.  Neither  the  author,  resp.  translator,  Johann  Philipp  Praetorius, 
is  mentioned,  nor  the  composer  Reinhard  Keiser.  The  Italian  text  has  been  added 
to  some  of  the  arias.  The  text  was  based  on  Paul  Scarron's  "Jodelet  ou  Le  maltre 
valet."  Schatz  5100 

Die  laecherliche  werbung.    A.  T.  of  Der  militz. 

Die  lacherlichen  gelehrten.    Tr.  of  Astaritta's  I  visionari. 


OPERA   LIBRETTOS  675 

Der  lahme  husar.  Eine  comische  oper  in  zwey  acten  von  Friedrich 
Koch. 

Dresden  und  Leipzig,  Breitkopjlsche  BuchJiandlung,  1784-  62  p. 
14'='^, 

Bound  in  is  an  anonymous  "Neujahrs-Vorspiel,"  p.  [213}-230.  Franz  Seydel- 
mann,  the  composer,  is  not  mentioned. 

First  performed  at  Leipzig,  Koch'sches  Theater  am  Rannstaedter  Thore,  July  17, 
1780,  and  at  Dresden,  Kleines  Theater,  in  the  same  year.  Schatz  9845 

The  laird,  in  disguise.     A.  T.  of  Jamie  and  Bess. 

II  Lamano.  Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Grimani  di  S.  Gio.  Grisostomo.  Nel  carnevale  dell'  anno  1719.  Di 
Domenico  Lalli  ... 

Veneda,  Marin  Rossetti,  1719.     60  f.     15'"'^. 

Three  acts.  Author's  dedication,  "Ante  fatto,"  cast,  scenario,  and  name  of  Michel 
Angelo  Gasparini  as  the  composer.  Schatz  3600 

Lampedo,  ein  melodrama  von  heirn  oberappellationsrath  Lichten- 
berg  in  die  musik  gesetzet  vom  churpfaelzischen  geistlichen  rath  und 
capellmeister  Vogler,  von  dem  Hofe  aufgefuehrt  znr  feyer  des  11*®^ 
julii,  1779. 

Darmstadt,  J.  J,  WiU,  n.  d.     10  y.     15*^. 

One  act.  Schatz  10798 

Lanassa's  zweyter  theil.     See  Marie  von  Montalban. 

Das  land  der  liebe.     A.  T.  of  Bierey's  Der  zauber-hain. 

Der  land-mann  ein  philosoph.  Tr.  of  Galuppi's  II  filosofo  d 
campagna. 

Landsbye-pigen  fra  Frascati.     Tr.  of  Paisiello's  La  Frascatana. 

La  lanterna  di  Diogene.  Drama  per  musica  da  rappresentarsi  aUe 
S.  S.  C.  C.  R.  R.  Maestk  dell'  imperatore  Leopoldo  et  dell'  impera- 
trice  Claudia  nel  carnovale  dell'  anno  MDCLXXIV.  Musica  dell 
S-  Ant.  Draghi,  M.  di  Cap.  della  M.*^  delF  imperatrice  Eleonora. 
Con  I'arie  per  li  balli  del  S^  Gio.  Henrico  Schmelzer,  V.  M.  di  Cap.  di 
S.  M.  Ces. 

Vienna  d* Austria,  Matteo  Cosmerovio,  n.  d.     4  P-  \-}  ^^  V-     15'^'^. 

In  three  acts,  by  conte  Niccol6  Minato,  who  is  not  mentioned.  Argument  and 
scenario.  Lodovico  Bumacini  is  mentioned  as  designer  of  the  scenery;  Santo  Ven- 
tura of  the  ballets.  A  drama  h  cie/ (compare  for  the  key  Wotquenne,  p.  90).  The 
emperor  Leopold  I  is  said  to  have  contributed  one  aria.  Schatz  2798 

La  lanterna  di  Diogene.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  terz'  opera 
di  questo  corrente  anno  1794. 

Napoli,  n.  pull.,  1794.     48  p.     15""^. 

Two  acts.    Cast  and  name  of  Pietro  Guglielmi  as  the  composer. 

First  performed  at  Venice,  Teatro  di  S.  Samuele,  fall  of  1793  with  Palomba's  text 
altered  by  Angelo  Anelli,  bo  that,  as  Schatz  puts  it,  the  revised  opera  was  performed 
before  the  original.  According  to  Piovano,'the  libretto  was  really  dv  Nicol6  Liprandi 
(peeud.  of  Angelo  Anelli)  and  Palomba  simply  utilized  it  for  the  replica  in  Naples. 

Schatz  4250 


676  LIBRARY   OF   CONGRESS 

La  lanterna  di  Diogene — Continued. 

—  La  lantema  di  Diogene.     Dramma  ^iocoso  per  musica,  da  rap- 
presentarsi  nel  Teatro  elettorale  di  Sassoma. 
Dresda,  n.  publ,  1796.    31  p.  I,  72  p.     15^^^. 

Two  acts.  German  title-page, ' '  Die  laterne  des  Diogenes, ' '  and  detailed  synopsis  in 
German  precede  the  Italian  text  translated  with  very  many  alterations  from  the 
Napoletan  dialect  into  Italian.     Pietro  GugUelmi  is  mentioned  as  the  composer. 

First  performed,  as  indicated,  October,  1796.  Schatz  4251 

La  lanterne  veridique.  Piece  en  im  acta.  Representee  k  la  Foire 
Saint  Laurent.     1732. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  2,  pi.,  [17}-71  p.       17<^. 

By  Carolet.  Largely  en  vaudevilles.  The  airs,  selected  or  composed  and  arranged 
by  Jean  Claude  GHllier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed  August  19,  1732.  ML  48.L2X 

A'lantosok,  vagv-is:  AVig  nyomortisdg.  Egy  vig  Enekes  J&t6k 
haroni  fel-vonasokban.  Szabadon  forditotta,  6s  muzsikara  alkal- 
maztatta  Szerelemhegyi  Andrds.  A'muzsik&jat  pedig  tobb  6kesito 
instrumentokkal  bovitette  Reiman  tJr. 

Pesten,  Filskuti  Lander er  MiMlyndl,  1793.     73  p.     17"^. 

Title  in  English  would  be,  "The  lute  player  or  Gay  misery  ...  set  to  music  by 
Andrds  Szerelemhegyi  ..."  Schatz  11530 

Laodice.     Dramma  per  musica,  da  rappresentarsi  nel  Teatro  Gius- 
tiniano  di  S.  Mois6  I'autunno  delF  anno  MDCCXXIV. 
Venezia,  Marino  Rossetti,  n.  d.     Jf8  p.     15^'^. 

Three  acts.  By  conte  Angelo  Schietti,  who  is  not  mentioned.  Argument,  cast, 
Bcenario,  and  name  of  Tommaso  Albinoni  as  composer.  Schatz  130 

Laodicea.     O.  T.  of  Paer's  Tegene  e  Laodicea. 

^Laodicea  e  Berenice.  Drama  per  musica  da  recitarsi  nel  Teatro 
Vendramino  di  S.  Salvatore  I'anno  1695.  Seconda  impressione.  Di 
Matteo  Noris  .  .  . 

Venetia,  Nicolini,  1695.    front.     71  p.     13^'^. 

Three  acts.  Author's  dedication,  scenario,  and  notice  to  the  reader  with  argument 
in  which  Noris  enumerates  the  qualities  that  in  his  opinion  make  for  a  good  libretto 
and  says  that  for  brevity's  sake  the  original  text  has  been  modified  in  many  places. 
Giacomo  Antonio  Perti,  the  composer,  is  not  mentioned.  Schatz  7951 

Laomedonte.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Giustinian  a  S.  Moise,  I'autunno  dell'  anno  MDCCXV  .  .  . 

Venezia,  Marin  Rossetti,  1715.     59  p.     l^Y'^- 

Three  acts.  Neither  Giovanni  Battista  Gaizzardi,  the  author,  is  mentioned,  nor 
Lorenzo  Baseggio,  the  composer.  Impresario's  dedication,  dated  Venice,  October 
19,  1715,  notice   o  the  reader,  argument,  cast,  scenario.  Schatz  619 

Larinda  e  Vanesio.     See  L'artigiano  gentiluomo. 

Larinda  e  Vanesio.     O.  T.  of  Hasse's  L'artigiano  gentiluomo. 

The  lass  of  the  lakes.     A.  T.  of  Helvetic  liberty. 


OPERA   LIBRETTOS  677 

Die  last-tragende  liebe,  oder  Emma  und  Eginhard,  in  einem  sing- 
spiele  auf  dem  Hamburgischen  schau-platze  amio  1728  aufgefuehret. 
[Hamburg].     GedrucMmit  Stromerischenschrifften,  n.d.     Unpaged. 
18"'^. 

Three  acts.    Note: 

"Die  music  ist  ein  tmvergleichliches  meister-etuecke  von  dem  nie  genung  geprie- 
eenen  herm  Telemann  .  .  .     Die  poesie  verfertigte  C.  G.  Wend." 

This  is  followed  by  the  very  odd 

"Zuschrifft.  Mein  liebhaber  .  .  .  Gegeben  auff  dem  Gosemarckte  den  22. 
novembr.  1728.     Deine  getreue  Die  Hamburgische  Opera"  in  which  we  read: 

"Der  verfasser  hat  zween  beruehmte  poeten  des  vorigen  seculi,  als  den  Schlesi- 
echen  Hoffmannswaldau  in  seinen  Helden-brieffen  und  den  Hollaendischen  Cats  in 
seiner  Manntragenden  magd  zu  vorgaengern  und  ob  er  sich  zwar  fuer  einen  viel  zu 
unwuerdigen  nachfolger  so  grosser  geister  bekennet,  so  getrauet  er  sich  doch  zum 
wenigsten  den  fuerwurff  damit  abzulehnen,  als  obersich  an  eine  unwuerdige  materie 
gemacht  haette.  Laeufft  auch  diese  begebenheit  schon  nicht  auff  einen  tugend- 
hafften  endzweck  hinaus,  wie  solches  von  eingien  als  ein  unumgaengliches  requisitum 
bey  einer  opera  zum  voraus  gesetzet  wird,  so  kan  man  doch  dargegen  nicht  unbillig 
repliciren,  dass  wofem  anders  tugenden  und  laster  in  keiner  andem  absicht  als  zur 
resp.  nachahmung  und  vermeidung  in  einem  schauspiele  fuergestellet  werden,  es 
gleich  viel  gelte,  ob  sie  in  dem  ausgange,  mittel  oder  anfange  derselben  ihre  rolle 
spielen."  Schatz  10262 

Die  lateme  des  Diogenes.  Tr.  of  P.  Gugliebni's  La  latema  di 
Diogene. 

Die  launige  kaffeeschenkinn.  Tr.  of  Weigl's  La  caffettiera 
bizzarra. 

Laura.     Operette  in  drei  akten.     Zweiter  band. 

n.  i.,  n.  d.     W"^.     p.  [257]-314. 

Detached  from  the  works  of  f reiherr  Julius  Soden  v.  Sassanfart  (Berlin,  Maurer,  1789), 
who  says  in  a  prefatory  note : 

"Die  gesaenge  dieser  oper  haben  gef alien  und  sind  eehr  gut  in  musik  gesezt 
worden.  diesa  bewog  mich,  sie  durchzusehen  ..." 

No  composer  recorded  by  Schatz.  Schatz  11459 

Laura  Rosetti.     Ein  schauspiel  mit  gesang,  von  d'Arien. 
Leipzig,  Dyckische  hucTihandlung ,  1777.     96  p.     16^*^. 

Three  acts. 

First  performed,  with  music  by  Johann  AndrS,  at  Berlin,  Dobbelinsches  Theater, 
May  23,  1778.  Schatz  188 

Lauretia,  ballet.     See  Bertoni's  Cajo  Mario. 

La  Lauretta,  ballet.     See  Caruso's  II  matrimonio  in  conunedia. 

La  Lauretta,  ballet.     See  Gassmann's  L'amore  astigiano. 

Lauretta,  ballet.     See  P.  Guglielmi's  La  serva  innamorata. 

Lauretta,  ballet.     See  Tritto's  L'Artenice. 

Lauso  e  Lidia.  Dramma  per  musica  di  Giuseppe  Foppa  da  rappre- 
sentarsi  nel  Teatro  La  Fenice  il  carnovale  dell'  anno  1798. 

Venezia,  Stamperia  Valvasense,  n.  d.     62  p.     17'^'^. 

Two  acts.  Argument,  cast,  scenario,  and  name  of  Joh.  Simon  Mayr  as  the  com- 
poser. On  p.  [53]-62,  cast  and  description  of  the  ballet,  "L'inutile  precauzione, "  by 
Lauchlin  Duquesny.    The  composer  not  mentioned. 

First  performed  February  14,  1798.  Schatz  6156 


678  LIBBABY  OP  CONGRESS 

Lauso  e  Lidia,  ballet.     See  Monza's  Cajo  Mario. 

Lauso  e  Lidia,  o  sia  II  trionfo  dell'  amicizia,  ballet.     See  Nasolini's 
Teseo  a  Stige. 

Lauso  e  Lidia,  ballet.     See  Rust's  Adriano  in  Siria. 

Lauso  e  Lidia,  ballet.     See  Tarchi's  L'impostura  poco  dura. 

La  lavandara.     L.  T.  of  Galuppi's  II  marchese  villano. 

La  lavandara  astuta.     L.  T.  of  Galuppi's  II  marchese  villano. 

La  lavandarina.     Intermezzi  per  musica  a  cinque  voci,  da  cantarsi 
nel  Teatro  alia  Valle  Tanno  1746  .  .  . 
Roma,  Komarek,  1746.     48  p.     W"^. 

Two  parts.  Dedication  by  Angiolo  Lungi,  cast,  and  name  of  Giovanni  Battieta 
Casali  as  composer.     The  author  is  not  known  to  Schatz. 

First  performed  in  January,  as  indicated.  ML  48.A5    v.  3 

Le  lavarandine.     O.  T.  of  Zannetti's  Die  waescherinnen,  also  of  his 
Die  waeschermaedchen. 

/Il  Leandro.     Drama  per  musica  del  conte  Camillo  Badovero  .  .  . 
Venetia,  Gio.  Francesco  Valvasense,  1679.     4^,  [1]  p.     14^"^' 
Three  acts.     Author's  dedicationi  dated  Venice,  May  15,  1679,  argument,  notice  to 

the  reader,   and  scenario.     Francesco  Antonio  Pistocchi,  the    composer,    is   not 

mentioned. 

The  opera  was  performed,  according  to  Schatz,  at  the  Teatro  sulle  Zattere,  with 

movable  wooden  figures,  and  the  singers  behind  the  scenes.  Schatz  8196 

—  GFamori   fatali.     Dramma   per   musica   da   rappresentarsi  nel 
Teatro  di  S.  Moise.     Del  Co.  Camillo  Badovero  .  .  . 

Venetia,  Gio.  Francesco  Valvasense,  1682.     4^  V-     14Y™' 

Lacks  p.  33-40. 

Three  acts.  Impresario's  dedication  dated  Venice,  January  1682,  printer's  notice 
to  the  reader,  mentioning  this  as  a  replica,  and  the  name  of  "Francesco  Antonio 
Pistochino"  (Pistocchi)  as  the  composer,  argument  and  scenario.  This  is  with 
negligible  differences  the  same  text  as  that  of  "  II  Leandro  "  and  was  performed  in  the 
eame  manner.  Schatz  8199 

La  legon,  ou  La  tasse  de  glaces.     Comedie  en  un  acte  et  en  prose, 
melee  d'ariettes,  representee  sur  le  Th64tre  de  la  rue  Feydeau,  le  5 
prairial,  an  S.^""®  (24  mai,  1797,  v.  s.)     Paroles  de  M.  MarsoUier, 
musique  de  M.  d'Alayrac. 
Paris,  Huet,  an  V,  {1797,  v.  st.)     4  p.  I.,  48  p.     20^"^. 

Cast.  In  his  Avertissement,  which  contains  a  very  flattering  "hommage"  to 
Dalayrac,  MarsoUier  says: 

"Cette  comedie,  imitee  d'un  des  jolie  proverbes  de  M.  Carmontelle,  est  la  premiere 
que  j'aie  donn^e  sur  le  Theatre  italien,  sous  le  nom  de  la  Fausse  peur.  L'ouvrage 
r^ussit,  et  obtint  meme  I'honneur  d'une  reprise,  quoi-qu'il  efit  bien  des  d^fauts,  et 
que  la  musique  16g^re,  agr6able,  mais  foible,  ne  mt  l'ouvrage  que  d'un  enfant  de 
quatorze  ans,  (le  jeune  Darcis)  qui  annongait,  il  est  vrai,  lea  plus  heureuses  disposi- 
tions, et  que  la  mort  a  enlev6  k  la  fleur  de  I'age.  II  ^toit  relive  du  c61febre  Gr^try 
.  .  Voulant  fair  reparoitre  ce  petit  ouvrage  .  .  .  j'ai  cru  ne  pouvoir  mieux  faire, 
que  de  I'embellir  des  charmes  de  la  musique  de  M.  d'Alayrac  .  .  .  il  a  bien  voulu 
ee  charger  de  la  Lepon  .  .  ."  ML  50.2.L23D2 


OPEKA   LIBRETTOS  679 

Lenardo  und  Blandine.  Ein  melodrajn  von  J.  F.  von  Goetz.  In 
niusik  gesezt  von  herrn  Winter  .  .  .  Aufgefuert  von  einer  gesell- 
schaft  adelicher  kunstfreunde  auf  dem  Stadttheater  in  Augsburg. 

[Augshurg,  Andreas  BrinJiausser,  1785.]    front.,  unpaged.     ISY"^- 

Two  acts.  Argument  and  long  "Vorbericht"  (8  p.)  dated  January,  1785,  which 
reads,  in  part:  i 

"Vor  acht  Jahren,  da  der  Geschmak  an  Melodramen  in  Teutschland  eich  aue- 
zeichnete,  dachte  ich  dieser  Art  Schauspiele  ofters  nach,  und  konnte  mich  nicht 
enthalten  zuweilen  meine  Anmerkungen  iiber  den  Zweck  und  die  innere  Einrich- 
tungen  des  Spiels,  nebst  den  erforderlichen  Masregeln  der  begleitenden  Musik, 
ofentlich  kund  zu  thun. 

"Ich  war  weit  entfemt,  die  Warscheinlichkeit  eines  Monologee  von  eolcher  Aua- 
denung  zu  behaupten.  Allein,  so  wie  eine  philosophische  Streitfrage,  wobei  der 
Gegensaz  echon  erwiesen  angenommen  ist,  eh  man  sich  dariiber  streitet,  dem  Ver- 
etande  zu  einer  angenemen  Beschaftigung  wird :  eben  so  durfe  ein  leidenschaftlicher, 
idealisirter  Monolog,  welcher  Saze  enthalt,  die  bei  wirklichen  Handlungen  und  Dia- 
logen  einzeln  vorkommen  konnen,  in  einer  gedrangteren  Reihe  nicht  ganz  unan- 
genem  sein.  Ueberdies  konnte  man  ein  Melodram  als  ein  kunstliches  Solo  ansehen, 
w;orin  der  Kiinstler  seine  Fertigkeit,  reichhaltige  Verbindung  der  Ideen  und  daa 
Kreszendo  seiner  Kunst  zu  zeigen  Gelegenheit  nimmt.  In  den  gewonlichen  dra- 
matischen  Stliken  dient  dem  Schauspieler  zum  Vorteil:  dass  sein  Spiel  durch 
Zwischenszenen  oft  vorteilhaft  unterbrochen  wird,  und  dem  vom  Sinne  der  Handlung 
erfiillten  Zuschauer  manche  Bewegung  nicht  besonders  auffallt,  die  der  Spielende 
haufig  bis  zum  Ekel  widerholt.  Ich  habe  diese  Unvollkommenheit  in  den  Vor- 
Btellungen  verschiedener  beliebten  Melodramen  zuweilen  wargenormnen,  worin  die 
spielenden  Personen,  teils  bei  dem  Texte  gegen  den  gehorigen  Ausdruck  gestiku- 
hrten,  teils  die  hie  und  da  mit  Musik  ausgedenten  unwarscheinlichen  Intervallen, 
wie  abgerissene  Perioden,  begleiteten. 

"In  dieser  Absicht  stimte  mich  einst  ein  einsamer  Spaziergang  durch  romantische 
Gegenden  zu  Lieblingsbildem  dichterischer  Auftritte,  ein  Zufal  hielt  mich  bei 
Biirgers  Lenardo  und  Blandine  fest;  und  der  Sinn  dieses  innigst  durchgedachten 
Stones  erhizte  meine  Einbildungskraft  so  nachdruklich,  dass  ich  eine  ganze  Reihe 
von  Handlungen,  die  bei  dieser  Begebenheit  sich  vor  odor  nach  ereignen  konten, 
mir  gleichsam  im  Geiste  vorschweben  sah.  Im  Schwunge  dieser  Ideen  drangte  michs 
zum  Deklamiren,  zum  Gestikuliren,  und  endlich  eas  ich  auf  meinem  Stule  fest,  und 
versuchte  einige  der  vorgeschwebten  Bilder  mit  Feder  und  Kreide  zu  entwerfen. 
Dabei  ereignete  sich  der  ausserst  seltne  Fal,  dass  mir  die  Arbeit  den  folgenden  Morgen 
nicht  ganz  misfiel.  Kunstfreunde  ermunterten  mich  fortzufaren:  imd  so  ward  nach 
und  nach  Lenardo  und  Blandine  in  dramatische  Szenen  eingeleitet,  und  von  Punkt 
zu  Punkt  so  niedergezeichnet,  dass  man  die  Folge  von  Zeichnungen,  welche  sich  auf 
160  Blat  beliiuft,  als  eine  fortdauernde  Handlung  ansehen  konte,  die  so  oft  zu  emeuem 
war,  als  man  Belieben  trug,  die  Zeichnungen  nach  ihrer  Reihe  und  Verbindung  vor 
Augen  zu  legen. 

' '  Ich  war  dabei  bemiihet  den  Grundursachen  der  menschlichen  Bewegungen  nach- 
zuforschen,  womach  sich  die  Stellung  und  Gedchtsausdriike  des  menschlichen 
Korpers  durch  verschiedne  Lagen  drangen  und  verandem  konten.  Die  Resultate 
dieser  miihsamen  Beobachtungen  hab'  ich  bereits  dem  Publikum  unter  dem  Titel: 
Versuch  leidenschaftlicher  Entwur/e  fur  empjindsame  Kunst-  und  Schauspielfreunde 
vorgelegt,  und  ich  gestehe  geme  dass  die  gutige  Aufnahme  dieses  Versuches  in  ver- 
Bchidnen  ofentlichen  Blattem  meiner  Erwartung  desto  iiberraschender  kommen 
muste,  je  mer  ich  von  der  Beschranktheit  meiner  geringen  Verdienste  iiberzeugt  bin. 

"Meme  Absicht  dabei  war  vorziiglich  den  ofentlichen  Redner  und  Schauspieler 
auf  die  feineren  Reize  des  Geberdenspils  und  der  Deklamazion  aufmerksam,  und 
dadurch  das  Gebiet  des  Seelenvermogens  und  seines  unbegreiflichen  Einwirkungs- 
kreises  bekanter  und  gemeinniizlicher  zu  machen.  Diess  war  eigentlich  die  Haupt- 
absichf  des  Melodrams,  welches  ich  bey  seiner  Entstehung  keineswegs  fiir  eine 
efentliche  Vorstellung  auf  der  Biihne,  sondem  bios  zu  einem  Grundplan  zur  Zer- 
gliederung  der  Symtome  und  Auswiichse  einer  der  bekantesten  und  algemeinsten 
Leidenschaften  (ich  meine  die  Liebe)  bestimte.  Es  war  demnach  Zufall,  und  keines- 
wegs meine  Hauptabsicht,  wenn  dieses  Sttik  auf  verschiedenen  Biihnen  Teutschlands 
aufgefurt  ward,  und  die  Talente  verschidner  Musiker  beschaftigt  hatte,  die  Ruhe- 
punkfe  der  Affekte  mit  Melodien  zu  begleiten.  Die  Einrichtung  jener  Musik,  welche 
unter  meiner  Aufsicht  und  nach  meinen  geringen  Musikbegriffen  ausgefiirt  worden, 
ist,  (wie  auf  den  Titel  angemerkt  ward)  von  Herrn  Winter,  einem  Mann,  welchen 
Teutschland  noch  zu  wenig  kennt,  um  Lhm  so  viel  Gerechtigkeit  widerfaren  zu  lassen, 
als  seine  besonderen  miisikaUschen  Vorziige  verdienen,  welche  er  in  verschiednen 


680  LIBRARY   OF   CONGRESS 

Lenardo  und  Blandine — Continued. 

Werken  an  dem  kurfiiretl.  Miinchner  und  Manheimer  Hofe  bereits  rflmlichst  gezeigt 

hat. 

"Vileicht  diirfte  es  einigen  Kunstfreunden  nicht  unan^enem  seyn,  wenn  ich  hier 
einige  Ideen  anmerke,  womach  ich  dem  Tonkiinatler  bei  diesem  Melodrara  fortzu- 
Bchreiten  bat.  Ich  fand  bei  einigen  Dramen  und  Rezitativen,  welche  mit  Musik 
begleitet  werden,  den  Feler:  dass  der  begleitende  Gesang  der  Instrumente  entweder 
zu  eer  an  einzelnen  Bildem  haftete,  und  allenfals  die  Bewegungen  eines  Stromes 
Bchilderte,  welcher  unter  der  ganzen  Voretellung  der  Natur  warscheinlich  auf  Beinem 
unveranderlichen  Plaz  fortrauschte,  Bich  aber  dennoch  in  der  Musik  in  dem  Augen- 
blik  nur  horen  liees,  da  der  Schauspieler  von  Strome  eprach.  Ausser  dieaer  Klein- 
meisterei  pflegen  die  Entwiklungen  und  Aueweichungen  ofters  so  gedent  zu  werden, 
dass  der  Zuscnauer  und  Schauspieler  in  Verlegenheit  gesezt  werden  muss,  was  sie 
in  diesen  langen  Zwischenraumen  handlen  oder  denken  Bollen.  Dadurch  wird  das 
vilfaltige  hin  und  her  Traben,  und  manche  absichslose  Handebewegung  bei  einigen 
Monologen  unvermeidlich.  Meiner  unmasgeblichen  Meinung  nach  solte  gerade  eo 
viel  und  nicht  mer  Musik  zwischen  den  Redeintervallen  angenonunen  und  gehort 
werden,  als  warscheinliche  Zeit  die  Seele  in  ihrer  einmal  angenommen  Lage  notig 
hat,  um  Begriffe  aus  Begriffen  zu  folgern  oder  dadurch  zu  neuen  Ideen  iiberzugehen. 
Der  Toneezer  eol  eich  lebhaft  in  die  Lage  der  handlenden  Person  versezen  und  den 
sprachlosen  Zustand  mit  eanften  Akorden  ausfuUen,  worinnen  das  innere  Gefiil  sich 
eammelt  und  ordnet.  Er  sol  die  Wirkung  iener  Momente  studiren,  worinn  die  Lei- 
denschaft  entweder  noch  nicht  zu  iener  Hohe  gestiegen  ist,  dass  sie  den  Mund  unwil- 
kurlich  ofnet,  und  zu  sprechen  drangt,  oder  wenn  durch  Uebergewicht  des  Gefiils 
die  Sprache  etoket. 

"...  Diese  wenigen  Bemerkungen  fand  ich  notig  bei  Verfertigung  der  Musik  zu 
meinem  Drama  vorauszusezen.  Und  einsichtsvolle  Kenner  der  Tonkunst  haben  die 
von  dem  geschikten  Tonsezer  dadurch  erreichten  Wirkungen  mit  Beifal  begliiket. 
Sie  werden  auch  in  den  meisten  Stellen  der  Musik  finden,  dass  die  Instrumente  in 
dem  namlichen  Grundtone  beginnen,  oder  aufhoren,  in  welchem  die  Stime  der  dek- 
lamirenden  entweder  einfalt,  oder  vorhergegangen  ist.  Dadurch  schmilzt  Musik  und 
Deklamazion  harmonischer  ineinander,  und  drangt  den  Sinn  der  Handlung  ungez- 
wungener  fort.  Aus  diesem  last  eich  ohngefiihr  echliesen,  wie  genau  Dichter,  Ton- 
eezer und  Agirende  auf  einen  Punkt  zueammen  wirken  mussen,  um  einer  Vorstellung 
Warheit  una  Ungezwungenheit  zu  geben  .  .  ." 

First  performed,  as  indicated,  at  Augsburg,  January  25, 1785;  at  Munich,  National 
Schaubuhne,  June  25,  1779.  Schatz  11040 

Die  Leipziger  messe.     A.  T.  of  Keiser's  Le  bon  vivant. 

Leon  ou  Le  chateau  de  Montenero.  Drama  en  trois  actes  et  en  prose 
m^le  d'ariettes.  Represents  sur  le  Th6S.tre  de  rOpera-comique, 
ci-devant  Th6S,tre-italien,  le  24  vendSmiaire,  an  VII  de  la  R6pu- 
blique.     Paroles  du  citoyen  Hoffman.     Musique  du  citoyen  Dalayrac. 

Paris,  Vente,  an  7  [1798-99].     84  p.     19^-^. 

Cast. 

First  performed,  as  indicated,  October  15,  1798.  ML  50.2.L26D2 

Leomda  in  Sparta.  Drama  da  rappresentarsi  in  musica  nel  Regio 
Teatro  di  Torino  I'anno  1689. 

Torino,  Bartolomeo  Zappata,  1689.     88  p.     15""*. 

Prologue  and  three  acts.  Argument,  scenario,  and  prefatory  note  by  the  imknown 
author,  who  says : 

"  Per  servire  al  genio  di  chi  commanda,  eccomi  quel  che  non  sono,  e  forzato  k  com- 
parire  quel  che  mai  fui,  ciod  divenuto  autore  d'lm  drama,  senza  sapere  tampoco  quel 
che  si  Bia  teatro." 

"Giovanni  Sebenico  maetro  di  capella  di  S.  A.  R."  is  mentioned  as  the  composer. 

Schatz  9812 


OPERA   LIBRETTOS  681 

y  Leonida  in  Tegea.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Zane  di  S.  Moise  I'anno  :MDCLXXVI  del  Co.  Nicolo  Minato  .  .  . 
Venetia,  Francesco  Nicolini,  1676.     64  p.     ISY"^. 

In  three  acts.  With  impresario's  dedication  dated  February  9,  1676,  argumeot, 
scenario,  and  notice  to  the  reader.  He  is  informed  that  Minato's  oriainal  libretto  has 
been  retouched  "per  compiacere  al  genio  di  queeto  Serenissimo  Cielo,"  but  that  the 
alterations  have  been  pointed  out  by  quotation  marks.  He  is  also  informed  that 
Antonio  Draghi's  music,  originally  composed  for  Vienna,  June  9,  1670,  has  been 
retouched  and  adjusted,  but  it  is  not  said  that  this  duty  fell  to  M.  A.  Ziani.  The 
majority  of  the  arias  has  either  been  added  or  changed.  The  very  first,  for  instance, 
"Parto  mio  ardore,"  and  the  very  last,  "II  destin  gik  s'fe  placato,"  are  additions. 

ScHATZ  2799 

—  Leonida  zu  Tegea.  Gesungene  vorstellung  zu  begaengnuss  dess 
glorwuerdigen  geburths-tag  der  roemischen  KayserlicHen  Mayestaet, 
Leopold  dess  Ersten  ...  In  sing-kunst  gerichtet  durch.  Antoni 
Draghi,  Ihrer  ^layestaet  der  verwittibten  kayserin  CapeHmeistern. 
Und  in  teutsch  uebersetzet. 

Wienn,  ley  Mattheo  Cosmerovio,  1670.     7  p.  I.,  63  p.     l^Y'^. 

In  three  acts,  with  the  " Beurlaubung "  (licenza).  With  argument  and  scenario. 
A  German  translation  of  Draghi's  "Leonida  in  Tegea,"  as  onginally  performed  at 
Vienna,  June  9,  1670.  For  this  opera  the  emperor  Leopold  I  composed  the  arias,  "  lo 
non  so  cangiar  amor"  and  "Quand'  era  giovanetta."  Both  were  published  by  Adler, 
1892,  in  "Musikalische  werke  der  kaiser  Ferdinand  III,  Leopold  I  und  Joseph  I." 

SCHATZ  2800 

Leonida  Th  di  Sparta.     See  M.  Cnrzio. 

Leonore,  ou  L'amour  conjugal,  fait  historique,  en  deux  actes  et  en 
prose  m616e  de  chants.  Paroles  de  J.  N.  Bouilly,  musique  de  P. 
Gaveaux,  representee  pour  la  premiere  fois,  k  Paris,  sur  le  Theatre 
Feydeau,  le  1^  ventdse,  an  6®  de  la  R6publique  fran9aise  [February 
19,  17981. 

Paris,  Barha,  an  septieme  [1798-99].     40  p.     19^"^. 

Cast.  ScHATz  3649 

[Lesbina  e  Milol     Nuovi  intermedii  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo.     L'autunno  dell'  anno  1706  .  .  . 
Venezia,  Gio.  Battista  CUareUo,  1706.     17*^.     15"^. 

Three  parts.  Dedication  dated  Venice,  November  15,  1706,  and  signed  Lesbina, 
one  of  the  two  characters.  Cast.  The  intermedii  were  performed  together  with  the 
opera,  "Paride  in  Ida"  (text  by  Francesco  Mazzar^;  music  by  Luigi  Manza  and 
Agostino  Bonaventura  Coletti),  according  to  Schatz,  to  whom  both  author  and  com- 
poser of  these  intermedii  are  imknown.  Schatz  11345 

Lesbina  e  Nesso. 

Intermezzi  (text  by  Nicola  Serino;  music  by  Leonardo  lieo),  interpolated  in 
Haendel's  "Rinaldo,"  Napoli,  1718,  performed,  with  additions  by  Leo,  on  October  1, 
1718.    (Not  listed  by  Leo.)  See  Schatz  4495 

La  letteraria    fanatica,    ballet.     See   Cimarosa's   L'impresario    in 

angustie  (Milano,  1789). 

La  lettre,  comedie  en  un  acte,  en  prose  et  vaudevilles,  par  C.  J. 
Loeuillart-Davrigni ;  repr^ent^e  pour  la  premiere  fois,  sur  le  Th6&tre 
du  Vaudeville,  le  7  nivose  I'an  3™®  de  la  R6publique  franpaise  [Dec. 
27,  17941. 

Paris,  Chez  le  lihraire,  au  Thedtre  du  VavdeviUe,  an  troisieme  [1794- 
9S].     44  p.    20^^. 

Cast.  A  few  of  the  aira  not^s  are  printed  in  the  text — for  instance,  one  by  Jadin, 
"Pour  la  beauts."    Not  recorded  by  CI.  &  L,  or  Schatz.  ML  48.M2L 


682  LIBRABY  OF   CONGRESS 

Der  letzte  rausch.     Tr.  of  Gluck's  L'ivrogne  corrig6. 

Leucippe,  e  Teonoe.  Tragedia  per  musica  da  rappresentarsi  nel 
famoso  Teatro  Grijnani  di  S.  Gio.  Grisostomo.  L'autunno  dell'  anno 
1719. 

Venezia,  Marino  Rossetti,  1719.     81  p.     IS^"^. 

Five  acts.  By  Pietro  Maria  Suarez,  who  is  not  mentioned.  Argument,  long 
notice  to  the  reader,  cast,  scenario,  and  name  of  Antonio  Pollaroli  as  the  composer. 

ScHATZ  8262 

Leucippe,  favola  pastorale  per  musica,  rappresentata  nella  Regia 
Elettoral  villa  di  Sant'  Uberto,  il  felicisstmo  giomo  natalizio  della 
Maestk  di  Augusto  III  ...  li  7  ottobre  I'anno  MD(XXLVII. 

n.  i.,  n.  d.     8  p.  I,  163,  [4]  p.     17^. 

At  end,  "Dreeda  .  .  .  la  vedova  Stiiesel." 

Three  acts  and  licenza.  Argument,  scenario,  cast,  and  names  of  Gio.  Claudio 
Pasqnini  as  author,  of  Johann  Adoiph  Hasse  as  composer.  German  title  page, 
"Leucippus,"  and  text  face  Italian.  Schatz  4545 

—  Leucippe.  Favola  pastorale  per  musica  da  rappresentarsi  nel 
Teatro  Grunani  di  San  Samuele  nella  fiera  dell'  Ascensione  I'anno 
MDCCXLIX. 

Venezia,  Al  segno  della  scienza,  1749.     58  p.     15Y'^- 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Johann  Adoiph  Hasse  as  the 
composer.  The  text  seems  to  be  practically  the  same  as  in  Pasquini^s  text,  Dresden, 
1747.  Schatz  4591 

Leucippus.     Tr.  of  Hasse's  Leucippo. 

La  liaison  de  TAineur  et  de  Bachus,  ballet.     See  Traetta's  Siroe. 

La  liberazione  di  Castruccie  Castracane,  ballet.  See  Cimarosa's 
L'Olimpiade. 

La  liberaziene  di  Lilla,  ballet.     See  Bertoni's  Medonte. 

La  liberty  gelesa  di  se  stessa  in  persona  di  Annibale  amante  di 
patria.     See  M.  Curzio. 

La  liberta  nociva.     Drama  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassiano  I'autunno  dell'  anno  1744. 
Venezia,  n.  pull.,  n.  d.     2  p.  I.,  88  p.     17"'^. 

At  end,  p.  61  repeated,  with  variants. 

Three  acts  by  Giovanni  Barlocci  (not  mentioned).  Cast  and  name  of  the  composer, 
Binaldo  di  Capua. 

First  performed  at  Rome,  Teatro  della  Valle,  January  17,  1740.         Schatz  8798 

La  liberta  ramminga.     See  M.  Curzio. 

La  liberty  sempre  stabile  nelle  vicende  del  principate.  See  M. 
Curzio. 

La  liberty  trionfante.     See  M.  Cm-zio. 

La  liberty  trienfatrice  del  tempe.     See  M.  Curzio. 


OPERA   LIBRETTOS  683 

Liberty-hall:  or,  A  test  of  good  fellowship.  A  comic  opera,  in  two 
acts.  As  it  is  performed  with  the  greatest  applause  at  tne  Theatre- 
Royal  in  Drury-Lane. 

London,  Printed  for  the  author,  and  sold  by  G.  Kearsley,  1785.  3  p.  I., 
38  p.     21^-^. 

Two  acts.     Cast.     The  author-composer,  Charles  Dibdin,  is  not  mentioned. 

First  performed  February  8,  1785,  as  indicated.  Longe  95 

Licinio  imperatore.  Drama  per  musica  nel  famosissimo  Teatro 
Grimano  in  S.  Gio.  Grisostomo  I'anno  1684.     Di  Matteo  Noris  .  .  . 

Venetia,  Francesco  Nicolini,  1684-     ^4  V-     14'^^- 

Three  acts.  Author's  dedication,  argument,  and  scenario.  The  composer,  Carlo 
Pallavicino,  is  not  mentioned.  Schatz  7726 

II  Licurgo  overo  II  cieco  d'acuta  vista,  drama  per  musica  da  rappre- 
sentarsi  nel  Teatro  di  S.  Angelo  I'anno  MDCLXXXVI. 
Venetia,  Francesco  Nicolini,  1686.     57  p.     i5J«"». 

Three  acts.  Neither  Matteo  Noris,  the  author,  nor  Carlo  Francesco  Pollaroli,  the 
composer,  is  mentioned .  The  registration  date  is  given  as  February  5, 1685 .  Scenario 
and  notice  to  the  reader,  which  reads : 

"Per  accomodarsi  a  i  personaggi,  che  recitano,  &  per  non  poter  per  tal  quale  con- 
valescenza  dell'  autore  farsi  dal  medesimo  qualche  accordo  finale  di  perfettione  alia 
presente  operetta,  sono  state  aggionte  canzoni,  accorciate  scene  di  maggior  forza,  con 
pregiudizio  delle  medesime,  &  fatte  aggiongere  altre  segnate  con  queste  linee  ,,  come 
vedrai;  tanto  ti  basti." 

This  applies  only  to  scenes  ix  and  x  of  the  third  act.  Sch.\tz  8300 

Die  lieb  des  Arion  gegen  die  Leucosie.  Tr.  T.  of  the  ballet  Les 
amours  d' Arion  &  de  Leucosie. 

Die  lieb  kan  alles.     Tr.  of  L'amor  pu6  tutto. 

Die  liebe  auf  dem  lande.  Eine  komische  oper  in  drey  aufzuegen 
von  C.  F.  Weisse.     Verbesserte  ausgabe. 

Leipzig,  Dykische  huchhandlung,  1776.     IO4  p.     17*^^. 

The  composer,  Johann  Adam  Hiller,  is  not  mentioned.  Weisse  based  his  piece  on 
two  French  works,  Madame  Favart's  "Annette  et  Lubin"  and  Anseaume's  "La 
clochette." 

First  performed  at  Leipzig,  Theater  beim  Rannstaedter  Thore,  May  18,  1768. 

Schatz  4724 

—  Die  liebe  auf  dem  lande.     Eine  komische  oper  in  drey  aufzuegen. 

C.  F.  Weisse,  Komische  opem,  Carlsruhe,  1778,  th.  i,  p.  [97]-188. 

18Y'^. 

On  p.  98,  the  note:  "Nach  Anette  a  Lubin  des  herm  Favart  und  der  Clochette  des 
herm  Anseaume."    The  composer,  Hiller,  is  not  mentioned.  ML  49.A2W2 

Liebe  aus  dankbarkeit.     A.  T.  of  Seydelmann's  Das  ungeheuer. 

Liebe  aus  haabsucht.     Tr.  of  Seydelmann's  Amor  per  oro. 

Die  liebe  bey  den  handwerkern.  Tr.  of  Gassmann's  L'amore 
artigiano. 

Liebe  durch  zauberei.     A.  T.  of  Grossheim's  Titania. 

Liebe  erhaelt  den  sieg.     A.  T.  of  Gr6try's  Ferdinand  und  Nicolette. 


684  UBEABY  OF  CONGRESS 

Die  liebe  fuer  den  kaiser,  ein  laendliches  schauspiel  mit  gesang 
von  herrn  Wagenseil.  Die  musik  von  herrn  direktor  Steudle. 
Hierauf  folgt:  Der  prinzenraub,  oder  Kunz  von  Kauffungen,  ein 
historisches  schauspiel  in  5  aufzuegen,  von  herrn  Neumann. 

Kaufheuren,  Dom,  1790.      Unpaged.     IGY"^- 

At  head  of  title:  "Von  der  loebl.  Aeenten  Gesellschaft  A.  C.  wird  Montags  den  25 
und  Donneretags  den  28  Oktobr.  auch  Montags  den  leten  novembris  aufgefuehrt." 

Cast  and  prefatory  note.  On  p.  5,  the  title  and  note  preceding  title  repeated 
with  addition  "an  dem  obrigkeitlich  verordneten  freudenfeet  wegen  beglueckter 
kaiserwahl  Sr.  Majestaet  Leopold  II."  Schatz  10062 

Die  liebe  gegen  das  vaterland  oder  Der  sterbende  Cato.  German 
title  of  Reiser's  L'amore  verso  la  patria. 

Die  liebe  im  matrosenkleide.     Tr.  of  Weigl's  L'amor  marinaro. 

Die  liebe  im  narrenhause.  Eine  komische  oper  in  zwey  aufzuegen. 
In  musik  gesetzt  von  hrn.  Ditters  von  Dittersaorf . 

n.  i.,  n.  d.     p.  [25r]-350.     17'"^. 

By  Gottlieb  Stephanie,  the  younger.     Detached  from  hie  Singepiele,  1792? 
First  performed  at  Vienna,  Kamtnnerthor  theater,  April  12,  1787.    Schatz  2599 

—  Gesaenge  aus  dem  singspiele:  Orpheus  der  zweyte,  in  drey  auf- 
zuegen, nach  einer  musik  von  Dittersdorf . 

Hamburg,  J.  M.  Michaelsen,  1788.     36  p.     i^«™. 

Is  "Die  liebe  im  narrenhause,"  as  altered  by  Friedrich  Ludwig  Schroder. 
First  performed  ae  pasticcio  at  Hamburg,  Theater  b.  Gansemarkt,  December  8, 
1788.  Schatz  2600 

Die  liebe  in  der  Ukrane  oder  Hier  gehen  die  maedchen  auf  die 
freierei  aus.     Ein  singspiel  in  vier  aufzuegen. 

Frankfurt  am  Main,  Esslingersche  Buchhandlung,  1786.  IO4  p. 
16^'^'^. 

Neither  the  author,  Heinrich  Christian  Pleissner,  nor  the  composer,  Stanislaus 
Franz  Xaver  Spindler  is  mentioned. 

First  performed  at  Innsbruck,  Hoftheater,  1786.  Schatz  9976 

Liebe  macht  alle  stande  gleich.  A.  T.  of  Gerl's  Der  bestrafte 
hochmuth. 

Gesaenge  zu  der  oper:  Liebe  macht  kurzen  prozess,  oder  Die  hey- 
rath  auf  gewisse  art.  In  zwei  aufzuegen  von  Joachim  Perinet  .  .  . 
1799. 

n.  i.,  n.  d.     27  p.     W"^. 

A  pasticcio.  The  names  of  the  following  composers  are  indicated  in  the  libretto: 
Johann  Baptist  Hennerberg,  Joseph  Woelfl,  Matthias  Stegmayer,  Franz  Anton 
Hoffmeister,  Franz  Xaver  Siissmayer,  Ignaz  Xaver,  ritter  von  Seyfried,  Jacob 
Haibel,  Joseph  Triebensee. 

First  performed  at  Leipzig,  Theater  am  Rannstadter  Thore,  1799;  at  Vienna, 
Theater  auf  der  Wieden,  March  26,  1798.  Schatz  4633 

Die  liebe  ohne  bossheit.     Tr.  of  Ottani's  L'amore  senza  malizia. 

Die  liebe  und  Psiche,  ballet.    See  Piccinni's  Cato  in  Utica. 

Die  liebe  unter  den  gondoliren.  A.  T.  of  Fhess'  Die  regata  zu 
Venedig. 


OPEEA  LIBRETTOS  685 

Die  liebe  unter  den  gondolieren.     A.  T.  of  Sander's  Die  regata  zu 
Venedig. 

Die  liebe  unter  den  handwerksleuten.     Tr.  of  Gassjnann's  L'a- 
jnore  artigiano. 

Liebe  wagt  alles.     Tr.  of  Devieiine's  Les  visitandines. 

Liebe  zum  schein.     Tr.  of  P.  Guglielmi's  I  finti  amori. 

Die  liebenden  greise.     Tr.  of  Anfossi's  Gli  amanti  canuti. 

Das  liebesgrab.     Ein  schauspiel  mit  gesang  in  drey  akten. 

Heydelherg,  Gehrueder  Pfaehler,  1779.  If.  'p.  I.  (incl.  front.) ,  152  p. 
IdY"^. 

Neither  the  author,  Wilhelm  Gottlieb  Becker,  nor  the  composer,  Friedrich  Schwin- 
del,  is  mentioned.  Schatz  9779 

Die  liebesintrigue.     A.  T.  of  Paer's  L'intrigo  amoroso. 

Der  liebesteufel,  oder  Der  alchymist.     In  einem  akt.     Nach  Le 
Grand. 

A.  G.  Meissner,  Operetten,  Leipzig,  1778.     79  p.     17'='^. 

Is  the  second  of  the  three  librettos  in  this  collection.  Meissner  says,  in  his 
* '  Vorerinnerun  w : ' ' 

"Der  gang  dieser  operette  ist  nach  L' amour  diable  von  Le  Grand:  Aber  auch  nicht 
vielmehr  als  den  blossengang  der  scenen,  undselbst  diesen  nicht  durchgaengig,  hab'- 
ich  beybehalten;  anfang  und  ende  weichen  vom  franzoesischen  original  ganz,  und 
auch  hin  und  wieder  der  mittlere  theil  ab  .  .  . 

"Scenen  mit  gesang  haben  nothwendig  einen  ganz  andern  bau,  als  solche,  die 
bloss  gesprochen  werden:  Meistentheils  nehmen  sich  diejenigen  operetten  beym 
auffuehren  am  wenigsten  gut  aus,  die  eich  treflich  lesen  laseen,  und  zum  glueck  gilt 
dies  auch  oft  umgekehrt;  denn  oft  skitzirt  der  dichter  nur,  um  dem  feuer  des  ton- 
kuenstlers  etof  imd  raum  zu  geben . ' ' 

No  composer  mentioned.  The  text  became  much  better  known  under  the  alterna- 
tive title.  Schatz  (with  doubts)  records  a  setting  by  Johann  Andr6  under  the  above 
title  at  Schwerin,  Theater  im  Rathhause,  May  15,  1788.  ML  49.A2M3 

—  Der  alchymist.     Operette.     [vignette.] 

Leipzig,  DyHsche  Buchhandlung,  1778.     79  p.     W^. 

One  act.    Same  "Vorerinnerung'^as  above.    No  composer  mentioned. 

Schatz  9742 

—  Arien  und  gesange  su  der  operette  Der  alchymist.     1778. 

n.  i.,  n.  d.     16  p.     IdY"^- 

One  act.    Cast.    Neither  Meissner  is  mentioned,  nor  the  composer,  Johann  Andr€. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  April  11,  1778.     Schatz  1770 

—  Arien  und  gesaenge  aus  der  operette :   Der  alchymist,  in  einem 
aufzuge,  vom  nerrn  Meissner.     Die  musik  ist  vom  herrn  Schuster. 

Hamburg,  J.  M.  Michaelsen,  1779.     16  p.     IShJ"^. 

First  performed  at  Dresden  March,  1778;  at  Hamburg,  January  27, 1779. 

Schatz  9742» 

Die  liebhaber  auf  der  probe.     Tr.  of  Piticchio's  Gli  amanti  alia 
prova. 

Der  liebhaber  von  alien.    Tr.  of  Galuppi's  opera  L'amante  di  tutte. 


686  LIBRARY  OF   CONGRESS 

Der  liebhaber  von  funfzehn  jahren.     Tr.  of  Martini's  L'amoureux 
de  quinze  aus. 

Liebs  betrug.     Tr.  of  Bertali's  L'inganno  d'amore. 

The  life  and  death  of  Oliver  Cromv^ell.     A.  T.  of  The  restauration 
of  King  Charles  II. 

Lilla  e  Lubino  ossia  Una  cosa  rara,  ballet.     See  Tarchi's  Antioco. 

Linceo,  ballet.     See  Mortellari's  Antigona. 

Lindane  e  Dalmiro.     Dramma  serio-comico  per  musica  da  rappre- 
sentarsi  nel  Real  Teatro  dell'  Ajuda  nel  felicissimo  giornp  natalizio  di 
Sua  Majesta  .  .  .  Donna  Maria  I  .  .  .  li  17  decembre  1789. 
[Lishoa],  Stamperia  Reale,  n.  d.     88  p.     16'^'^. 

Two  acts.  Scenario,  cast,  and  names  of  Gaetano  Martinelli  as  author,  of  JoSo  Cor- 
deiro  da  Silva  as  composer.  Schatz  9882 

Second  copy.    ML  48.C6I 

Das  lindenfest,   oder  Das  fest  der  freundschaft,   eine  laendliche 
operette  in  zweyen  aufzuegen,  fuer  gesellschaftliche  buehnen. 
n.  i.,  1790.     64  p.     W"^. 

"  Vorbericht "  by  the  author,  who  is  unknown  to  Schatz,  Composed  by  Peter  von 
Winter,  who  is  not  mentioned. 

Schatz  records  no  performance.  Schatz  11041 

Lindor  et  Ismene.     Entree  in  Les  f^tes  Irriques. 

Lindor  und  Ismene.     Eine  operette. 
n.  i.,  n.  d.     4  p.  I.,  38  p.     15^"^. 

Perhaps  real  title  page  with  imprint  "Anspach,  Gapert,  1773"  missing.  Same 
dedication  as  in  the  1771  edition.     {See  next  entry.) 

First  performed  "with  music  by  Nicolaus  Miihle  at  St.  Petersburg,  Deutsches 
Theater,  1779.  Schatz  6873 

Lindor  und  Ismene.     Eine  operette. 

71.  %.,  n.  d.     1771.     4  p.  I,  39  p.     15'^'^. 

One  act.  In  the  dedication  the  author  (not  mentioned),  Friedrich  Julius  Heinrich, 
freiherr  Soden  von  Sassanfart,  says: 

"Das  bekannte  gemaelde  des  reizenden  Poussin  hat  mir  die  erste  idee  zu  diesem 
stueck  gegeben,  einem  zwitter  der  Romantischen  und  Schaeferoper. — Vielleicht 
koennte  es  auf  dem  theater  durch  die  bezalibemde  composition  eines  Hillers,  durch 
die  dekorationen  und  hauptsaechlich  durch  die  taentze  vorzuege  bekommen,  die 
ihmiezt  fehlen." 

Actually  composed  by  Joseph  Aloysius  Schmittbauer,  and  first  performed  at 
Hanover,  Schloeetheater,  1771.  Schatz  9657 

—  Ein  grab  in  Arkadien !     Operette.     In  musik  gesezt  von  herm 
capellmeister  Schmittbauer. 
Leipzig,  n.  puU.,  1779.     39  p.     16<='^. 

One  act.     In  the  prefatory  note  "S n  "  (freiherr  Soden  von  Sassanfart)  says: 

"  Als  kind  liess  icn  dieses  unbedeutende  ding  [as  "Lindor  und  Ismene"]  drucken; 
ward  auch  deswegen  von  einigen  joumalisten  wie  billig  jaemmerlich  angegrinzt. 

"  Zufaelligerweiee  fiel  es  herm  kapellmeister  Schmittbauer  zu  Carlsruhe  in  die 
haende.  Seine  vortrefRiche  composition,  nach  der  es  auf  der  hannoeverischen 
buehne  oefters  aufgefuehrt  wurde,  konnte  allein  mich  bewegen,  es  wieder  durchzu- 
sehen.  Ich  geb '  es  hier  veraendert,  so  viel  es  bey  dem  zwang  der  composition  und 
ohne  vemichtung  des  ganzen,  moeglich  war.    Niemand  kan  uebrigens  mehr,  als  ich 


OPERA   LIBKETTOS  687 

Lindor  und  Ismene — Continued. 

eelbst,  fuehlen,  wie  wenig  es  die  ehre  verdient,  die  ihm  der  hannoeverische  theater- 
direktor  durch  herm  Gotters  namen  erwiese."  Schatz  9658 

—  Arkadien.  Operette.  In  musik  gesezt  von  herm  capellmeister 
Schmittbauer. 

n.  i.  p.  {233]-258.  (Freiherr  Soden  von  Sassanfart,  Schauspiele, 
M.  I,  Berlin,  1788.)     16'^'^. 

A  further  revision  of  his  "Lindor  und  Ismene,"  with  the  same  (but  condensed) 
prefatory  note  as  in  "Ein  grab  in  Arkadien."  Schatz  9659 

Lionel  and  Clarissa.  A  comic  opera.  As  it  is  performed  at  the 
Theatre-Royal  in  Covent  Garden.     The  fourth  edition. 

London,  Tf .  Giffin,  1768.     4  p.  I,  76  p.     20^^. 

Three  acts.  Cast,  prefatory  note,  and  dedication.  Neither  Bickerstaffe,  the 
author,  nor  Dibdin,  the  compiler  and  composer,  is  mentioned.     {See  next  entry.) 

First  performed  February  25,  1768.  Longe  14 

—  The  school  for  fathers;  or,  Lionel  &  Clarissa.  A  comic  opera. 
By  Isaac  BickerstafF.  Adapted  for  theatrical  representation,  as  per- 
formed at  the  Theatre-Royal  Drury-Lane  and  Co  vent-Garden.  Regu- 
lated from  the  prompt-book,  by  permission  of  the  managers  .  .  . 

London,  John  Belt,  1791.  front,  1  p.  I.,  vi,  [S],  107,  [1]  p.  (J.  BeU, 
British  theatre,  London,  1791-1797,  t.  1.) 

The  engraved  front,  represents  Mr.  Parsons  as  Col.  Oldboy  and  is  dated  January 
27,  1791.  The  1  p.  1.  is  an  engraved  added  title  page  with  a  scene  from  the  opera  and 
is  dated  January  6,  1791. 

Three  acts.  Biographical  note,  editorial  comment,  Drury-Lane  and  Covent- 
Garden  casts,  and  author's  Advertisement.     In  this  he  says: 

"it  was  the  general  opinion  of  all  my  friends,  some  of  whom  rank  among  the  best 
judges,  that  of  all  my  trifles,  Lionel  and  Clarissa  was  the  most  pardonable  (an  esti- 
mate with  which  neither  the  public  nor  the  editor  does  not  agree)  .  .  . 

"When  Mr.  Garrick  thought  of  performing  this  piece  at  Drury-Lane  theatre  [1770], 
he  had  a  new  singer  to  bring  out,  and  every  thing  possible  for  her  advantage  was  to 
be  done;  this  necessarily  occasioned  some  new  songs  and  airs  to  be  introduced;  and 
other  singers,  with  voices  of  a  different  compass  from  those  who  originally  acted  the 
parts,  occasioned  still  more;  by  which  means  the  greatest  part  of  the  musick  unavoid- 
ably became  new.  This  is  the  chief,  and  indeed  the  only  alteration  made  in  the 
opera;  and  even  to  that,  I  should,  in  many  places,  have  been  forced,  much  against 
my  will,  had  it  not  given  a  fresh  opportunity  to  Mr.  Dibdin  to  display  his  admirable 
talents  as  a  musical  composer  ... 

"The  School  for  fathers  is  added  to  the  title,  because  the  plot  is  evidently  double; 
and  that  of  Lionel  and  Clarissa  alluded  to  but  one  part  of  it  .  .  ." 

Following  the  text:  "A  table  of  the  songs.  With  the  names  of  the  several  com- 
posers. N.  B.  Those  marked  thus  **  are  new,  both  words  and  music:  but  those 
marked  thus  *,  are  only  new  set."  According  to  this,  the  overture  was  a  "new  over- 
ture" by  Dibdin  and  with  exception  of  one  number,  "Ah!  pry'thee  spare  me," 
with  music  by  Galuppi,  the  entire  first  act  was  by  Dibdin,  "To  rob  them  of 
strength"  and  "To  tell  you  the  truth"  having  one  asterisk,  "Ye  gloomy  thoughts" 
two.  In  the  second  act  two  numbers,  "Talk  not  to  me,"  and  "Go,  and,  on  my 
truth,"  were  by  Vento,  one  each  by  Scolari  ("Indeed,  forsooth"),  Ame  ("How 
cursedly  vext  ),  and  Ciampi  ("Come  then,  pining,  peevish  lover");  all  the  others 
by  Dibdin,  "To  fear  a  stranger"  having  one  asterisk,  Ladies,  pray  admire,"  "Poor 
panting  heart,"  and  "We  all  say  the  man,"  two.  The  third  act,  with  exception  of 
one  number  ("  Wty  with  sighs"),  by  Ciampi,  was  by  Dibdin,  and  was  new  with 
exception  of  the  final  chorus,  "I  wonder,  I'm  sure  "  and  "O,  bliss  unexpected  "  hav- 
ing one  asterisk,  "How  can  you  inhuman,"  "Hist,  soft:  let's  hear,"  and  "A  rascal, 
a  hussy  "  having  two.  However,  the  table  of  songs  ie  not  complete,  half  a  dozen  of 
the  BongB  not  being  listed  at  all! 

These  are  "Ah,  now  delightful  the  morning 'VI,  1),  "Immortal  pow'rs  protect  me" 
(I,  6),  "Indulgent  pow'rs,  if  ever"  (I,  11).  "BLence  with  caution"  (II,  6),  "Allien 
love  geta  into  a  youthful  brain"  (III,  8),  "^0  dry  those  tears"  (III,  9). 


688  LEBRABY  OF  CONGRESS 

Lionel  and  Clarissa — Continued. 

"To  fear  a  stranger,"  while  listed  under  Dibdin  (one  asterisk)  as  in  act  II,  in  the 
text  appears  in  act  III,  2!     In  Johnston's  vocal  score  of  "A  school  for  fathers  ...  as 

Eerformed  at  ,  .  .  Drury-Lane"  this  air  also  appears  as  in  act  II,  but  as  composed 
y  Galuppil 
Further  comparison  discloses  some  rather  startling  discrepancies.  In  the  vocal 
score  "Ah  how  delightful  the  morning"  is  attributed  to  Scolari,  while  the  other 
anonymous  airs  are  not  printed.  In  the  vocal  score  on  p.  40  "Come  then  pining 
peevish  lover"  is  attributed  as  in  the  libretto  to  Ciampi,  but  in  the  "table  of  the 
songs"  of  the  vocal  score  it  is  attributed  to  Vinci  I  Finally,  "Why  with  sighs"  is 
attributed  both  in  the  text  and  the  table  of  the  vocal  score  to  Potenza  and  not  to 
Ciampi.  PR  1241. B4 

Liretta  e  Qiannino.  Commedia  per  musica  di  Saverio  Zini  da  rap- 
presentarsi  nel  Teatro  de'  Fiorentini  per  second'  opera  del  corrente 
anno  1795. 

NapoU,  n.  puhl,  1795.     47  p.     i^''™. 

Two  acts.    Cast  and  name  of  the  composer,  Valentino  Fioravantd. 

Lisandro.     Dramma  serio  per  musica  da  rappresentarsi  in  Genova 
nel  Teatro  da  S.  A^ostino  il  camevale  del  1790  .  .  . 
Genova,  Stampena  Gesiniana,  n.  d.     70,  [1]  p.     IS^*^^. 

Three  acts.  By  Francesco  Ballani,  who  is  not  mentioned  and  whose  "Agesilao," 
with  many  alterations,  this  is.  Dedicatory  sonnet  by  Pietro  Maria  Leverati,  argument, 
cast,  scenario,  and  name  of  Gaetano  Isola  ("musica  nuova")  as  composer.  On  p. 
55-70,  argument,  cast,  name  of  Vittorio  Trento  as  composer  of  the  music  ("tutta 
nuova"),  and  description  of  Filippo  Beretti's  "Tamar  e  Selimo  ossia  Padre  e  figlio 
rivali  sconosciuti,  ballo  eroico-tragico  di  lieto  fine  in  cinque  atti." 

First  performed  January  24,  1790,  as  indicated.  Schatz  4906 

Lisbeth,  drame  lyrique  en  trois  actes  et  en  prose,  m616e  de  miisique; 
represente,  pour  la  premiere  fois,  h  Paris,  sur  le  Tli64tre  de  I'Op^ra- 
comique  de  la  rue  Favart,  le  21  nivdse  an  5  de  la  Republique,  ou  le  10 
Janvier  1797,  vieux  style.     Paroles  de  Favieres.     Musique  de  Gretry. 

Paris,  Barba,  an  VIII  de  la  Republique  [1799-1800].     32  p.    19^<^^. 

Cast.  Schatz  4197 

Lise  et  Colin,  ou  La  surveillance  inutile,  op^ra  en  deux  actes. 
Paroles  de  J.  B.  Eug^ne-Hus.  Musique  de  r.  Gaveaux.  Repre- 
sente pour  la  premiere  fois  a  Paris,  sur  le  Theatre  de  la  rue  Faydeau, 
le  17  tnermidor  [August  4],  an  quatri^me  de  la  Republique. 

Paris,  A  la  Nouveaute,  chez  tes  freres  Gaveaux,  an  4-  1796.  64  p. 
19^'='^. 

Cast  and  author's  dedicatory  poem  to  Dauberval,  with  footnote: 

"  J'ai  fait  cet  op^ra  d'apr^s  un  ballet  charmant  de  la  composition  du  c^l^bre  Dauber- 
val, donn6  k  Londres,  il  y  a  quelques  annees,  sous  le  titre  de  la  Fille  mal  gardee,  et 
depuis  k  Bordeaux,  k  Lyon,  k  Marseille,  sous  celui  d'  II  n'est  qu'un  pas  du  mal  au  bien." 

On  the  last  two  pages,  a  complimentary  Note  to  the  artists  oftheTh6§,tre  Fey deau. 

ML  50.2. L4G2 

Intermezzi  di  Lisetta,  ed  Astrobolo. 

These  three  intermezzi  (by  unknown  author;  music  by  Carlo  Francesco  Gas- 
parini)  form  p.  84-95  of  the  libretto  of  Caldara's  opera  "La  verity  nell'  inganno," 
Vienna,  November  4,  1717.  The  intermezzi  were  previously  performed  at  Venice 
Teatro  di  S.  Cassiano,  carnival,  1707.  Schatz  1490 

.^^siniaco.     Drama    per    musica.     Da    rappresentarsi    nel    famoso 
Theatro  Grimano  a  SS.  Giovapni  e  Paolo.     L  anno  MDCLXXIV  .  .  . 

Venetia,  Francesco  Nicolini,  1674-    front.,  69  p.     15'^^. 

Three  acts.  By  Cristoforo  Iwanovich,  who  is  not  mentioned.  Publishers'  dedica- 
tion dated  December  10,  1673,  and  notice  to  the  reader,  with  allusion  to  Giovanni 
Maria  Pagliardi  as  the  composer,  argument,  and  scenario.  Schatz  7583 


OPERA   LIBRETTOS  689 

^Lisimaco  riamato  da  Alessandro.  Drama  per  musica  di  Giacomo 
Sinibaldi  da  Roma.  Riformato  all'  uso  di  Venetia  da  Aurelio  Aureli 
per  recitarsi  nel  Teatro  Vendramino  h  S.  Salvatore.  L'anno 
MDCLXXXII  .  .  . 

Venetia,  Francesco  Nicolini,  1682.     60  p.     i^^^"™. 

Three  acts.  Aureli's  dedication  dated  Venice,  January  23,  1682,  argument, 
scenario,  cast,  and  notice  to  the  reader,  ivith  name  of  Giovanni  Legrenzi  as  composer 
("nova  musica"),  and  remark  that  lack  of  time  prevented  him  (Aureli)  from  writing 
a  new  drama, 

"onde  trk  molti  de'  virtuosi  forastieri,  che  mi  sono  capitati  nelle  mani,  h6  stimato 
bene  lo  sciegliere  questo  Lisimaco  del  Signor  Sinibaldi,  rappresentato  l'anno  paseato 
in  Roma  avanti  la  Maeeta  della  regina  di  Suezia."  Schatz  5545 

List  iiber  list.     L.  A.  T.  of  Mozart's  Figaros  hochzeit. 

Arien  imd  gesaenge  aus  dem  singspiel  List  und  ungefaehr,  oder 
Der  gluecldiche  zufall.  In  drey  aufzuegen,  von  Stephanie  dem 
juengeren,  in  musik  gesetzt  von  Ernst  Lange. 

Riga,  Jvlius  Conrad  Daniel  MUller,  1793.     20  p.     17''"^. 

First  performed  at  Riga,  Vietinghof'sches  Theater,  February  25/March  8, 1793. 

Schatz  5415 

Die  listige  rache  des  Sueno.  A.  T.  of  Reiser's  Die  gezwungene 
bestaendigkeit. 

Die  listige  wittwe.     Tr.  of  Leo's  La  vedova  ingegnosa. 

Lisuart  und  Dariolette  oder  Die  frage  und  die  antwort,  eine 
operette  in  zwey  aufzuegen. 

[TFien],  Zujinden  inn  Krausisclien  hucJiladen,  1766.     Jfi  p.     16"^. 

Neither  the  author,  Daniel  Schiebeler,  nor  the  composer,  Johann  Adam  Hiller,  is 
mentioned.  On  p.  [2],  a  note  to  the  effect  that  the  piece  is  based  on  Chaucer's  "The 
tale  of  the  wife  or  Bath,"  as  edited  by  Dryden,  and  on  which  tale  Voltaire  based  hia 
"Ce  qui  plait  aux  dames." 

First  performed  at  Vienna,  Kamthnerthor  Theater,  January  6,  1767;  at  Leipzig, 
Theater  beim  Rannstaedter  Thore,  November  25,  1766.  Schatz  4726 

—  Lisuart  und  Dariolette.     Ein  singestueck  in  drey  acten. 

Riga,  JoTi.  Friedrich  HartJcnoch,  1773.     52  p.     18"". 

Neither  the  author,  Schiebeler,  nor  the  composer,  Hiller,  is  mentioned.  The 
text  is  somewhat  different  from  the  Vienna  text  of  1766.  For  instance,  the  latter  has 
not  the  arias,  "Gieb,  grausames  geschick"  (I,  1)  and  "Die  prinzessin  zu  entdecken" 
(I,  2).  This  belongs  to  the  three-act  version,  which  Schiebeler  brought  out  at  Leipzig 
on  January  7,  1767  (Calmus).  ScHAaz  4734 

—  Arien  aus  Lisuart  und  Dariolette,  in  musik  gesetzt  von  herm 
Hiller.     Nuernberg  den  24  sten  may  1780. 

n.  i.,  n.  d.     23,  [1]  p.     16""". 

An  altered  version  of  Schiebeler's  text.  Schatz  4727 

The  little  gipsy.     A.  T.  of  Arne's  May-day. 

Little  John  and  the  giants :  A  dramatic  opera. 
n.  i.,  n.  d.     92  p. 

A  five-act  ballad  opera,  the  airs  of  which  are  indicated  in  the  text  by  title.  Text 
by  Henry  Brooke,  vol.  iv  of  whose  collected  works  this  appears  to  be.  Acted  orig- 
inally March  27,  1749  at  Dublin  as  "Jack  the  gyant  quiller."  Prohibited  after  first 
night.  Altered  in  1754  and  again  acted  at  Dublin.  Printed  1778  as  above.  Text 
preceded  by  "Prologue"  and  '^Prologue,  spoken  at  the  second  representation." 

LONQE  131 
72251°— VOL  1—14 44 


690  LIBRARY  OF   CONGRESS 

The  livery  rake,  and  country  lass.  An  opera.  As  it  is  perform'd 
by  the  company  of  comedians  of  His  Majesty's  revels,  at  the  new 
Tneatre  in  the  Hay-Market.  With  the  musick  prefix'd  to  each  song. 
London,  J.  Watts,  1733.     2  p.l,  35  p.     21'^'^. 

One  act.     By  Edward  Phillips,  who  is  not  mentioned.    Ballad  opera.    Cast  and 
table  of  the  18  songs.    The  airs  are  printed  in  the  text,  two  of  them  without  title. 
First  performed,  as  indicated,  October  15,  1733.  ML  50.5. L49 

Second  copy.    Longe  37 

Livietta  e  Tracollo  o  La  contadina  astuta. 

Two  intermezzi  by  Pergolesi,  text  by  Mariani.  The  Naples,  1734,  ed.  is  not  in 
the  L.  of  C,  nor  any  other  ed.  with  the  original  title.  The  work  became  known  also 
under  the  alternative  title,  as  "Tracollo,"  "La  finta  Polacca,"  " Tracollo,  medico 
ignorante"  (as  in  the  Paris  libretto  of  1753). 

First  performed  as  intermezzi  to  Pergolesi's  "Adriano  in  Siria"  at  Naples,  Teatro 
di  S.  Bartolomeo,  October  25,  1734;  at  Paris  at  the  Acad^mie  royale  de  musique  in 
May  1753. 

In  his  Pergolesi  biography  Radiciotti  has  analized  (not  the  original  libretto,  but) 
the  score  preserved  at  the  Naples  conservatory.  Accordingly,  this  score  (which  is 
not  Pergolesi's  own  original  score)  would  seem  to  contain  two  singing  parts  "Livietta" 
and  "Tracollo"  besides  the  mute  "Fulvia"  and  the  following  arias: 

(Int.  I)  Vistdben?  Vi  comparisco  ?  (Livietta);  A  una  povera  Polacca  (Tracollo); 
Ecco  il  povero  Tracollo  (Tracollo);   Vado,  vado,  edavrai  core  (duet); 

(Int.  II)  Vedo  I'aria  che  s'imbruna  (Tracollo);  Caro  perdona  mi,  placa  (Livietta); 
Non  si  muove,  non  rifiata  (Tracollo);  Sempre  attomo  qual  palomba  (duet,  in  place  of 
which  other  scores,  according  to  Radiciotti,  have  "Per  te  ho  io  nei  core"  from  Per- 
golesi's "Flaminio."    For  other  final  duets  see  below). 

It  should  be  noted  that  the  arias  "Vi  st6  ben?  Vi  comparisco?"  and  "Non  si 
muove,  non  rifiata"  appear  also  in  Goldoni's  "Amor  tk  I'uomo  cieco"  text  dated 
1731  by  Wotguenne.  As  intermezzi  of  that  title  were  composed  by  Pergolesi  and 
performed  with  his  "La  Salustia"  at  the  Teatro  di  S.  Bartolomeo,  Naples,  winter 
1731,  it  may  be  that  those  two  arias  made  part  of  these  intermezzi  and  that  in  1734 
they  were  again  used  for  "Livietta  e  Tracollo."     (See  Amor  ik  I'uomo  cieco.) 

It  appears  from  Radiciotti's  analysis,  that  the  Naples  score  of  "Livietta  e  Tra- 
collo" and  presumably  the  Naples  libretto  do  not  agree  with  the  score  of  "Tracollo, 
IntermMe  "as  published  at  Paris  in  1753  nor  with  our  score  of  "La  contadina  astuta, 
as  transcribed  from  a  score  preserved  at  the  Brussels  Conservatory.  The  distinguish- 
ing feature  between  these  two  scores  (which  coincide  completely)  and  the  Naples 
score  is  that  they  contain  a  third  singing  part  "Sulpizio"  besides  "Livia"  and  "Tra- 
collo" resp.  "Tracollo  medico  ignorante."     The  two  scores  contain  (arias  in  italics): 

(Int.  I)  Lo  voglio  scannare  (Sulpizio)  Al  cospetto  di  tutti  gl'elementi;  Vi  std  bent 
Vi  comparisco  (Livia)  Ma  gli  scherzi  lasciam;  Ad  un  povero  Polacca  (Tracollo)  Si, 
dormono  ancor  ed  io  Misera,  che  ascoltai;  Tu  sei  troppo  scelerato  (Livia)  Pietk  Livietta 
mia;  Ecco  il  povero  Tracollo  (Tracollo)  Livia  se  tanto  barbara;  Vado,  vado,  ed  avrai 
(duet). 

(Int.  II)  Vedo  Varia  che  s'imbruna  (Tracollo)  Afffe  che  il  far;  Questo—foglio,  questa 
carta  (Livia)  Questa  6  passata  ben;  Caro,  perdonami,  placa  (Livia)  Gli  credo  o  non 
gli  credo;  Non  si  muove,  non  rifiata  (Tracollo)  Afffe,  ch'ella  fe  gi^  morta !  Io  non  posso 
resistere  (Livia)  Comincia  h  intenerirsi;  A  quella  che  t'adora  (duet). 

—  II  flnto  pazzo.  Intermezzo  per  musica  da  rappresentarsi  nel 
Theatro  Nuovo  dell'  opera  pantomima  de  piccoli  HoUandesi  del 
Nicolini. 

Brunsviga,  lieredi  di  Keiteli,  n.  d.     16  unnunib.  p.     20'^'^. 

Two  parts.  By  Tommaso  Mariani.  Cast  and  name  of  Giov.  Battista  Pergolesi 
as  the  composer. 

The  characters  are  Livietta,  Ti-acollo  and  "Fulvia  e  Facenda,  che  non  parlano" 
and  the  libretto  contains  the  following  (arias  in  italics): 

(Int.  I)  Vi  std  ben?  vi  comparisco?  (Liv.)  Ma  lasciamo  li  scherzi;  Ad  um  povero 
Polacco  (Tracollo)  Dormono  a  sonno  pieno;  Senti  .  .  .  non  sard,  mai  (Liv.)  Dunque, 
Livietta  mia;  Bella  mia,  se  son  tuo  sposo  (Tracollo.  From  Pergolesi's  II  maestro  di 
musica)  Via,  risolva  una  volta;  Vado  a  morte,  ed  avrai  (duet). 


OPERA   LIBRETTOS  691 

Livietta  e  Tracollo — Continued. 

(Int.  II)  Vedo  I'aria,  che  s'imbruna  (Tracollo)  Par  che  ci  pigli  gusto;  Caro  per- 
donami,  placa  (Livietta)  Gli  credo,  o  non  gli  credo;  Non  si  muove,  non  rifiata  (Tracollo) 
Ah  Livietta  mia;  Dimmi  a  me,  Tu  mi  vuoi  bene  ?  (duet). 

First  performed,  as  indicated,  1749;  at  Dresden  Hoftheater,  August  5,  1747. 

SCHATZ  7891 

—  II  ladro  convertito  per  amore.  Farsa  in  musica  da  rappresen- 
tarsi  per  intermezzo  nel  Teatro  Tron  di  S.  Cassiano.  II  carnovale 
deir  anno  1750. 

Venezia,  Modesto  Fenzo,  1750.     19  p.     15^^. 

Two  parts.  Cast.  Author  not  mentioned  and  unknown  to  Schatz,  but  the  charac- 
ters are  "Livietta"  and  "Tracollo"  and  "Fulvia  che  non  parla."  Consequently, 
this  pointed  to  a  later  title  of  Pergolesi's  "Livietta  e  Tracollo,"  text  by  Mariam 
and  a  comparison  of  this  and  "II  finto  pazzo  "  established  the  fact. 

The  characters  are  Livietta,  Tracollo  and  the  mute  Fulvia.  The  libretto  contains 
the  following  (arias  in  italics) : 

(Int.  I)  Vi  std  benf  Vi  comparisca?  (Livietta)  Ma,lasciamo  gli  scherzi;  Ad  un 
povero  Polacco  (Tracollo)  Dormono  a  eonno  pien;  Perche  ridi,  mustaccio;  Senti,  non 
sard,  mxii  {Livietta)  Via  risolva  una  volta;  Deh,  non  lasciarmi,  ingrata  (Tracollo)  Invano 
ti  lusinghi ;    Vado  a  morte,  ed  avrai  (duet) . 

(Int.  II)  Vedo  Varia,  che  s'imbruna  (Tracollo)  Par,  che  ci  pigli  gusto;  Caro  per- 
donami,  placa  (Livietta)  Gli  credo  o  non  gli  credo?  •  Non  si  muove,  non  rifiata  (Tracollo) 
Ah!  Livietta  mia;  Contento  tu  sarai  (duet,  from  Pergolesi's  La  serva  padrone). 

Schatz  7906 

La  locanda.     Dranuna  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniani  di  S.  Moisd  il  carnovale  dell'  anno  1771. 
Venezia,  Antonio  Graziosi,  1771.     60,  [1]  p.     17^"". 

Three  acts.  Cast,  scenario,  and  names  of  Giovanni  Bertati  as  author  and  of  Giusep- 
pe Gazzaniga  as  the  composer.  Schatz  3668 

La  iocanda.     Commedia  per  musica  in  due  atti.     Da  rappresentarsi 
neir  Teatro  Reale  di  corte  I'anno  1792. 
Vienna,  n.  puhl.,  n.  d.     60  p.     17'^™'. 

Two  acts.  By  Giovanni  Bertati  with  revisions  by  Girolamo  Tonioli,  both  unmen- 
tioned.     Paisiello  is  mentioned  as  the  composer. 

First  performed  July  10,  1792,  as  indicated;  at  London,  Little  theatre  in  the  Hay- 
market,  February  14,  1792.  Schatz  7634 

—  II  fanatico  in  berUna.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  S.  il  Signor  principe  di  Carignano  nell' 
autunno  dell'  anno  1792. 

Torino,  Onorato  Derossi,  n.  d.     51,  [7]  p.     15'^'^. 

Two  acts.  Giovanni  Bertati's  "La  locanda"  text  with  modifications.  Cast  and 
name  of  Paisiello  as  the  composer. 

First  performed  at  Genoa,  Teatro  di  S.  Agostino,  spring  of.  1791.        Schatz  7635 

—  La  locanda :  A  comic  opera,  as  represented  at  the  Theatre  Royal, 
Hay-market. 

London,  H.  Reynell,  1792.     75  p.     W"^. 

Two  acts.  Cast  and  note  on  p.  [3]:  "The  music  composed  expressjy  for  the  occa- 
sion, by  the  celebrated  Paesiello  .  .  .  the  poetry  by  Signor  Bertati,  with  additions 
and  alterations  by  G.  Tonioli."*    English  text  faces  Italian. 

First  performed,  as  indicated,  February  14,  1792. 

Bound  in  with  this  is  the  libretto  of  Shield's  The  farmer,  8th  ed.,  London,  T. 
Cadell,  1791.  ScHAft'7672 


692  LIBRARY  OF  CONGRESS 

La  locanda — Continued. 

—  Lo  strambo  in  berllna;  dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Reggio  Teatro  di  S.  Carlo  della  Principessa,  la  primavera 
dell'  anno  1795. 

Lishona,  Simone  Taddeo  Ferreira,  1795.     77  p.     15''^. 

Two  acta.  Bertati's  text  with  modificationfl.  Cast  and  name  of  Paisiello  as  the 
composer.  Schatz  7685 

La  locandiera.     Dranmia  giocoso  per  musica  da  rappresentarsi  nel 
Pubblico  Teatro  di  Lucca  I'autunno  delF  anno  1798  .  .  . 
Lucca,  Bonsignori,  1798.     32  p.     17'''^. 

Two  acts.  Cast,  scenario,  name  of  Alessandro  La  Motte  Poucher  ae  composer 
("musica  tutta  nuova")  and  initials  of  the  author,  A.  L.,  who  says  in  a  prefatory  note 
that  the  text  is  based  on  Goldoni.  Schatz  5358 

La  locandiera.     Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  puhl,  1776.     157  p.     W'^. 

Three  acts.  By  Domenico  Poggi,  who  is  not  mentioned.  Scenario  and  name  of 
Antonio  Salieri  as  the  composer.  German  title-page,  "Die  gastwirthinn,"  and  text 
by  Ludwig  Zehnmark  face  Italian.  • 

First  performed  1776  at  Dresden,  as  indicated;  at  Vienna,  Bui^heater,  June  9, 
1773;  ana  at  the  Kiirthnerthorth eater,  June  8,  1773.  Schatz  9301 

La  locandiera  di  spirit©.     Commedia  per  musica  da  rappresentarsi 
nel  Teatro  Nuovo  sopra  Toledo  nell'  autunno  del  corrente  anno  1768. 
Napoli,  Vincenzo  Mazzola-Vocola,  1768.     2  p.  I.,  66  p.     W^. 

Three  acta.  Author  not  mentioned  and  imknown  to  Schatz.  Scenario,  cast,  and 
name  of  Niccol6  Piccinni  as  the  composer.  Schatz  8i28 

La  locandiera  vivace,  ballet.  See  Gardi's  II  nuovo  convitato  di 
pietra. 

Lock  and  key:   a  musical  entertainment,  in  two  acts,  performed  at 
the  Theatre  Royal,  Co  vent-Garden.     By  Prince  Hoare,  Esq. 
London,  T.  N.  Longman,  1796.     48  p.     21'='^. 

Cast.  The  compiler-composer,  William  Shield,  is  not  mentioned.  In  Preston 
and  Son's  vocal  score  the  overture  is  headed  as  composed  by  William  Parke  and 
"For  momenta  to  view "  as  by  Paisiello. 

First  performed  February  2,  1796.  Longe  238 

Lodoiska,  comedie  en  trois  actes,  en  prose,  m§16e  d'ariettes.  Repre- 
sentee, pour  la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du 
roi,  le  premier  aoOt  1791.  Paroles  de  M.  Jaure.  Musique  de  M. 
Kreutzer. 

Paris,  Fievee,  [etc.],  1792.     39  p.     20^^^.  Schatz  5269 

—  La  Lodoiska :  Dramma  per  musica  da  rappresentarsi  nel  Re^io 
Teatro  di  S.  Carlo  della  Principessa  in  occasione  di  celebrare  il  felicis- 
simo  giorno  natalizio  di  Sua  Maestk  Fedelissima  D.  Maria  I  .  .  .  li 
17  decembre  1796. 

Lishona,  Simone  Taddeo  Ferreira,  1796.     189  p.     l^Y"^. 
Two  acts.     Portuguese  and  Italian  text,  of  which  a  footnote  on  p.  5  says: 
"Tutti  i  versi  Airgolati  sono  dell'  originale  [!],  tutti  gli  altri  sono  del  Sig.  cav.  Baldi- 
notti,  poeta  estemporaneo." 
Cast  and  note  on  p.  7: 


OPERA  LIBRETTOS  693 

Lodoiska — Continued . 

"La  musica  del  dramma  h  del  celebre  Sig.  maestro  BIreutzer  e  d'altri  autori  rino- 
mati,  diretta  dal  Sig.  Antonio  Leal  Moreira,  compositore  di  musica  della  Real  Camera 
di  Sua  Maesta  Fedeiissima  ..." 

First  performed  at  Monza,  Teatro  Arciducale,  fall  of  1793.  Schatz  5269 

La  Lodoiska.     Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  La  Fenice  il  carnovale  dell'  anno  1796. 
Venezia,  Stamperia  Valvasense,  n.  d.     72  p.     18'^'^. 

Three  acts.  On  p.  7,  "La  poesia  h  tutta  nuova  del  dott.  F.  G.[onella]  di  F.[errara]," 
and  Joh.  Simon  Mayr  is  mentioned  as  the  composer.  Argument  and  cast.  On  p. 
[25J-39  preface,  argument,  cast,  and  description  of  Laucnlin  Duquesny's  "Cook, 
oesia  Gl'Inglesi  in  Othaiti,  ballo  pantomimmo  in  cingue  atti."  The  second  ballet 
had  the  title,  "II  mercato  di  Pozzuolo  oseia  II  epeciale  ingamato."  The  composers  of 
the  music  are  not  mentioned. 

First  performed  January  26,  1796.  Schatz  6158 

—  Lodoiska.  Dramma  per  musica  da  rappresentarsi  nel  Regio- 
Ducal  Teatro  alia  Scala  di  Milano  il  came  vale  dell'  anno  1800  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.  70  p.  60Y'^- 
Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Joh.  Simon  Mayr 
as  the  composer.  Sometimes  attributed  to  Gaetano  Rossi,  but  comparison  with 
Schatz  6158  proves  that  it  is  but  F.  Gonella  di  Ferrara's  text  in  two  acts,  with  numerous 
alterations.  For  instance,  the  first  scene  of  act  first  is  entirely  different  in  the  two 
versions,  but  to  scene  second  has  been  added  everything  preceding  the  words,  ' '  Princi- 
pessa,  se  vuoi."  The  second  act  shows  comparatively  few  changes  in  the  dialogue, 
but  in  this  act,  too,  most  of  the  arias  do  not  appear  in  the  original  version,  and,  for 
instance,  in  II,  5  the  aria,  "Quel  nobil  core,"  has  been  added,  where  originally  tnere 
was  none  at  all.  On  p.  35-42,  prefatory  note^  argument,  description,  and  cast  of 
Gaspare  Ronzi's  "Gine\Ta  di  Scozia,  ballo  eroico  pantomimo."  The  second  ballet 
had  the  title^  "Ergasto,  ed  Eurilla  vinti  dall'  amore."  The  composers  of  the  music 
are  not  mentioned. 

First  performed  at  Milan,  La  Scala,  December  26,  1799.  Schatz  6159 

La  Lodoiska,  ballet.     See  Mayr's  Telemaco. 

Lodoiska,  ballet.     See  Paer's  La  Rossana. 

Lodoiska;  an  opera,  in  three  acts,  performed,  for  the  first  time,  by 
His  Majesty's  servants,  at  the  Theatre  Royal,  Drury-Lane,  on  Mon- 
day7  June  9th,  1794.  Written  hj  J.  P.  Kemble.  The  music  com- 
posed, and  selected  from  Cherubini,  Kreutzer,  and  Andreozzi,  by 
Mr.  Storace. 

London,  G.  G.  and  J.  Rohinson,  n.  d.     pi.,  58  p.     20*^^. 

Cast.  LoNGE  228 

Lodovico  Pio.  Dramma  per  musica  .  .  .  Cantato  per  le  vacanze 
del  carnevale  nel  1687.  Nel  nob.  Collegio  Tolomei  di  Siena  da  quei 
Signori  convittori. 

Siena,  Stamp,  del  Pull.,  1687.     6  p.  I.,  70,  [1]  p.     14'="'. 

Three  acts.  Dedication  dated  Siena,  February  3,  1687,  and  signed  by  the  author, 
Girolamo  Gigli,  argument,  cast,  and  notice  to  the  reader,  with  name  of  Giuseppe 
Fabbrini  as  composer,  and  in  which  Gigli  says: 

"Eccomi  ...  col  terzo  dramma,  quando  forse  potea  bastarmi  avervi  attediato 
con  il  secondo  .  .  . 

"Troverete,  che  Don  Chisciotte  usa  tal  volta  versi  presi,  o  dal  Tasso,  o  dall'  Ariosto. 
Non  mi  crediate  si  temerario,  che  io  pretenda  mettere  in  burla  due  autori  da  mer- 
iveriti,  estimati  come  maestri  della  poesia;  h6  solamente  voluto  esprimere  i  pensieri 
del  person^gio,  co'versi  di  que'  degni  poeti,  per  far  nascer  il  ridicolo  dal  contrapoeto, 
&cendo  servire  una  grande  autorit^,  ad  una  gran  follia  ..."  ML  50.2.L4F2 


694  LIBRARY   OF   CONGRESS 

Die  lowenjagd.  A.  T.  of  Wenzel  Miiller's  Die  verschwoerung  der 
Odaliken. 

Die  loewenritter.  Erster  theil.  Ein  schauspiel  mit  gesang  in  vier 
aufzuegen,  nach  der  geschichte  des  herrn  Spiess  fuer  die  Marinellische 
schaubuehne  von  Karl  Friedrich  Hensler.  Die  musik  ist  von  herrn 
Ferdinand  Kauer  .  .  . 

Wien,  gedruckt  hey  Maihias  Andreas  Schmidt,  1799.     IO4  p.  19^*^. 

First  performed  at  Vienna,  Theater  in  der  Leopoldstadt,  September  5,  1799. 

ML  50.2.L5K2 

Lord  Blunder's  confession;    or,  Guilt  makes  a  coward.     A  new 
ballad  opera  .  .  .     By  the  author  of  Vanelia,  an  opera. 
London,  T.  Reynolds,  1733.     67  p.     18^^'^. 

Three  acts.  Table  of  the  21  airs  used  in  the  opera  indicated  by  title.  Author 
unknown  to  Clarence.    No  performance  recorded.  Lonoe  176 

Songs,  duets,  etc  in  the  new  pantomime  called  Lord  Mayor's  day; 
or,  A  flight  from  Lapland.  As  performed  at  the  Theatre-Royal,  in 
Co  vent-Garden,  with  the  grand  procession,  etc. 

London,  T.  Cadell,  1783.     23  p.     21<=^. 

Cast.  One  act,  after  which  (p.  12-23),  "A  grand  historical  procession  of  the  sev- 
eral Companies,  with  their  respective  pageants,  and  the  chief  magistrates  belonging 
to  the  City  of  London  from  its  foundation."  Two  glees,  one  indicated  as  composed 
by  Dr.  Rogers,  one  by  William  Shields,  formed  part  of  this.  The  text  of  the  enter- 
tainment was  by  John  O'Keefe.  Neither  he  is  mentioned,  nor  the  composer,  but 
William  Shield  is  known  to  have  been  responsible  for  the  music. 

Performed  November  25,  1782.  ML  52.2.L6 

The  lord  of  the  n^anor,  a  comic  opera,  as  it  is  performed  at  the 
Theatre  Royal  Drury-Lane,  with  a  preface  by  the  author. 
London,  T.  Evans,  1781.     xxvi,  96  p.     ^i^"». 

Three  acts.  Cast.  By  John  Burgoyne,  who  is  not  mentioned.  His  lengthy  but 
important  preface  after  apologizing  "to  every  man  who  has  been  charged  with  this 
foundling" — the  anonymous  piece  nad  even  been  attributed  to  Sheridan — states  that 
the  piece  "was  written  last  sununer  in  the  country  for  mere  amusement"  without 
any  satirical  design  on  the  recruiting  service,  and  he  then  indulges  in  "a  few  thoughts 
upon  opera,  and  particularly  that  species  of  it  attempted  in  the  ensuing  pages.**  A 
few  quotations  will  show  that  Bui^yne's  ideas  are  worthy  of  notice  by  the  historians 
of  English  opera: 

"I  nave  no  hesitation  in  pronouncing  an  opinion,  that  the  adopting  what  is  called 
recitative  into  a  language,  to  which  it  is  totally  incongruous,  is  the  cause  of  failure 
in  an  English  serious  opera  much  oftener  than  the  want  of  musical  powers  in  the 
performers  .  .  . 

"I  will  not  contend  (though  I  have  my  doubts)  that  it  is  iinpoflsible  for  genius  to 
invent,  and  for  voice  to  deliver,  a  sort  of  recitative  that  the  English  language  will 
bear.  But  it  must  be  widely  different  from  the  Italian.  If  any  specimens  can  yet 
be  produced  of  it's  having  been  effected,  they  will  be  found  to  consist  only  of  a  few 
lines  introductive  of  the  air  which  is  to  follow,  and  as  such  received  by  the  ear  just 
as  symphony  would  be.  Very  few  serious  pieces,  except  Artaxerxes,  can  be  recol- 
lected upon  our  Theatre  where  it  has  not  entirely  failed,  even  when  assisted  by 
action:  in  oratorios  it  is,  with  a  few  exceptions,  and  those  sustained  by  accompani- 
ment, a  soporific  that  even  the  thunder  of  Handel's  chorusses  are  hardly  loud  enough 
to  overcome  .  .  . 

"I  trust  that  in  contending  against  musical  dialogue  in  English,  I  shall  not  be 
understood  to  think  that  all  music  is  inapplicable  to  the  higher  compositions  of  our 
stage.  On  the  contrary  I  am  convinced  that  under  judicious  management  music  is 
capable  of  giving  them  effect  beyond  what  our  best  authors  can  attain  without  it — 
music  can  add  energy  to  Shakespeare  himself.  Indignant  as  an  English  audience 
would  be  to  hear  King  Lear  deliver  himself  in  recitative,  I  believe  no  person,  who 
had  a  heart  or  taste,  ever  contemplated  the  mute  groupe  of  Cordelia  ^vlth  the  aged 


OPERA   LIBRETTOS 

The  lord  of  the  manor— Continued. 

parent  asleep  in  her  lap,  and  the  physician  watching  by,  without  an  encrease  of 
sensibility  from  the  soft  music  which  Mr.  Garrick  introduced  into  that  scene  .  .  . 

"One  branch  of  comic  opera  which  meets  with  succes  on  our.  stage  is  evidently  a 
graft  from  the  Burletta  of  the  Italians;  and  little  as  I  may  admire  it  in  general,  I  will 
venture  to  say,  respectively  to  the  writing,  it  is  improved  in  our  soil.  Midas,  the 
Golden  Pippin,  and  some  others,  considered  as  pieces  of  parody  and  biirlesque,  are 
much  better  than  any  Italian  burletta  I  know  ... 

"I  cannot  easily  bring  myself  to  allow  the  higher  branch  of  our  Comic  Opera,  to 
be  of  foreign  extraction.  From  the  time  the  Beggar's  Opera  appeared,  we  find  pieces 
in  prose,  with  songs  interspersed,  so  approaching  to  regular  comedy  in  plot,  incident, 
ana  preservation  of  character,  as  to  make  them  a  distinct  species  from  any  thing  we 
find  abroad — and  is  it  too  much  to  add  that  the  sense,  wit,  and  humour  to  be  found 
in  some  of  them  are  sterling  English  marks  by  which  we  may  claim  the  species  as 
our'own?  ... 

"They  who  are  imacquainted  with  the  Paris  theatre,  are  referred  for  judgement 
upon  this  subject  to  the  Deserter,  Zemira  and  Azor,  and  other  direct  translations; 
and  to  Daphne  and  Amintor,  and  Thomas  and  Sally,  and  other  after-pieces,  very 
good  in  their  kind,  but  written  after  the  French  manner.  The  Padlock  is  above 
this  class  in  display  of  characters;  and  the  French  have  nothing  upon  their  musical 
comic  stage  to  compare  as  resembling  comedy,  with  Love  in  a  Village,  or  the  Maid 
of  the  Mill,  or  to  take  still  greater  credit  to  our  theatre,  the  Duenna. 

"The  Lord  of  the  Manor,  although  the  leading  incident  of  the  story  is  professedly 
taken  from  the  Silvain  of  Marmontel,  is  an  humble  attempt  at  the  species  of  opera 
which  I  have  ventured  to  call  English,  and  to  describe  as  a  drama  the  next  in  grada- 
tion below  regular  comedy,  and  wnich  might  perhaps  be  carried  a  step  above  it  .  .  . 

"In  a  representation  which  is  to  hold  "a  mirror  up  to  nature,"  and  which  ought 
to  draw  its  chief  applause  from  reason,  vocal  music  should  be  confined  to  express  the 
feelings  of  the  passions,  but  never  to  express  the  exercise  of  them.  Song,  in  any 
action  in  which  reason  tells  us  it  would  be  unnatural  to  sing,  must  be  preposterous. 
To  fight  a  duel^  to  cudgel  a  poltroon  in  cadence,  may  be  borne  in  a  burletta,  upon 
the  same  principle  that  in  the  serious  opera  we  see  heroes  fight  lions  and  monsters, 
and  sometimes  utter  their  last  struggles  for  life  in  song  and  die  in  strict  time  and 
tune:  but  these  liberties  would  be  totally  inadmissable  in  the  kind  of  drama  which 
I  am  recommending  .  .  . 

"Music,  therefore,  if  employed  to  express  action,  must  be  confined  to  dumb  shew. 
It  is  the  very  essence  of  pantomime;  and  we  have  lately  seen  upon  the  opera  stage 
how  well  a  whole  storj^  may  be  told  in  dance ;  .  .  .  It  should  always  be  the  accessory 
and  not  the  principal  subject  of  the  drama;  but  at  the  same  time  spring  out  of  it  in 
such  a  manner  that  the  difference  can  hardly  be  discerned,  and  that  it  should  seem 
neither  the  one  nor  the  other  could  be  spared  ...  It  would  be  affectation  in  me, 
as  well  as  ingratitude  to  the  public,  to  deny  the  pleasure  I  have  had  in  the  very 
favourable  reception  of  this  piece.  At  the  same  time  I  trust  that  I  am  duly  sensible 
how  much  of  the  success  is  to  be  attributed  to  the  exertions  of  the  performers,  the 
merits  of  the  orchestra,  and  the  excellence  of  Mr.  [William]  Jackson's  composi- 
tion ..." 

First  performed  at  London,  Drury  Lane,  December  27.  1780  (Genest),  November 
27,  1780  (Oulton).  Lonqe  91 

—  The  lord  of  the  manor,  a  comic  opera,  as  it  is  performed  at  the 
Theatre  Royal,  Drmy-Lane,  with  a  preface  by  the  author. 

Philadelphia,  William  Spotswood,  1790.     xv,  [16]-71  p.     i5J«"». 
Three  acts.    Without  names  of  Burgoyne  or  Jackson.  ML  50.6.L62 

—  The  lord  of  the  manor,  a  comic  opera,  in  three  acts.  As  per- 
formed with  universal  applause,  by  the  American  company. 

Philadelphia,  H.  Taylor,  1791.     63  p.     18^"^. 

First  performance  in  America  unknown  to  Seilhamer  and  me.  ML  50.6.L63 

The  lords  maskei     See  A  relation  of  the  late  royall  entertainment. 

Lorezzo,  ballet.     See  Campobasso's  Antigona. 

Lorezzo,  ballet.     See  Federici's  L'Olimpiade. 


§96  LIBRABY  OF  CONGRESS 

Lotario. 

Three-act  opera,  by  Georg  Friedrich  Handel.  Altered  verBion  of  text  by  Matteo 
Noris,  "Berengario,  r6  d'ltalia." 

First  performed  at  I^ndon,  Haymarket,  December  2,  1729. 

Not  in  L.  of  C. 

—  Judith,  gemahlin  kayser  Ludewigs  des  Frommen  oder  Die 
siegende  unschuJd,  in  einer  opera  auf  dem  Hamburgischen  schau- 
platze  ao.  1732.  vorgestellet.     [vignette] 

HaTriburg,  mit  Stromerischen  schrifften,  n.  d.      Unpaged.     ISY"^' 
Three  acta.    Argument  and  note  that  the  translation  of  the  recitatives  is  by  Johann 

Georg  Hamann,  their  composition  by  Georg  Philipp  Telemann.    It  is  not  mentioned 

that  the  arias  were  taken    from  Handel's  "Lotario"    (by  Matteo  Norie)  and  F. 

CheUeri's  "L'innocenza  difeea"  (by  F.  Silvani).    The  German  translation  of  the 

arias  is  added  to  the  Italian  text. 

First  performed,  as  indicated,  November  27,  1732.  Schatz  4481 

Lottchen  am  hofe.     Eine  komische  oper  in  drey  aufzuegen  von 
C.  F.  Weisse.     Dritte  verbesserte  auflage. 
Leipzig,  DyJcische  hiLchhandlung,  1776.     lOIf.  p.     16^"^. 

On  p.  [2],  the  note:  "Nach  der  Ninette  ^  la  cour  des  herm  Favart."  The  com- 
poser, Johann  Adam  Hiller,  is  not  mentioned. 

First  performed  at  Leipzig,  Theater  am  Rannistaedter  There,  May  7, 1767  (Schatz), 
April  24,  1767  (Calmus).  Schatz  4728 

—  Arien  und  gesaenge  aus  der  comischen  opera :  Lottchen,  oder 
Das  bauernmaegdchen  am  hofe.     In  dreyen  akten. 

AltoTM,  1770,  n.  pull.     20  p.     WY"^- 

Neither  Weisse  nor  Hiller  is  mentioned. 

First  performed  at  Altona,  Theater  "Sansouci,"  1770.  Schatz  4729 

—  Lottchen  am  hofe.     Eine  komische  oper  in  drey  aufzuegen. 
C.  F,  Weisse,  Komische  opem,  Carlsruhe,  1778,  th.  i,  96  p.     18^'^. 

On  p.  [2],  the  note:  "Nach  der  Ninette  h  la  cour  des  herm  Favart."  The  com- 
poBer,  Hill(jr,  is  not  mentioned.  ML  49.A2W2 

La  lotteria  militare.     A.  T.  of  Le  Messier's  ballet  Accampamento. 

The  lottery.     A  farce.     As  it  is  acted  at  the  Theatre-Royal  in 
Drury-Lane.     By  His  Majesty's  servants.     With  the  musick  pre- 
fix'd  to  each  song.     The  3d  ed.,  with  the  addition  of  a  new  scene. 
London,  J.  Watts,  1732.     4  p.  I.,  36  p.     20<'-^. 

On  p.  [iiHiv],  "Books  printed  for  J.  Watts,"  p.  [iv]  containing  a  list  of  ballad 
"Operas  witn  the  musick.  One  act,  prologue,  and  epilogue.  Cast  and  table  of  the 
22  songs.  Ballad  opera.  The  airs  are  printed  in  the  text,  with  their  titles,  except 
no.  1,  "A  lottery  is  a  taxation;"  no.  5,  "How  hapless  is  the  vii^n's  fate;"  no.  6,  "Fare- 
well ye  hills  and  valleys;"  no.  8,  "When  love  is  lodg'd  within  the  hearts;"  no.  9, 
"Alas!  my  Lord,  you're  too  severe;"  no.  10,  "I've  often  heard;"  no.  12,  "Dear  Sir, 
be  not  in  such  a  passion;"  no.  13,  "Ah  think,  my  Lord!"  no.  15,  "When  the  candidate 
offers;"  no.  21,  "Since  you  whom  I  lov'd,"  which  are  all  marked  as  "set  by  Mr. 
Seedo;"  and  no.  22,  "That  the  world  is  a  lottery,"  which  has  neither  title  nor  com- 
poser's name.    The  text  is  by  Henry  Fielding,  who  is  not  mentioned. 

First  performed,  as  indicated,  January  1,  1732.  ML  50.5. L68 

—  The  lottery.     By  Henry  Fielding,  Esq. 

\292\-316  p.  19'^^.  {Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  ii,  Edinburgh,  1792.) 

One  act.    Drury  Lane  cast.  Schatz  11753B 


OPERA   LIBRETTOS  '697 

Arien  und  gesaenge  aus  Louise.     Eine  oper  in  drey  aufzuegen.     In 
musik  gesetzt  von  Friedrich  Ludwig  Benda. 

Riga,  Jvlius  Conrad  Daniel  Mueller,  1794.     20  'p.     17'''^. 

The  librettist,  Ernst  Friedrich  Jester,  is  not  mentioned. 

First  performed  at  Konigsberg,  Ackermann'eches  echauspielhaus,  January  16, 
1791;  at  Riga  on  May  30  (June  10),  1794.  Schatz  765 

Love  and  innocence,  a  pastoral  serenata.     As  performed  at  Mary- 
bone-Gardens.     Set  to  music  by  Mr.  Hook. 

London,  T.  BecJcet  and  P.  A.  de  Hondt,  1769.     2  p.  I.,  27,  [1]  p.     i5"». 

The  last  (unnumb.)  p.  contains  publishei's  booklist. 

Two  acts.    Author  not  mentioned,  and  unknown  to  Clarence.  Longe  40 

Love  and  loyalty.     An  opera. 

[237]-29S  p.  '  21^"^.  {The  miscellaneous  works  of  A.  McDonald, 
London,  J.  Murray,  1791.) 

Detached  copy.  Three  acta.  Neither  a  composer  nor  a  performance  recorded  by 
Clarence.  Longe  282 

Love  and  magic.     A.  T.  of  The  enchanter. 

Love  and  money ;  or,  The  fair  Caledonian.     A  musical  farce,  in  one 
act,  as  performed  at  the  Theatres-Royal,  Drury-Lane,  and  the  Hay- 
market,  with  universal  applause.     By  the  late  Mr.  Benson  . '.  . 
London,  J.  Wallis,  n.  d.     32,  [5]  p.     21  <='^. 

Cast.  The  [8]  p.  contain  "addressee"  and  list  of  eubecribers.  The  composer, 
Samuel  Arnold,  is  not  mentioned. 

First  performed  August  29,  1795.  Longe  246 

Love  and  revenge;   or.  The  vintner  outwitted:   an  opera;   as  acted 
at  the  new  Theatre  in  the  Hay-Market. 
London,  2  p.  I,  [3]-56  p.     19^"^. 

Three  acts,  with  prologue,  "spoke  by  Mr.  Fielding."  Author  not  mentioned  and 
not  recorded  by  Clarence.  Ballad  opera.  The  airs  of  the  37  songs  are  merely  indi- 
cated by  title.     Cast  and  dedication. 

First  performed  1729,  as  indicated.  ML  50.5.L69 

Second  copy.     Longe  105 

Love  and  riches  reconcil'd,  a  masque.     See  Love's  a  lottery. 

Love  at  first  sight:  a  ballad  farce,  of  two  acts.     As  performed  at 
the  Theatre  Royal  in  Drury  Lane. 
London,  T.  Becket  and  P.  A.  de  Hondt,  1763.     2  p.  l,  35,  [1]  p. 

Two  acts.  By  Thomas  King,  who  is  not  mentioned.  Caat  and  prefatory  note. 
The  eleven  airs,  except  the  last,  are  indicated  by  title. 

First  performed,  as  indicated,  October  17,  1763.  Longe  36 

Second  copy  (20^0°.).     Longe  193 

Love  at  first  sight :  or.  The  wit  of  a  woman.    A  ballad  opera  of  two 
acts,  by  Joseph  Yarrow,  comedian  .  .  . 

York,  Printed  hy  Thomas  Gent,  17^2.     6  p.  I.,  108  p.     17^*^. 

On  p.  54-68,  "Nancy,  or,  the  parting  lovers"  and  nine  other  songs  that  have  no 
connection  with  the  play,  and  on  p.  [691-108  the  farce,  "Trick  upon  trick,  or.  The 
vintner  outwitted.    A  farce,  ae  perform 'd  by  the  York  company  oi  comedians. 

Two  acta,  prologue,  epilogue.  Dedication  and  list  of  subscribers.  The  21  aira 
used  are  indicated  by  title  in  the  text.  Longe  321 


698  LIBRABY  OP  CONGRESS 

The  love  distracted  maid.     Tr.  A.  L.  of  Dalayrac's  Nina. 

Airs,  duets,  trios,  etc  in  the  new  comic  opera,  called  Love  finds  the 
way.     As  performed  at  the  Theatre-Royal  in  Covent-Garden. 
LoTidon,  J.  Bell,  1777.     2  p.  I,  21^  p,    20<=^. 

Three  acts.  Cast.  The  text  is  an  abridgment  of  "The  School  for  guardians"  by 
Thomas  Hull.    Neither  he  nor  the  composer  is  mentioned. 

First  performed,  as  indicated,  November  18,  1777  (Genest).  ML  50.2.L6 

Love  in  a  camp  or  Patrick  in  Prussia. 

Text  by  John  O'Keefe,  music  selected  and  composed  by  William  Shield. 
First  performed  at  London,  Covent  Garden,  February  17,  1786  (Genest). 
No  libretto  with  the  O.  T.  in  L.  of  C. 

—  Patrick  in  Prussia,  or  Love  in  a  camp ;  a  comic  opera,  in  two 
acts,  with  all  the  original  songs ;  as  performed  at  the  Theatres  Royal 
Covent-Garden,  and  Smock- Alley:  being  a  sequel  to  the  Poor  Sol- 
dier, written  by  John  O'Keefe,  Esq  .  .  .  From  the  author's  original 
manuscript. 

Dublin,  G.  Perrin,  1786.     35  p.     16^"^- 

Cast.  LoNGE  148 

Love  in  a  riddle.  A  pastoral.  As  it  is  acted  at  the  Theatre-Royal, 
by  His  Majesty's  servants.     Written  by  Mr.  Gibber. 

London,  J.  Watts,  1719  [l]  2  p.  1,96  p.  20<=^.  [Bound  with  Gay, 
John.     The  beggar's  opera.    London,  1728] 

Three  acts,  prologue,  and  epilogue.  Ballad  opera.  Cast'.  On  verso  of  t.-p.  a 
publisher's  book  list,  dated  January  3,  1728-9.  "The  tunes  to  the  songs"  are  printed 
on  p.  [75J-96,  with  their  titles  and  numbered  consecutively  for  each  act:  15,  22,  18, 
total  55.  In  the  text  the  airs  appear  numbered  but  without  title.  The  air  to  which 
the  epilogue  was  to  be  sung  appears  in  the  text. 

The  piece  was  printed  1729,  not  1719  as  in  the  title.  It  was  first  performed  as 
indicated,  January  7,  1729.     {See  Damon  and  Phillida.)  ML  50.5. B3 

Love  in  a  village ;  a  comic  opera.  As  it  is  performed  at  the  Theatre 
Royal  in  Covent-Garden. 

London,  Printed  by  W.  Griffin  for  J.  Newbery  and  W.  Nicoll  [etc.], 
1763.     3  p.  I.,  78  p.     19<^^. 

Three  acts.  Cast.  By  Isaac  Bickerstaffe,  who  is  not  mentioned  and  who  says  in 
his  dedication  to  Mr.  Beard : 

"If  this  opera  is  considered  merely  as  a  piece  of  dramatic  writing,  it  will  certainly 
be  found  to  have  very  little  merit:  in  that  light  no  one  can  think  more  indifferently 
of  it  than  I  do  myself;  but  I  believe  I  may  venture  to  assert,  on  your  opinion,  that 
some  of  the  songs  are  tollerable;  that  the  music  is  more  pleasing  than  has  hitherto 
appeared  in  any  composition  of  this  kind;  and  the  words  better  adapted,  considering 
the  nature  of  the  airs,  which  are  not  common  ballads,  than  could  be  expected,  sup- 
posing any  degree  of  poetry  to  be  preserved  in  the  versification  ..." 

The  text  was  based  on  "The  village  opera"  and  other  old  plays.  Thomas  Aug. 
Ame,  who  partly  composed,  partly  compiled  the  music,  is  not  mentioned,  nor  are 
other  composers  mentioned  in  this  edition. 

First  performed  on  December  8,  1762,  ag  indicated.  Longe  42 

—  ...  Love  in  a  village;  a  comic  opera.  As  it  is  performed  at 
the  Theatre  Royal  in  Covent-Garden.  Distinguishing  also  the  varia- 
tions of  the  theatre.  Regulated  from  the  prompt-book,  by  permis- 
sion of  the  managers,  by  Air.  Wild,  prompter. 

London,  John  Bell,  1781.    front,  iv,  [2],  57,  [1]  p.     18^-^. 

The  front,  is  a  port,  of  Mrs.  Wrighten  as  Madge.  Cast,  Bickerstaff's  dedication  to 
Beard,  and  "A  table  of  the  [42]  songs,  with  the  names  of  the  several  composers." 


OPERA   LIBRETTOS  699. 

Love  in  a  village — -Continued. 

These  are  Abel,  Agus,  Abos,  Arne,  Baildon,  Boyce,  Bernard,  Carey,  Festing, 
Galuppi,  Geminiani,  Giardini,  Handel,  Hovrard,  Paradies,  Weldon.  Almost 
one  half  of  the  music  was  by  Thomas  Augustine  Arne. 

From  this  table  it  appears  that  Abel's  overture  was  "new,"  that  Howard's  "Oh 
had  I  been  by  fate  decreed"  and  "How  much  superior  beauty  awes,"  Arne's  "Still 
in  hopes  to  get  the  better,"  "Believe  me  dear  aunt,"  "Go,  naughty  man,  I  can't 
abide  you,"  and  "Well  come  let  us  hear"  "were  composed  on  purpose  for  this 
opera"  and  that  the  ballad  tunes  " Larry  Gorgan "  and  "St.  Patrick's  day "  were 
introduced.  It  is  curious  to  note  that  Walsh's  vocal  score  does  not  mention  Bernard, 
Abel,  Carey,  Weldon  on  title  page  and  that  Longman  &  Broderip's  vocal  score  does 
not  mention  Abos  and  Bernard,  but  adds  Os-wald.  Longe  322 

—  Love  in  a  village.  A  comic  opera.  By  Isaac  Bickerstaff. 
Adapted  for  theatrical  representation,  as  performed  at  the  Theatre- 
Royal,  Covent-Garden.  Regulated  from  the  prompt-book,  hy  per- 
mission of  the  managers  .  .  . 

London,  John  Bell,  1791.  front.,  1  'p.  L,  5,  [10\-90,  [S]  p.  W^. 
(J.  Bell,  British  Theatre,  London,  1791-1797,  v.  1.) 

The  front,  represents  Mrs.  Billington  as  Rosetta  in  this  opera.  The  1  p.  1.  is  an 
engraved  serial  title  page  with  a  scene  from  the  same  opera.  The  front,  is  dated 
September  28,  1790,  the  serial  title  page,  January  6,  1791.  Author's  dedication, 
prefatory  note,  Drury-Lane  and  Covent-Garden  casts.  PR  1241  B4 

—  Love  in  a  village.  A  comic  opera.  Written  by  Mr.  Bickerstaff. 
As  performed  at  the  New  theatre,  in  Philadelphia. 

[Philadelphia]  From  the  press  of  M.  Carey,  March  1,  179 j^.     58  p. 

Three  acts.  Cast,  and  on  p.  3.  "Table  of  the  [42]  songs,  with  the  names  of  the 
several  composers:"  Abel,  Abos,  Argus,  Arne,  Baildon,  Bernard,  Boyce, 
Carey,  Festing,  Galuppi,  Geminiani,  Giardini,  Handel,  Howard,  Larry  Gro- 
gan  [!],  Paradies,  Weldon. 

First  performed  in  America  at  the  Southwark  Theatre,  Philadelphia,  March,  1767. 

ML  50.6.L72 

Love  in  every  age.     A.  T.  of  The  four  seasons. 

Love  in  low  life.     A.  T.  of  Carey's  The  press  gang. 

Love  in  Mexico.     A.  T.  of  Arnold's  New  Spain. 

Love  in  the  city ;  a  comic  opera.     As  it  is  performed  at  the  Theatre 
Royal  in  Covent-Garden.     The  words  \^Titten,  and  the  music  com- 
piled by  the  author  of  Love  in  a  village.     The  second  edition. 
London,  W.  Griffin,  1767.     2  p.  I.,  Hi,  [1],  69,  [3]  p.     19^^. 

The  [3]  p.  at  end  contain  a  book  list  by  the  publisher. 

Three  acts.    Cast,  dedication,  and  preface  in  which  Isaac  Bickerstaffe  says: 

"To  those  who  find  fault  with  an  opera,  merely  for  being  such,  it  will  be  in  vain  to 
say  any  thing  in  defence  of  this;  indeed  the  absurdity  attach'd  to  the  musical  drama 
is  so  glaring,  that  there  seems  no  great  penetration  necessary  to  discover  it;  and  conse- 
(juently  any  one  who  will  cry  out  sing-song  or  tweedle-dee,  is  capable  of  turning  it 
into  ridicule.  Yet  it  should  be  considered,  that  its  absurdity,  gross  as  it  is,  consti- 
tutes, in  a  great  measure,  its  power  of  pleasing  .  .  . 

"The  music  of  this  piece  is  almost  totally  comic,  and  generally  characteristic;  I 
would  therefore  advise  those  of  my  auditors,  who  do  not  taste  it  a1»the  first  hearing,  to 
give  it  a  second,  nay  a  third  or  a  fourth;  and  after  that,  should  they  never  desire  to 
near  it  again,  I  can  only  tell  them  they  happen  to  dislike  what  has  been  repeatedly 
approved,  by  all  the  polite  nations  of  Europe  ..." 

Charles  Dibdin  (not  mentioned)  aseistea  Bickerstaffe  in  the  musical  make-up  of 
this  pasticcio,  which  became  better  known  in  an  altered  version  as  "The  romp." 
The  vocal  score  mentions  in  the  headings  (besides  Dibdin):  Vento,  Cocchi,  Galup- 
pi,Piccinnl,  Barthelemon,  Pergolesi  and  Jonunelli. 

First  performed,  as  indicated,  February  21,  1767.  Longe  32 


700  LIBRARY   OF  CONGRESS 

Love  in  the  East;  or,  Adventures  of  twelve  hours:  A  comic  opera, 
in  three  acts.     Written  by  the  author  of  The  stranger  at  home.     As 
performed  at  the  Theatre-Royal,  Drury-Lane. 
London,  W.  Lowndes,  1788.     3  p.l,  81  p.     20'='^. 

Cast  and  dedication,  dated  E.  J.  H.,  March  4,  1788,  by  J.[ame8]  C.[obb],  to  Thomas 
Linley,  who  composed  the  music. 

First  performed  February  25,  1788,  as  indicated.  Longe  110 

The  lover  his  own  rival.     A  ballad  opera.     As  it  is  perform'd  at 
the  New  Theatre  in  Goodman's  Fields.     By  Mr.  Langford. 
London,  J.  Watts,  1736.     4  p.  I.  32,  [3]  p.     20\  '^^. 

One  act,  prologue  sung  to  the  second  part  of  the  "Dutch  skipper,"  epilogue  sung  to 
the  tune  of  "Sir  Thomas  I  cannot."  Cast,  preface  in  which  Abraham  Langford 
expresses  his  appreciation  of  the  "kind  reception"  given  to  his  piece,  due  largely  to 
the  "care  and  cnearfulness "  of  the  performers,  inducing  him  "m-obably  [to]  produce 
another  attempt  of  the  same  kind,"  and  table  of  the  17  songs.  Ballad  opera,  the  airs 
of  which  are  printed  in  the  text  with  title,  except  song  no.  VI,  "Like  me,  the  tender 
dove  laments,"  which  is  marked  as  "set  by  Mr.  Stanley." 

First  performed  1736.  as  indicated.  ML  50.5.L7 

—  The  lover  his  own  rival.  A  ballad  opera.  As  it  is  perform'd  at 
the  Theatre  Royal  in  Covent-Garden.     By  Mr.  Langford. 

London,  J.  Watts,  1753.     4  p.  l,  32,  [3]  p.     20^"^. 

Except  for  the  title  page,  exactly  like  the  edition  of  1736.  Lonoe  198 

The  lovers  opera.     As  it  is  performed  at  the  Theatre-Royal,  by  His 
Majesty's  servants.     By  Mr.  Chetwood  .  .  .     The  second  edition, 
with  alterations. 
London,  Printed  and  sold  hj  A.  Dodd,  1729.     3  p.  I.,  34  p.     iP<="'. 

One  act,  with  prologue.  Cast  and  same  preface  as  quoted  from  the  3d  ed.,  only 
somewhat  shorter.  No  table  of  songs  in  this  edition.  Nor  are  the  39  [!]  airs  printed  in 
the  text.    They  are  indicated  only  by  title. 

According  to  Clarence,  first  performed  at  Drury  Lane,  May  14,  1730,  but  the  title 

5)age  of  this  libretto  would  seem  to  establish  1729  as  the  year  of  performance,  and,  in 
act.  Tufts  gives  May  14,  1729,  as  date  of  first  performance.  Longe  49 

—  The  lovers  opera.  As  it  is  performed  at  the  Theatre-Royal,  by 
His  Majesty's  servants.  By  Mr.  Chetwood  ...  3d  ed.,  with  altera- 
tions: and  the  musick  prefix'd  to  each  song. 

London,  J.  Watts,  1730.     4  p.l.,  40  p.     20^"^. 

One  act,  with  prologue.  Cast,  and  preface  in  which  William  Rufus  Chetwood  says: 
"This  attempt  being  begun  soon  after  the  run  of  the  celebrated  Beggar's  Opera  (to 
mention  which  gives  me  some  confusion,  while  I  am  speaking  of  my  own  weak 
endeavors)  the  reader  may  perhaps  find  some  new  tunes  since  made  use  of  in  other 
entertainments  of  this  kind.  I  must  declare  the  songs  thereto  were  made  before  I 
ever  saw  any  such  performances  .  .  .  The  town,  thro'  their  good-nature,  having 
given  this  tnfle  a  more  favourable  reception  than  I  could  have  expected,  the  printer 
has,  to  compleat  this  third  edition,  been  at  the  expence  of  adding  the  tunes  to  each 
song." 

Ballad  opera  with  table  of  the  32  songs.  The  corresponding  airs  are  printed  in  the 
text  with  their  titles,  no.  29,  "When  beauty  our  courage  will  try,"  being  marked  as 
"compos'd  by  Mr.  Charke."  ML  50.5. L72 

Love's  a  lottery,  and  a  woman  the  prize.  With  a  new  masque, 
call'd  Love  and  riches  reconcil'd.  As  it  was  acted  by  His  Majesties 
servants  at  the  Theatre  in  Lincolns-Inn-Fields  .  .  . 

London,  Daniel  Brovm  and  Edmund  RumhaU,  1699.  4  V-  ^v  ^^  P- 
21 Y"^. 

The  masque  on  p.  36-40.  Neither  the  author,  Joseph  Harris,  is  mentioned,  nor  the 
composer  of  the  music. 

First  performed  1699,  as  indicated.  Longe  240 


OPERA   LIBRETTOS  701 

Love's  labyrinth.     A.  T.  of  Arnold's  The  banditti. 

Love's  mistresse:  or  The  Queens  masque.  As  it  was  three  times 
presented  before  both  Their  Majesties,  within  the  space  of  eight 
dayes:  In  the  presence  of  sundry  forraigne  ambassadors.  Pubhkely 
acted  by  the  Queenes  comedians,  at  the  Phoenix  in  Drury-Lane.  The 
second  impression,  corrected  by  the  author,  Thomas  Hey^vood  .  .  . 
London,  Printed  by  John  Raworth,  for  John  Crouch,  I64O.     [72]  p. 

2  Jem 

Five  acts.  The  masque  is  here  entered  without  further  comment,  as  it  contains 
BO  few  opportunities  for  music  (dances  and  a  few  songs)  as  to  be  negligible  for  the 
present  purpose.     It  is  more  a  drama  than  a  masque.  Longe  61 

Love's  paradice.     A.  T.  of  The  grove. 

The  loves  of  Mars  and  Venus;  a  play  set  to  musick:  written  by 
Mr.  Motteux  .  .  . 

London,  A.  Bettersworth  and  F.  Clay,  1722.     [diySJ^.  p.     Id^'^. 

Three  acts  and  prologue.  "An  explanation  of  the  fable"  (p.  83-84),  cast,  dedi- 
cation and  preface  m  which  Motteux  says: 

"This  musical  play  or  masque  was  written  to  be  inserted  into  a  very  short  farce, 
written  by  Mr.  Ravenscroft,  called  The  Anatomist,  or  the  Sham  doc^tor  ...  I  chose 
a  subject  never  manag'd  in  a  dramatick  way  before  .  .  .  Wliatever  the  critics  may 
think  of  the  lines  .  .  .  there  has  not  been  more  agreeable,  nor  more  masterly  music 
perform'd  upon  our  stage  ..." 

The  prologue  and  third  act  are  headed  as  composed  by  Godfrey  Finger,  acts  1-2 
as  by  John  Eccles. 

First  performed  1696  at  Lincoln'e-Inn-Fields.  Longe  205 

Second  copy.    Longe  277 

The  loves  of  the  deities.  A.  T.  of  D.  Purcell's  Cinthia  and  Endi- 
mion. 

The  loyal  shepherds ;  or.  The  rustic  heroine,  a  dramatic  poem.  In 
one  act.  To  which  is  affixed,  several  sonnets,  ballads,  acrostics,  etc. 
Written  by  T.  Goodwin. 

[London],  Printed  for  the  author,  n.  d.     3  p.  I.,  39  p.     20^'^'^. 

List  of  subscribers  and  prefatory  acrostic  with  the  name  of  the  author,  Thomas 
Goodwin. 

No  composer  or  performance  recorded  by  Clarence.  Longe  303 

Lucas  et  Colinette.     A.  T.  of  La  f^te  d' amour. 

Lucas  und  Barbchen.     L.  T.  of  G.  Benda's  Der  jahrmarkt. 

Lucca  liberata.     See  M.  Curzio, 

Lucile,  comedie  en  un  acte,  mdlee  d'ariettes.     Reprfeent^e  pour  la 
premiere  fois  par  les  Com6diens  italiens  ordinaires  du  Roi,  le  5  Jan- 
vier 1769. 
Paris,  Merlin,  1769.     44  p.     19'^'^. 

Neither  Marmontel,  the  author,  is  mentioned,  nor  Qrfitry,  the  composer. 

SCHATZ  4165 

—  Lucile,  comedie  en  un  acte,  m^l6e  d'ariettes,  Repr^ent6  pjour 
la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le  5  Jan- 
vier 1769. 

Paris,  Veuve  Duchesne,  1769.     36  p.     W"^. 

On  p.  [33}-36,  "Ariettes  de  Lucile":  "Chantonsdeux^poux,"  "Onditqu'^quinze 
ans."    Cast.     Neither  Gr6try  is  mentioned,  nor  Marmontel.  ML  50.2.L8G7 


702  LIBRARY   OF   CONGRES? 

Lucile — Continued. 

—  Lucile,  comMie  en  iin  acta,  mesl6e  d'ariettes,  representee  pour  la 
premiere  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le  5  Jan- 
vier 1769.      ^ 

Paris,  Merlin,  1770.     4O  p.     W"^. 

Cast.  On  p.  37  the  air  of  "  Chantons  deux  6poux  "  followed  on  p.  38-40  by  the  duet, 
"On  dit  qu'^  quinze  ans."    Without  names  of  Marmontel  or  Grfitry. 

SCHATZ  11706 

—  Lucile,  comedie  en  un  acte,  mesl6e  d'ariettes,  representee  pour 
la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  5 
Janvier  1769. 

Paris,  Merlin,  1774.     40  p.     18""^. 

Cast.    The  text  is  the  same  ae  in  the  1770  ed.  Schatz  11707 

—  Lucile,  ein  singspiel  in  einem  aufzuge  aus  dem  franzoesischen 
uebefsetzt  und  von  dem  uebersetzer  selbst  herausgegeben. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1772.  60  p.,  10 
p.  {music).     16Y^. 

By  Johann  Heinrich  Faber  who  is  not  mentioned.  The  music  (voices  and  baes) 
consists  of  ' '  Wo  kann  man  besser  eeyn  "  (Oti  peut-on  §tre  mieux,  1,4)-    Schatz  4166 

Lucinda.     Scherzo  pastorale  per  musca  .  .  . 

Parma,  Paolo  Monti,  1713.     vi,  7-48  p.     21  p. 

Three  act-s.  Imprimatur  dated  July  14,  1713.  In  a  prefatory  note  the  publisher 
mentions  Vincenzio  Nieri  as  the  author  and  prints  a  letter  by  him,  dated  Lucca, 
April  19,  1713,  in  which  he  says: 

"nel  passato  carnevale  alcuni  amici,  ed  io  risolvemmo  di  rappresentare  per  pro- 
prio  divertimento  questo  piccolo  dramma,  il  di  cui  motive  lo  trassi  .  .  .  dall'  opere 
del  gi^  famoso  Moniglia;  ma  dopo  alcune  recite,  fii  sparsa  voce,  contenersi  in  esse 
qualche  sentimento  immodesto,  e  perci6  indegno  d'esser  udito,  bench^  del  continue 
fosse  il  concorso  degli  uditori  assai  folto.  Fra  gli  altri  si  pose  in  testa,  che  cosi  fosse, 
im  certo  Satrapone  Zelante,  il  quale  unite  con  altro  soggetto  suo  pari,  e  senza  averlo 
n&  pur  veduto,  gli  diede  taccia  di  disonesto,  e  lascivo;  e  fece,  per  quanto  fix  in  sua 
mano,  ogni  possibile  sforza,  accid  ne  restasse  eospesa  la  recita  ..." 

He  then  states  that  these  unwarranted  attacks  failed  and  that  the  opera  continued 
to  be  performed  with  success.    The  composer  is  unknown  to  Schatz.     ML  50.2.L83 

Lucio  Giunio  Bruto,  ballet.     See  Tarchi's  La  congiura  Pisoniana. 

Lucio  Giunio  Bruto  primo  consolo  di  Roma.     See  M.  Curzio. 

Lucio  Papirio. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744j  i-  h  V'  [271]-365 
p.     19'''^. 

Three  acte  and'licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo "  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1719.  (Performed 
there  on  November  4,  with  music  by  Caldara  as  "  Lucio  Papirio  dittatore.") 

ML  49.A2Z3 

—  Lucio  Papirio.     Pubblicato  per  la  prima  volta  in  Vienna  1719. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  v,  p.  86. 

2 1  cm 

Three  acts.    Argument.     No  composer  is  mentioned.  ML  49.A2ZA 


OPERA   LIBRETTOS  703 

Lucio  Papirio.  Dramma  per  music  a  da  rappresentarsi  in  Copen- 
hagen.— Lucius  Papirius  .  .  . 

Copenhagen,  Andreas  Hartwig  Godiche,  1756.     155  p.     15^^* 
Three  acts.     Argument,  cast,  scenario  and  note:   "La  mueica  h  di  diverei  autori." 
German  text  face  the  Italian  of  Apostolo  Zeno. 

First  performed  1756,  as  indicated.  Schatz  11346 

Lucio  Papirio.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino,  nel  carnovale  del  1753  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  e  figliuolo,  1753.     ^  V-  ^-j  ^^  V- 

Three  acts.  Argument,  cast,  and  scenario.  Neither  the  composer,  Ignazio  Balbi, 
nor  the  librettist,  Apostolo  Zeno,  are  mentioned,  but  as  composers  of  the  ballet  music 
are  named  Amedeo  Rasetti  and  Rocco  Gioannetti. 

First  performed  as  indicated,  December  26,  1752  (Schatz).  Schatz  557 

Lucio  Papirio.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Breslavia  I'anno  1731-1732  .  .  . 

n.  i.,  n.  d.     103  p.     17Y'"'- 

Three  acts.  Dedication  by  the  composer,  Antonio  Bioni,  argument.  The  libret- 
tist, Antonio  Salvi,  is  not  mentioned.  German  title-page,  "Lucius  Papirius,  musi- 
calische  opera,"  and  text  face  Italian.  Schatz  1044 

Lucio  Papirio.  Drama  per  musica  del  Signor  dottor  Antonio  Salvi 
da  Firenze,  da  rappresentarsi  nella  Sala  de  Sign.  Capranica  nel  car- 
novale deir  anno  1714. 

RoTm,  Bemabb,  171 4.     74  p.     15^"^- 

Three  acts  and  three  intermezzi  (text  on  p.  65-74),  "  Baeilotta  e  Slapina."  Argu- 
ment, cast,  scenario,  and  name  of  Francesco  Gasparini  as  composer.  The  intermezzi 
appear  to  be  the  same  as  Salvi's  "Barillotto,"  first  composed  with  music  by  Domenico 
Sarro,  at  Venice,  Teatro  di  San  Angelo,  fall  of  1712.  ML  50.2.L85G2 

Lucio  Papirio.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  .  .  . 

Berlino,  A.  Haude,  17/i5.     133,  [1]  p.     16'^'^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  scenario,  and 
name  of  Carl  Heinrich  Graxin  as  composer.  German  title-page,  "Lucius  Papirius," 
and  text  face  Italian. 

First  performed,  as  indicated,  January  4,  1745.  Schatz  4104 

Lucio  Papirio.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  .  .  . 

Berlino,  Haude  e  Spener,  1784.     109,  [3]  p.     16^'^'^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Joh.  Ad.  Hasse  as  the  composer.  German  title  page  "Lucius  Papirius," 
and  text  face  Italian. 

Performed,  as  indicated,  January,  1784;  previously  there  on  January  24, 1766;  first 
performed  at  Dresden,  Hoftheater,  January  18,  1742.  Schatz  4546 

Lucio  Papirio.  Dramma  per  musica  da  rappresentarsi  in  Firenze 
nella  prima  vera  dell'  anno  1795  nel  Regio  Teatro  degli  Intrepidi  detto 
della  ralla  a  Corda  .  .  . 

Firenze,  Ant.  Gins.  Pagani  e  comp.,  1795.     26  p.     18*^. 

Two  acts.    Cast  and  name  of  Gaetano  Marinelli  as  composer.    Schatz  attributes 
the  text  to  Zeno.    By  comparison,  it  is,  however,  neither  by  him  nor  by  Salvi. 
First  performed  at  Naples,  Teatro  di  San  Carlo,  May  30, 1791.      ML  48. A5    v.  16 


704  LIBRARY   OF   CONGRESS 

Lucio  Papirio.     Dramma  per  musica  da  recitarsi  nel  Teatro  Arci- 
ducale  di  Mantova  nel  carnovale  dell'  anno  MDCCXVIII  .  .  . 
Mantova,  Alberto  Pazzoni,  n.  d.     61  p.     l?*^"*. 

Three  acta.  Neither  Antonio  Salvi,  the  author,  nor  Giuseppe  Maria  Orlandlni,  the 
composer,  is  mentioned.  Impresario's  (Francesco  Bibiena!)  dedication,  argument, 
caat,  and  scenario.  \ 

First  performed  at  Naples,  Teatro  di  S.  Bartolomeo,  December  11,  1717. 

ScHATz  7362 

Lucio  Papirio.     Dramma  per  musica  da  rappresentarsi  nel  nobile 
Teatro  Tron  di  S.  Cassiano  nel  carnevale  dell'  anno  1737  .  .  . 
Venezia,  Giuseppe  Bettinelli,  1737.     6  p.  I.,  48  p.     15^"*. 

Three  acts.  By  Antonio  Salvi,  who  is  not  mentioned.  Domenico  Lalli's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Nicole  Antonio  Porpora  as  the  composer. 

ScHATZ  8371 

Lucio  Papirio.  Dramjna  per  musica  del  Sig.  dottor  Antonio  Salvi 
da  Firenze,  da  rappresentarsi  nel  Teatro  di  Sant'  Angelo  il  carnovale 
dell'  anno  1715  .  .  . 

Venezia,  Marino  Rossetti,  1715.     59  p.     15'^^. 

Three  acts.     By  Antonio  Salvi,  who  is  not  mentioned.     Dedication  by  Antonio 
Vivaldi,  argument,  cast,  scenario,  and  name  of  the  composer,  Luca  Antonio  Predieri. 
First  j)erformed  at  Pratolino,  Teatro  della  Villa  Medici,  1714.  Schatz  8457 

Lucio  Papirio  dittatore.  O.  T.  of  Zeno's  Lucio  Papirio  and  Quinto 
Fabio. 

Lucio  Papirio  dittatore.  Dramma  per  musica,  da  rappresen- 
tarsi nella  Cesarea  corte  peril  nome  gloriosissimo  della  Sac.  Ces.  e  Catt. 
Real  Maesta  di  Carlo  VI  .  .  .  La  poesia  edelSig.  Apostolo  Zeno..  .  . 
La  musica  e  del  Sig.  Antonio  Caldara  .  .  . 

Venezia,  Domenico  Lovisa,  1720.     63  p.     15'^'^. 

Three  acts.  With  argument  and  scenario.  Nicola  Matteis  is  mentioned  as  com- 
poser of  the  ballet  music. 

PHrst  performed,  as  indicated,  at  Vienna  November  4,  1719.  Schatz  1499 

Lucio  Papirio  dittatore.  Dramma  per  musica  da  rappresen- 
tarsi nel  nuovo  Ducal  Teatro  di  Parma  la  primavera  delr  anno 
MDCCXXTX  .  .  . 

Parma,  eredi  di  Paolo  Monti,  1729.     71,  [1]  p.     16^"^- 
Three  acts.     By  Apostolo  Zeno,  retouched  by  Carlo  Innocente  Frugoni,  both  men- 
tioned by  inference.     Dedication,  dedicatory  sonnet  by  Frugoni  ("Comante  Eginetico 
P.  Arcade"),  argument,  notice  to  the  reader  with  reasons  for  the  alterations,  cast, 
scenario,  and  name  of  Geminiano  GiacomeUi  as  the  composer.  Schatz  3809 

Lucio  Papirio  dittatore.     Dramma  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1775. 
[Lisboa,  n.  d.],  Stamperia  reale.     62  p.     15^"^. 

Three  acts.  Apostolo  Zeno  is  mentioned  as  the  author,  Paisiello  as  the  composer. 
Cast,  scenario,  and  argument. 

First  performed  at  Naples,  Teatro  di  San  Carlo,  summer,  1767.  Schatz  7674 


OPERA   LIBRETTOS  705 

Lucio  Papirio  dittatore.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S.  Grio.  Grisostomo  il  carnovale  dell' 
anno  1721  .  .  . 

Venezia,  Marino  Rossetti,  1721.     60  p.     l^'^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Impreeario'e  dedication, 
argument,  cast,  scenario,  name  of  Antonio  Pollaroli  as  composer,  and  notice  informing 
the  reader — 

"Nella  preeente  tragedia  alcuni  cambiamenti  ei  sono  dovuti  fare,  per  accomodarla 
ad  un  altro  Teatro,  e  ad  un'  altra  musica,  e  finalmente  ad  altri  virtuosi  destinati  a 
rappresentarla  ..." 

and  then  follows  the  customary  apology  to  the  author  and  public,  protesting  that  the 
intention  was  "solamente  di  mutare,  non  di  correggere."  In  his  letter  no.  538  Zeno 
epeaks  of  this  libretto  as  "  mutilato  dal  Piovene." 

First  performed,  as  indicated,  December  26,  1720.  Schatz  8259 

Lucio  Silla.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Samuele  la  nera  dell'  Ascensione  dell'  anno  1774. 
Venezia,  Grazioli,  n.  d.     4^  p.     17''^. 

Three  acts.  By  Giovanni  de  Gamerra,  with  cast,  scenario,  and  name  of  compoeer, 
Pa8C[uale  Anfossi,  but  not  of  librettist.  As  first  ballet  was  performed  "Solimano  II 
[o  sia]  La  francese  trionfante,"  author  and  composer  not  being  mentioned. 

Schatz  243 

Lucio  Silla.  Dramma  per  musica  da  rappresentarsi  all  Corte  elet- 
torale  Palatina  in  occasione  del  felicissimo  giorno  del  nome  del  sere- 
nissimo  elettore. 

Mannheim,  Stamperia  elettorale,  n.  d.     77  p.     16^™. 

Three  acts.  By  Giovanni  de  Gamerra  with  alterations  by  Matteo  Verazj  in  the 
second  act.  Argument,  cast,  scenario,  and  names  of  composer,  Johann  Christian 
Bach  ("musica  .  .  .  nuova  composizione"),  and  of  librettist. 

First  performed  at  Mannheim,  Hoftheater,  November  4,  1773  (Schatz),  preceding 
the  performance  mentioned  by  Mozart.  Schatz  529 

—  Lucius  Silla,  eine  opera  aufgefuehret  bei  gelegenheit  des  hoechst- 
beglueckten  namensfestes  Seiner  Kurfuerstl.  Durchlaucht  zu  Pfalz. 
Mannheim,  Eofund  Akademie  BuchdrucTcerei,  1774-     80  p.     15^^^. 

Argument,  cast,  scenario,  and  names  of  Joh.  Christian  Bach  as  composer  and  of 
Gamerra  and  Verazi  as  authors.  On  p.  69-70  a  detailed  description  of  the  ballets, 
"Acis  und  Galatea,"  invented  by  Stephen  Lauchery,  music  by  Joseph  Toeschi,  and 
"Achilles  und  Ulysses  auf  der  Insel  Scyros,"  by  the  same  author,  music  by  Christian 
Cannabich.  Schatz  530 

Lucio  Silla.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  carnovale  del  1779  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  4^,  [1]  p.     16^"^. 

Three  acts.  Giovanni  de  Gamerra  is  mentioned  as  the  author  of  the  text  "adattata 
al  comodo  del  compositor  della  musica,"  Michele  Mortellari.  Argument,  cast, 
scenario.  Vittorio  Amedeo  Canavasso  is  mentioned  as  the  composer  of  the  music 
for  the  ballets,  which  had  no  characteristic  plot  or  title. 

First  performed,  as  indicated,  December  26, 1778.  Schatz  6682 

Lucio  Vero.     O.  T.  of  Zeno's  text  Vologeso. 

Lucio  Vero. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744}  ^-  '^^h  P-  [87]-168 
p.     19'^. 

Three  acts.  Argument.  No  composer  ie  mentioned.  In  the  "Catalog©"  at  end 
of  t.  X,  date  and  place  of  first  ed.  are  given  as  Venice,  1700.    (See  below). 

ML  49.A2Z3 
72251°— VOL  1—14 45 


706     .  LIBBABY  OF  CONGRESS 

Lucio  Vero — Continued. 

—  Lucio  Vero.     Pubblicato  per  la  prima  volta  in  Ve^nezia  1700. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ii,  p.  59-136. 
21'='^. 

Three  acts.    Argument.    No  composer  mentioned.  ML  49.A2Z4 

Lucio  Vero.     Dramma  per  musica  da  rappresentarsi  nel  famoso 
Ducal  Teatro  di  Bronsevico  riella  fiera  d'inverno  dell'  anno  1756. 
[Bronsevico],  Keitel,  n.  d.     151  p.     16*^^. 

Three  acts.  Argviment,  scenario.  German  title  page,  "Lucius  Verus,"  and  text 
face  Italian  by  Apostolo  Zeno.  Neither  he  nor  the  composer  (unknown  to  Schatz) 
is  mentioned.  Schatz  11347 

Lucio  Vero.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  il  carnovale  dell'  anno  MDLCaXXV  .  .  . 
Venezia,  Marino  Rossetti,  n.  d.     58  p.     HY^. 

Three  acts.  By  Apostolo  Zeno.  Impresario's  dedication,  cast,  argument,  scena- 
rio, and  name  of  composer,  Francesco  Araya,  but  not  of  librettist.         Schatz  306 

Lucio  Vero.  Dramma  per  musica  da  rappresentarsi  in  Verona  nelP 
aprimento  del  Nuovo  Teatro  Filarmomco  il  carnovale  dell'  anno 
MDCCLIV  .  .  . 

Verona,  Giambattista  Saracco,  n.  d.     56  p.     18"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Publisher's  dedication, 
ai^gument,  cast,  scenario,  and  name  of  Davide  Perez  as  the  composer.    Schatz  7873 

Lucio  Vero.  Drama  per  musica  da  recitarsi  nel  Teatro  Grimani  di 
S.  Gio.  Grisostomo,  I'anno  MDCC  .  .  . 

Venezia,  Nicolini,  1700.     7  p.  I.,  56  p.     l^^"^. 

Three  acts.  Dedication  with  the  initials  of  the  author,  Apostolo  Zeno,  argument, 
and  scenario.    The  composer,  Carlo  Francesco  Pollaroli,  is  not  mentioned. 

Schatz  8301 

Lucio  Vero.  Dramma  per  musica  da  rappresentarsi  nel  Keal  Teatro 
di  S.  Carlo  nel  di  13  agosto  1785  per  festeggiarsi  la  nascita  di  S.  M. 
la  regina    .     .     . 

Napoli,  Vincenzo  Flauto,  1785.     59  p.     15*^^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Dedication  with  same 
date  as  in  the  title,  argument,  cast,  scenario,  and  name  of  Antonio  Sacchini  as  the 
composer.  On  p.  9-26  argument,  cast,  and  name  of  Antonio  Rossetti  as  composer  of 
the  music  of  Domenico  Leffevre's  "D.  Pedro,  infante  di  Portogallo.  Ballo  tragico  in 
cinque  atti."    As  second  ballet  was  performed  his  "La  festa  di  Flora,  ballo  pastorale." 

First  performed  at  the  same  theatre,  November  4,  1764.  Schatz  9242 

Lucio  Vero.  Drama  per  musica  da  rappresentarsi  in  Monaco  nel 
autunno  dell  anno  1720.  Nel  Teatro  Elettorale  festeggiandosi  il 
felicissimo  giorno  del  nome  dell'  Altezza  Serenissima  Elettorale  di 
MassimUiano  Emanuele  .  .  .  il  di  12.  octob.  1720. 

Monaco,  Enrigo  Teodoro  di  Collen,  n.  d.     68,  [26]  p.     15"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  and  sce- 
nario. Pietro  Torri,  the  composer,  is  not  mentioned.  The  unnumb.  pages  contain 
argument  and  scene  by  scene  synopsis  in  German.  Schatz  10366 

Lucius  Papirius.  Tr.  of  Zeno's  text  Lucio  Papirio,  Copenhagen, 
1756. 

Lucius  Papirius.     Tr.  of  Bioni's  Lucio  Papirio. 


OPERA   LIBRETTOS  707 

Lucius  Papirius.     Tr.  of  Graun's  Lucio  Papirio. 

Lucius  Papirius.     Tr.  of  Basse's  Lucio  Papirio. 

Lucius  Silla.     Tr.  of  Bach's  Lucio  SUla. 

Lucius  Verus.     Tr.  of  Zeno's  text  Lucio  Vero. 

Lucius  Verus,  oder  Die  siegende  treue:  in  einem  singe-spiel  auf  dem 
Hamburgischen  Schauplatze  im  jahr  1728  aufgefuehret. 

[Hamburg],  mit  Stromerischen  schrifften,  n.  d.      Unpaged.     19"^. 

Three  acts.  Scenario,  name  of  Reinhard  Keiser  as  the  composer,  and  "aver- 
tissement:" 

"Die  denen  liebhabem  zu  gefallen,  statt  der  hier  eingedruckten  deutschen,  abzu- 
eingende  wenige  italiaenische  arien,  (deren  inhalt  sich  zu  der  materie  gantz  unge- 
zwTingen  schickt),  werden  verhoffentlich  eine  allgemeine  approbation  verdienen. 

The  author,  Hinschj  who  based  his  text  on  Zeno,  is  not  mentioned. 

First  performed,  as  indicated,  October  18, 1728.  Schatz  5101 

The  lucky  discovery:  or,  The  tanner  of  York.  An.  opera.  As  it 
was  acted  at  the  theatre  in  York  .  .  . 

York,  Printed  for  the  author  hy  Thomas  Gent,  17S7.  1  f.  I.,  Hi,  U], 
26  p.     W""^, 


One  act.  Cast  and  preface  signed  by  John  Arthur  as  author.  Ballad  opera,  the  9 
airs  of  the  songs  being  indicated  by  title. 

Performed  at  Covent  Garden,  London,  April  24,  1738.  Longe  152 

The  lucky  mistake.     A.  T.  of  The  jealous  clown. 

Lucretia.     See  Reiser's  Die  kleinmuethige  .  .  . 

Lucrezia  Romana.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teairali,  Venezia,  Zatta  ejlgli,  1788-95,  v.  43, 
[295]-340  p.     18^^^. 

See  also  his  "Lugrezia  Bomana  in  Contantinopoli."  PQ 

II  Lucullo.     A.  T.  of  A.  Scarlatti's  L'  humanity  nelle  fere. 

Ludovico  il  Moro,  ballet.     See  Rispoli's  Ipermestra. 

Ludovico  Sforza  detto  II    Moro,  ballet.    See  Cimarosa's  Volo- 
domiro. 

Die   luftschiffer   oder   Der   strafplanet   der   erde.     Ein   komisch- 
satirisches  original  singspiel  in  3  aufziiegen  von  Max  Blumhofer. 
Fuer  das  kaiserliche  deutsche  Hof theater  zu  St.  Petersburg  bear- 
beitet. 
Leipzig  und  Kodn,  J.  A.  Imhofsche  huchhandhmg,  1787.     80  p. 

Inhi8long"Vorrede"  (p.  3-9),  dated  Duesseldorf,  August  21, 1786,  Blumhofer  says: 
"Meine  liebe  zur  musik^  und  besondere,  zur  theatermusik  gab  diesem  singspiel  das 
daseyn.  Ich  wollte  mich  in  composition  ueben  und  zeigen,  und  beschloss,  mir  ein 
stueck  zu  diesem  endzweck  zu  verfertigen  Ich  nahm  daher  bey  der  ausarbeitung 
deeselben  sogleich  auch  auf  die  musik  ruecksicht,  welches  wie  ee  scheint,  die  moisten 
verfaeser  von  singspielen  versehen,  oft  versehen  muessen,  weil  sie  entweder  keine 
musik  verstehen,  oder  wenn  eie  sie  verstehen,  weil  sie  zu  wenig  gefuehl  haben,  lun 
eich  zum  voraus  in  die  lage  des  tonsetzers  zu  versetzen  .  .  . 

"Ich  wollte  versuchen,  ob  ich  in  Weiesene  fusstapfen  tretten,  und  eine  operette 
liefem  koenne,  die  meiner  eigenen  musickcomposition,  und  der  auffuehrung  wuerdig 
waere  .  .  . 


708  LIBRARY   OF   CONGRESS 

Die  luftschiffer— Continued. 

"Auch  diese  operette  trug  ich  Sr.  Excellenz  dem  freyherm  von  D  .  .  .  [Dalberg] 
an.  Aber  ich  unbeeonnener  dachte  nicht  darauf,  daas  in  den  opem  und  operetten.  die 
in  M  .  .  .  [Mannheim]  aiifgefuehrt  werden,  mord  und  tod,  gift  und  dolch  herrechen 
mueeeen;  wie  ee  die  opem:  Guenther  von  Schwartzhurg,  welcne  gewiee  von  jeder  oper 
dee  Metastasio  dae  gegenstueck  iet,  und  Rosemunde  beweisen;  aucn  muse  ueberdiee  daa 
Btueck  arbeit  aus  eigener  fabrique  eeyn.  Ich  verdenke  also  Sr.  Excellenz  nicht,  daaa 
Dieselben  den  antrag  meiner  operette  keiner  antwort  wuerdig  fanden. 

"Aber  was  soil  ich  mit  dir  anfangen,  liebee  operettchen? — dich  nach  .  .  .  M. 
[Muenchen]  schicken? — Nein;  du  bist  zu  stolz  um  dich  da  von  einer  Excellenz, 
welche  Helena  und  Paris  so  reichlich  belohnte,  beallmosen  zu  lassen;  und  ich  eelbst 
mag  mit  mueickem,  die  den  groesen  Mozart  verkleinerten,  verachteten  und  beca- 
balirten,  nichts  zu  thun  haben. — Oder  soli  ich  dich  nach  Wien  schicken? — Freylich 
das  gieng  noch  wohlan — Aber  ich  bin  etwaa  miestranisch.  Wien  ist  fuer  manuscripte 
eine  gefaehrliche  stadt. — Weiest  du  was,  liebes  buechekhen;  wandre  du  auch  nach 
St.  Petersburg.— Aber,  dort  ist  keine  deutsche  operette,  sagst  du?— Naerrchen?  Waa 
thut  daa  zur  sache?  Vor  etlichen  jahren  war  dort  auch  noch  kein  deutsches  theater. 
Was  nicht  ist,  das  kann  noch  werden  ..." 

Schatz  records  no  performance.  ML  50.2.L9B4 

Second  copy.    14J«»».    Schatz  1108 

Lugrezia  Romana  in  Costantinopoli. 

[217]-264  p-  16 Y^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  Hi,  Torino,  1767.) 

See  also  his  "Lucrezia  Romana."    First  performed  as  below.  ML  49.A2G6 

Lugrezia  Romana  in  Costantinopoli.  Dramma  comico  da  rap- 
presentarsi  in  musica  dalla  Compagnia  de  Comici  nel  Teatro  Grimani 
di  S.  Samuele  il  camovale  dell'  anno  1737. 

Venezia,  Alvise  Valvasense,  1737.     J^7  p.     14^"^^. 

Three  acts.  Prefatory  note.  Neither  the  author,  Carlo  Goldoni,  is  mentioned, 
nor  the  composer,  Giacomo  Macari.  Schatz  5811 

Lukas  und  Barbchen.     L.  T.  of  G.  Benda's  Der  Jahrmarkt. 

Lukas  und  Hannchen,  eine  operette  .  .  .  [vignette] 
\     Braunschweig,  Fuerstl.  WaisenhausbucTihandXung,  1768.    2  p.  I.,  44 
p.     W"^. 

One  act.    Dedicatory  poem.     Based,  as  the  author,  Johann  Joachim  Eschenburg, 
remarks  in  a  note,  on  "Annette  et  Lubin"  of  Marmontel  and  still  more  on  that  of 
Mad.  Favart.    The  composer,  Johann  Friedrich  Gottlieb  Beckmann,  is  not  men- 
tioned. 
Y     First  performed  at  Braunschweig,  Furstl.  Kleines  Theater,  in  1768.    Schatz  685 

Luminalia,  or  The  festivall  of  light.  Personated  in  a  masque  at 
Court,  by  the  Queenes  Majestic,  and  her  ladies.  On  Shrovetuesday 
Night,  1637. 

London,  Printed  by  John  Havilandfor  Thomas  Walkley,  1637.  1  p. 
I.,  21  p.     18'^'^. 

Text  of  the  songs,  minute  description  of  the  masque  and  of  "Night,"  the  anti- 
masque,  and  at  end  "the  names  of  the  masquers."  The  prefatory  remarks  read,  in 
part: 

"The  kings  Majesties  masque  being  performed,  the  queene  commanded  Inigo 
Jones,  surveyor  of  her  Majesties  works,  to  make  a  new  suDJect  of  a  maaque  for  her 
eelfe,  that  with  high  and  hearty  invention,  might  give  occasion  for  variety  of  scenes, 
strange  apparitions,  songs,  muBick  and  dancing  of  severall  kinds;  from  whence  doth 
result  the  true  pleasure  peculiar  to  our  English  masques,  which  by  strangers  and 
travellers  of  judgement,  are  held  to  be  as  noble  and  ingenious,  as  those  of  any  other 
nations:  This  being  suddainly  done  and  shewed  her  Majestic,  and  shee  approving 
it,  the  worke  was  set  in  hand,  and  with  all  celerity  performed  in  shorter  time,  than 
any  thing  here  hath  beene  done  in  this  kind." 

The  masque  has  been  attributed  to  T.  Lodge  and  Robert  Greene  and  the  music  ia 
credited  to  Nicholas  Laniere.  ML  52.2.L92 


OPERA   LIBRETTOS  709 

Arien  aus  dem  singspiel :  Der  lumpensammler)  oder  Ein  gutes  herz 
ziert  jeden  stand  in  zwey  aufzuegen.     Die  musik  ist  von  herrn  Weigl. 
n.  i.,  1797.     14  p.     16^"^. 

By  Paul  Weidmann,  who  is  not  mentioned. 

Firet  performed  at  Vienna,  Burgtheater,  October  15,  1792.  Schatz  10940 

O  lunatico  illudido.  Novo  drama  adomado  de  musica,  e  tradu- 
zido  do  idioma  italiano,  para  se  representar  no  Theatro  do  Salitre. 
Lisboa,  Jose  de  Aquino  BuUwens,  1791.  127  f.  14¥^- 
Three  acta.  Author  not  mentioned  and  iinknown  to  Schatz.  Caat  and  name  of 
Marcos  Antorflo  [Portugal]  as  composer.  According  to  Carvalhaes,  this  is  a  Portu- 
guese version  of  Goldoni's  "II  mondo  della  lima."  In  Portugal's  catalogue  of  his 
works  this  opera  figures  as  "0  mundo  da  lua, "  with  date  of  1792  instead  of  1791. 

ML  50.2.L95P7 

Der  lustige  schuster  oder  Der  zweyte  theil  vom  Teufel  ist  los. 
Eine  komische  oper  in  drey  aufzuegen. 

C.  F.  Weisse,  Komische  opem,  Carlsruhe,  1778,  t.  ii,  p.  [105]-194. 

iSY"^' 

On  p.  106  the  note:  "Nach  dem  Merry  cobler  oder  the  Second  part  of  the  Devil  to 
pay  dee  herrn  Coffey." 

Neither  Johann  Standfuss,  who  originally  composed  the  music,  nor  Johann 
Adam  HUler,  who  revised  it  and  partly  composed  the  text  anew,  is  mentioned. 

First  performed  at  Leipzig,  Theater  am  Rannstadter  Thore,  1766.  With  Standfuss' 
music  firet  performed  at  Liibeck,  January  18,  1759.  ML  49.A2W2 

Second  (detached)  copy.    Schatz  4733 

Die  lustigen  weiber.  Ein  singspiel  in  vier  aufzuegen  von  Georg 
Roemer  [vignette].     Die  musik  is  von  Peter  Ritter. 

n.  i.,  1792.     143  p.     14^"^. 

Firet  performed  at  Mannheim,  NationaltheatSr,  November  4, 1794.    Schatz  8825 

Das  lustlager.  Ein  singspiel  in  zwei  aufzuegen.  Die  musik  ist 
vom  herrn  doktor  Schuhbauer,  dem  verfasser  der  Dorfdeputirten. 

MuencJien,  Johann  Baptist  Stroll,  1784.     77  p.     Id""". 

By  Franz  Joseph  Marius  von  Babo,  who  is  not  mentioned. 

Firet  performed  at  Munich,  old  opera  house  by  St.  Salvator,  August  4, 1784. 

Schatz  9711 

Lycidas :  a  musical  entertainment.  As  it  is  performed  at  the  Theatre 
Royal  in  Covent  Garden.     The  words  altered  from  Milton  ... 

London,  W.  GHffin,  1767.     1  p.  I.,  13,  [1]  p.     20^^. 
One  act.    Cast.    The  text  by  the  composer,  William  Jackson,  of  Exeter. 
First  performed  November  4,  1767.  Longe  198 

Second  copy.    Longe  216 

Epilogue.  Being  a  new  fancy  after  the  old,  and  most  surprising  way 
or  Macbeth,  perform'd  with  new  and  costly  machines,  which  were 
invented  and  managed  by  the  most  ingenious  operator  Mr.  Henry 
Wright.  P.  G.  Q. 

London,  Printed  in  the  year  1674-  21 Y"^.  {In  Thomas  DuffeVs 
''The  Empress  of  Morocco,^'  London,  Simon  Neal,  1674  <^  P-  [2d]-39.) 

Cast.  The  composer  of  the  music  (only  incidental)  of  the  play  is  not  mentioned. 
The  play  was  a  parody  of  Elkanah  Settle's  tragedy  of  the  same  title  and  was  firet  per- 
formed in  1674.  The  "Macbeth"  epilogue  is  said  in  Grove  to  be  a  parody  of 
Davenant's  version  of  "Macbeth,"  music  oy  Mathew  Locke.  Longe  271 


710  LIBBARY  OF   CONGRESS 

II  macchinista  ossia  La  susta  matematica,  ballet.  See  Martin  y 
Soler's  Vologeso. 

Die  xnacht  der  feen.     A.  T.  of  Selim  und  Zelide. 

Die  macht  der  liebe  oder  Die  von  Paris  entfuehrte  Helena.  German 
title  of  Kaiser's  La  forza  dell'  amore. 

II  Macedone  contmente.  A.  T.  of  M.  A.  Ziani's  La  virtti  sublimata 
dal  grande. 

Macrina  e  CarfogUo.     Intermezzi  in  Vinci's  Medea  riconosciuta. 

The  mad  captain,  an  opera  as  it  is  acted  at  the  New  Theatre  in 
Goodman's-Fields. 
London,  Charles  CorheU,  173$.    64  p.     19^. 

Title  vignette  port,  of  Addison. 

One  act.  By  Robert  Drury,  who  ia  not  mentioned.  Cast.  Ballad  opera,  the  33 
airs  of  which  are  merely  indicated  by  title  in  the  text,  aire  20-29  being  incorrectly 
numbered  21-32. 

First  performed  March  5,  1733.  Longe  50 

Madama  Arrighetta.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  Formagliari  il  came  vale  dell'  anno  1761  .  .  . 
Bologna,  Sassi,  1760.    72  p,    15''"'. 

Three  acts.  By  Antonio  Palomba,  who  is  not  mentioned.  Impresario's  dedica- 
tion, cast,  and  name  of  Niccol6  Picciimi  as  the  composer. 

First  performed,  as  indicated,  January  7, 1761,  at  Naples;  as  "Monsieur  Petitone" 
(Schatz),  Naples,  Teatro  Nuovo,  fall  of  1758.  Schatz  8150 

Madama  Ciana.     Drama  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Cassano  nell'  autunno  dell'  anno  1744. 
Venezia,  n.  publ.,  n.  d.     2  p.  I.,  84,  [4]  p.     17'''^. 

Three  acts.  By  Giovanni  Barlocci,  who  is  not  mentioned.  Cast  and  name  of 
Gaetano  Latilla  as  composer.  The  4  additional  p.  contain  the  substitute  arias, 
"D'ogni  core  la  bellezza"  for  "Non  si  credano  mai  (I,  6),  "II  modo  6  questo"  for 
"Si  con  ^udizio"  (II,  2),  "Se  mai  perdete"  for  "L'idol  mio  tu  fosti,"  and  the  addi- 
tional anas,  "Al  pensier  de  torti  miei"  ^11,  11)  and  " Disprezeata,  abbandonata" 
(III,  1).  Accordmg  to  Schatz,  Barlocci  s  libretto  was  originally  called  "Donna 
Marzia."  Schatz  5447 

— :  Ciana.     Dramma  giocoso  per  musica. 

Monaco,  Giovanni  Giacomo  Votter,  1749.     62  p.     W"^. 

Three  acts.  The  author,  Barlocci,  is  not  mentioned.  Cast  and  name  of  (Jaetano 
Latilla  as  composer.  The  text  is  somewhat  different  from  that  of  Venice,  4744.  For 
instance,  I,  6  has  the  aria,  "Quanto  son  pazze"  instead  of  "Non  si  credano,"  and  the 
aria,  "Non  mi  burli,"  has  been  droppeafrom  I,  9. 

First  performed,  as  indicated,  July  13,  1749.  Schatz  5448 

—  L'am.bizione  delusa.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi in  Torino  nel  Teatro  di  S.  A.  S.  il  Signer  principe  di  Carignano 
nel  carnovale  dell'  anno  1747. 

Torino,  Giuseppe  Domenico  Verani,  n.  d.    72  p.    14^'^^- 

Three  acts.  Cast  and  name  of  Gaetano  Latilla  as  the  composer.  The  text  ia 
Giovaimi  Barlocci's  "Madama  Ciana,"  though  with  many  differences.  For  instance, 
the  aria  *'Non  si  credano"  (I,  6)  has  been  replaced  by  "Quanto  son  pazze;"  "Se  tu 
mi  sei  fedele"  (I,  7)  by  "Pupillette  vezzosette;"  "Sento cangiarsi in  lagrime  "  (1, 8)  by 
"Fiumechealteroabbonda."    These  and  others  on  mounted  slips.    Schatz  5462 


OPEEA   LIBRETTOS        '  711 

Ikladi^xna  Prudenza.  Farsetta  per  musica  da  rappresentarsi  nel 
Teatro  della  Valle  nel  camevale  dell'  anno  1749  .  .  . 

Roma,  OUavio  PuccineUi,  1749.    31  p.     15^. 

Two  parts.  Dedication  by  Angelo  Lungi  (as  authotj)  and  the  printer,  cast  and 
name  of  Gregorio  Sciroli  as  composer.  ML  50.2. M2S2 

A  rehearsal  of  a  new  ballad-opera  burlesqu'd,  call'd  The  madhouse. 
After  the  manner  of  Pasquin.     As  it  is  now  acting  at  the  Theatre- 
Royal  in  Lincoln's-Inn-Fields.     By  a  gentleman  of  the  Inner-Temple. 
London,  T.  Cooler,  1737.    ^7,  [3]  f.    20^"^. 

Two  acts,  with  introduction.  In  his  dedication,  R.  Baker  claims  that  "The  mad- 
house [is]  a  subject  of  satyre  never  touched  upon  before  in  the  dramatic  way  ..." 

Prologue  and  epilogue,  followed  by  a  "Prologue  to  the  busy  body,  design'd  to  have 
been  spoken  by  Mrs.  Roberts,  on  Friday,  May  22, 1737."  The  airs  of  the  18  songs  are 
indicated  by  title.        ^ 

First  performed  April  22,  1737.  Longe  192 

Das   maechtige   geschick  bei  Lavinia   und  Dido.    A.   T.   of 

Steffani's  II  triumfo  del  fato. 

Das  maedchen  im  Eichthale.     Ein  laendliches  hochzeitspiel  in 
fuenf  aufzuegen  von  Bock.     Neue  rechtmaessige  auflage. 
Hamburg,  Eeroldsche  Buchliandlung ,  1785.     10 Jf.  y.     16^^. 

Five  acts.    The  composer,  Johann  or  Georg  Friedrich  Lampe,  is  not  mentioned. 
First  performed  at  Hamburg,  .Theater  beim  Gansemarkt,  August  19,  1776. 

ScHATz  5384 

Das  maedchen  im  thurme.  A.  T.  of  Ruprecht's  Das  wuetende 
heer. 

Das  maedchen  im  thurme.  A.  T.  of  Schweitzer's  Das  wutende 
heer. 

Die  maedchen  sind  von  Flandem.  A.  T.  of  Mozart's  Weiber- 
treue. 

Das  maedchen  von  Fraskati.     Tr.  T.  of  Paisiello's  La  Frascatana. 

Die  maedchenliebe.     Ein  schanspiel  mit  gesang  in  drei  akten. 
Leipzig,  n.  puhl,  1794.     152  f.     16^'''^. 

Not  recorded  by  Schatz.    Not  found  in  "Deutschee  Anonymen  Lexikon." 

SOHATZ  11632 

Maedchenlist  und  liebe.     A.  T.  of  Mozart's  Die  wette. 

Der  maedchenmarkt.  Komisches  singspiel  in  drey  aufzuegen  nach 
Saintfoix. 

Herklots,  Operetten,  III,  (Berlin,  1793),  p.  {187]-296.     15""^. 

Detached  copy.     Performed  with  music  by  Dittersdorf  at  Oels,  Hoftheater, 
April  18,  1797. 

Schatz  3601 

Gresaenge  aus  dem  singspiele :  Der  maedchenmarkt,  in  zwey  auf- 
zuegen, nach  Saintfoix  von  Herklots.  In  musik  gesezt  vom  reichs- 
graren  von  Kospoth. 

Hamburg,  J  oh.  Matth.  Michaelsens  unttwe,  1793.     4^  V-     15^^. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  September  3,  1793. 

SoilATZ  5220 


712  •     LIBRARY  OF   CONGRESS 

Das  maedgen  im  thurme.  A.  T.  of  Schweitzer's  Das  wuetende 
heer. 

Arien  und  gesaenge  zur  komischen  oper:  Maegera.  In  zween  auf- 
zuegen  1774.  ^ 

n.  L,  n.  d.     20  p.     17'^'^. 

Without  names  of  the  composer,  Johann  Bohm,  and  the  librettist,  W.  Philipp 
Haffner. 

First  performed  at  Berlin,  Kochsches  Theater,  July  27,  1774.  Schatz  1115 

La  maestra.  Dramma  bemesco  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassiano  il  carnovale  dell'  anno  1754  .  .  . 

Venezia,  Modesto  Fenzo,  1751^.     72  p.     IB'^^. 

Three  acts.  By  Antonio  Palomba  (not  mentioned).  .Dedication,  scenario,  cast, 
and  name  of  the  composer,  Gioacchino  Cocchi. 

First  performed  at  Bologna,  Teatro  Formagliari,  summer  1747.  Schatz  2033 

NB.  Cocchi's  "La  scaltra  govematrice,"  which  was  first  performed  at  Paria, 
Acad^mie  royale  de  musique,  January  25  (Schatz),  March  23  (de  La  Laurencie)  1753, 
was  but  a  ri/admento  of  his  "La  maestra,"  both  containing,  for  instance,  the  arias 
"Scelerata  a  me  rispondi,"  "Cara  Drusilla,  Non  goda  quell'  infida"  etc.  As  the 
L.  of  C.  does  not  possess  the  original  Bologna,  1747  text,  I  cannot  point  out,  just  what 
surgical  operations  the  opera  suffered  at  the  hands  of  the  Bambini  company  at  Paris. 
The  Venice,  1754  ed.  contains  in  the  first  act  the  following  arias  and  it  is  clear  from 
a  comparison  with  de  La  Laurencie's  remarks  on  "La  scaltra  govematrice  "  in  S.  I.  M., 
June  15,  1912,  p.  32,  that  the  Paria  and  Venice  versions  must  have  been  strikingly 
different: 

I,  1  d,  a,  be,  ce,  qu  .  .  .  Oh  diavolo. 
lo  sono  una  ragazza. 

I,  2  Mia  Drusilla,  all'  or  che. 

I,  5  Piil  non  chiamo  ingiusto  amore. 

I,  9  PoverinaJ  hafreddo  il  naso. 

I,  10  Fiume,  ch'  altemo  abbonda. 

I,  12  No,  non  mi  muove  a  sdegno. 

1,  13  Se  mat  vi  vedi  andar  vicino. 

I,  14  Bella  mono,  or  che  ti  stringo. 

TTie  following  arias  cited  by  de  La  Laurencie  are  not  in  the  Venice  ed .  of  La  maestra: 
Vedovella  poverella;  Drusillina;  0  quanti  maestri;  Gli  sbirri  (from  Cocchi's  La  maache- 
rata),  Non  son  piccina,  Fra  noi  scende  Imeneo. 

—  La  maestra  di  scuola.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Regie  Teatro  di  Berlino  per  ordine  di  Sua  Maesta  pnis- 
siana. 

Berlino,  Eaude  e  Spener,  1763.     101,  [3]  p.     17 Y"^. 

Three  acts,  with  name  of  Cocchi  as  composer.  German  title-page  "Die  echul- 
meisterin,"  and  text  face  Italian,  which  differs  somewhat  from  that  of  "La  maestra." 
The  first  act  now  haa  only  ten  scenes,  the  two  last  arias  mentioned  above  occurring 
in  I,  9  and  1,  10.  Furthermore  I,  8  has  the  aria  "Mentisca  pure,"  I,  7  "  PoverinaJ 
ha  freddo,"  I,  5  "  Se  alia  mia  Ih,"  I,  2  "Mia  Drusilla"  and  in  I,  1  the  second 
aria  was  dropped. 

First  performed  at  Berlin,  Schlosstheater,  December  1763,  and  previously  there 
in  1754  (Schatz).  Schatz  2034 

—  La  scuola  moderna,  osia  La  maestra  di  buon  gusto.  Dramma 
giocoso  per  musica  da  rappresentarsi  nel  Teatro  Giustiniano  di  S. 
Moisd  I'autunno  dell'  anno  1748. 

Venezia,  Modesto  Fenzo,  1748.    frcmt,  58,  [1]  p.     15'^'^. 

Three  acts.  Antonio  Palomba's  "La  maestra,"  rewritten  by  Carlo  Goldoni, 
according  to  Schatz,  who  records  Cocchi  as  the  composer,  whereas  Wiel  leaves  that 
point  open.     This  notice  is  addressed  to  the  reader  on  p.  3: 

"Non  avendo  servito  il  tempo  per  mutar  tutta  I'opera,  come  erasi  divisato,  si  h 
mutata  tutta  la  materia  buffa,  la  quale,  se  non  parera  bene  intrecciata  colla  seria, 
ci6  e  provenuto  per  la  neceesaria  brevity  ..." 


OPERA  LIBRETTOS  713 

La  maestra — Continued. 

The  differences  will  appear  from  the  list  of  characters.  Originally  they  were: 
Drusilla,  Fazio,  Leonora,  Ottavio,  Flarainio,  Checca,  PLstone.  In  the  revised  ver- 
eion  they  are:  Doralba,  Roemira,  Ergasto,  Drusilla,  Belfiore,  Leonora,  Lindoro.     For 

Eurpoees  of  identification  it  may  be  further  noticed  that  act  I,  sc.  2,  now  begins  "Cara 
irusilla  mia  "  instead  of  "Ma  che  buona  ragazza?  "  and  that  the  opera  now  ends  with 
*'Io  mi  eento  dal  diletto"  instead  of  "Grazia  ad  amore.  Eh  al  noetro  core."  The 
additional  page  contains  the  substituted  arias  "Destrier  che  all'  armi  usato"  (II,  7) 
and  "Giovani  cari  amanti"  (II,  9),  Schatz  2048     , 

La  maestra  di  buon  gusto.    A.  T.  of  Cocchi's  La  scuola  modema. 

La  maestra  di  scuola.     L.  T.  of  Cocchi's  La  maestra. 

II  miaestro  di  capella  o  sia  H  tutore  deluso,  ballet.  See  Cimarosa's 
II  fanatico  burlato. 

II  m.aestro  di  capella.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nei  Teatri  privilegiati  di  Vienna  I'anno  1771.  Appresso  il 
maestro  di  logge. 

n.  i.,  n.  d.     64  p.     15^'^. 

With  scenario  and  name  of  Florian  Johann  DeUer  as  composer.  The  author, 
Antonio  Palomba,  is  not  mentioned.    Originally  the  title  was  "Orazio." 

First  performed  at  Vienna,  Theater  nadist  der  Buig,  1771.  Schatz  2496 

II  maestro  di  cappella.     L.  T.  of  Pergolesi's  II  maestro  di  musica. 

II  maestro  di  cappella  burlato.  O.  T.  of  Lorazi's  Der  kapell- 
meister. 

II  maestro  di  musica.    A.  T.  of  the  ballet  Le  tuteur  trompe. 

II  maestro  di  musica. 

Two  acts.  Author  and  exact  date  of  performance  imknown.  Music  by  Giovanni 
Battista  Per^olesi,  composed,  according  to  Radiciotti,  probably  during  the  winter 
1733/34.  Neither  a  copy  of  the  original  libretto  has  come  to  light,  nor  the  original 
score  or  a  copy  of  it.  Consequently  it  is  not  known  just  what  the  score  and  the 
libretto  contained.  Not  even  the  plot  is  perfectly  clear,  since  the  nearest  known 
approach  to  Pergolesi's  score  does  not  contain  any  dialogue.  It  is  the  score  of  "Le 
HAiTBE  DE  MU8IQUE  op^ra  bouffon  italien  .  .  .  Avec  la  belle  ariette  Cou-cou. 
Chant^e  dans  la  Fausse  suivante  del  Sigf  Atilla  [!],"  Paris,  Boivin,  with  the  note  below 
the  imprint: 

"Pour  se  conformer  au  goiit  du  public,  ou  a  cm  devoir  retrancher  le  r^citatif. 
Grav6  d'apr^s  la  partition  de  I'auteur." 

If  this  last  sentence  is  to  be  taken  literally,  it  would  mean  that  the  Boivin  ed.  was 
based  on  Pergolesi's  own  score.  At  any  rate,  it  was  evidently  inserted  in  order  to 
establish  the  authenticity  of  the  Boivin  ed.,  which  contains  the  Italian  text  (and  a 
French  prose  translation)  of  twelve  arias,  duets,  etc.,  from  Peigolesi's  "II  maestro  di 
musica,  first  performed  at  Paris,  September  19  (de  La  Laurencie),  October  3  (Schatz), 
October  19  (Cl.  &  L.)  1752,  with  an  overture  by  Sammartini,  which  was  not  in- 
cluded in  the  score,  and,  as  a  supplement,  the  indicated  cou-cou  aria,  "Col^  sul 
praticello,"  from  Latilla's  "La  finta  cameriera."  The  twelve  arias,  etc.,  from  "II 
maestro  di  musica"  are: 

First  act:  (1^  "Oh  che  spropoeito  (by  Pietro  Auletta,  according  to  de  La  Lau- 
rencie);" (2)  "A  im  gusto  da  stordire,  (3)  "V6dir  lo  basso;"  (4)  Bella  mia,  se  son 
tuo  eposo;"  (5)  "Vedo  quel  bel  I'occhietto;"  (6)  "Come  chi  giocca  alle  palle."  Sec- 
ond act:  (7)  "Le  virtuose  che  son  famose;"  (8)  "Quando  sciolto  avr6  u  contratto;" 
^9)  "Segiammaidaspeco;"  (10)  "Splendafranoi,  eeren"  (chorus);  (11)  "Qualdoppo 
insane"  (duet);  (12)  "Caro  signer  maestro"  (trio). 

It  may  be  added  that  the  ms.  score  at  Berlin  (of  which  the  L.  of  C.  has  a  transcript) 
ia  identical  with  the  Boivin  ed.,  i.  e.,  it,  too^  lacks  the  dialogue. 

The  opera,  "Orazio,"  given  1743  at  Venice^  with  the  names  of  LatUIa  and  Per- 
golesi  aa  composers  in  the  libretto  (entered  m  this  catalogue  under  "Orazio"),  ia 


714  UBEAEY  OF  CONGRESS 

II  maestro  di  musica — Continued. 

clearly  a  very  much  expanded  three-act  version,  with  six  characters  instead  of  three, 
of  the  "II  maestro  di  musica"  text.  The  author  of  the  "Orazio"  text  is  not  men- 
tioned in  the  libretto,  but  is  said  by  Schatz  to  have  been  Antonio  Palomba.  As  to  the 
muinc  of  "Orazio,"  Radiciotti  and  others  enter  this  opera  under  Pergolesi  and  Latilla, 
but,  as  a  matter  of  fact,  the  libretto  has  Latilla  first  and  Pei^olesi  second.  The  reason 
for  this  order  becomes  quite  obvious  from  a  comparison  between  the  "Orazio  "  libretto 
and  the  Paris,  Boivin  ed.  of  the  score  of  "II  maestro  di  musica:"  Of  the  twelve  arias, 
etc.,  enumerated  above,  only  the  following  four  appear  in  the  "Orazio"  libretto:  (no.  1)  in 
I,  1;  (2)  as  "Ha  im  gusto  da  morire,"  in  I,  1;  (6)  in  I,  13;  (10^  as  "Splenda  fra  not 
eeren,"  in  II,  17.  In  other  words,  Pergolesi's  share  in  "Orazio  would  seem  to  have 
been  very  small,  and  the  opera  should  henceforth  be  entered  mainly  under  Gaetano 
Latilla. 

In  1749,  at  Parma,  "II  maestro  di  musica"  had  become  "Orazio  o  La  scolara  alia 
moda,"  and  at  Florence,  of  course  with  further  interpolations,  alterations,  etc.,  the 
opera  was  given  (1760)  as  "La  scolara  alia  moda." 

—  II  maestro  di  cappella,  intermezzi  per  musica,  da  rappresen- 
tarsi  nel  Regie  Teatro  di  Potsdam  per  ordme  di  Sua  Maestk. 

Berlino,  Haude  e  Spener,  1756.     63  p.     17^^^. 

Three  acts.  German  title  page,  "Der  kapell-meistier,"  and  text  face  Italian. 
Schatz  enters  this  under  "Orazio,"  by  Pergolesi  and  Latilla,  but  I  fail  to  see  the 
reason,  since  both  texts,  while  having  a  few  scenes  and  arias  in  common,  differ  widely, 
and  much  more  than  was  customary,  even  in  cases  of  replicas.  For  instance,  the 
differences  begin  in  the  very  first  scene,  when,  instead  of  the  aria,  "Ha  un  gusto  da 
morire,"  the  Potsdam  version  has  "Quanto  comanda,  si  ubbidir6."  Scene  2,  "Coetei 
troppo  6  vezzosa  "  has  grown  from  half  a  page  without  aria  to  three  with  aria,  "Finche 
Buona  il  ritomello."  Scenes  4  to  7  in  "Orazio"  are  not  in  the  Potsdam  ed.,  so  that 
I,  8,  "Mi  par  mill'  anni,"  has  become  I,  4,  and  then  the  two  texts  part  company  after 
a  few  lines,  etc.,  etc.  The  composer,  reap,  author,  responsible  for  this  three-act  ver- 
sion of  Pergolesi's  two-act  "II  maestro  di  musica,"  if  it  may  be  called  such,  is  not 
known.  Schatz  5468 

—  Le  mattre  de  musique,  comedie  en  deux  actes,  mel6e  d'ariettes. 
Parodi6  de  I'italien.  Representee  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi  le  28  may  1758  [!].  Avec  les 
changemens  qui  ont  6t6  faits  depuis  peu  par  I'auteur  dans  le  second 
acte. 

Bruxelles,  J.  J.  Boucherie,  1758.     36  p.     21^"^. 

Two  acts.  Neither  Baurans,  the  author,  is  mentioned,  nor  Pergolesi.  Cast. 
The  arias  in  the  libretto  are  as  follows : 

(1)  Ah  quel  martire  (I,  l=Oh  che  sproposito  in  "II  maestro  di  musica);  (2)  Un 
pilote  battu  de  I'orage  (1, 1  not  traced  by  Wotquenne);  (3)  Quel  d61ice  ne  trouve  point 
(I,  1=A  un  gusto  da  stordire  in  M.  di  M);  (4)  Suis-je  bien  pour  une  actrice  (1,  3=Vi 
8t6  bene?  Vi  comparisco?  in  Pergolesi's  TracoUo);  (5)  Oui,  nos  chanteuses  (I,  3=Le 
virtuose  in  M.  di  M.);  (6)  Je  veux  tout  baa  (I,  3=Vu6  dir  lo  basso  in  M.  di  M.);  (7) 
La  pudeur  qui  me  guide  (1, 5=Io  sono  una  donzella,  in  Sellitti's  * '  Cinese  rimpatriato  ") ; 
(8)  Si  d'une  ame  propice  (I,  5=Bella  mia,  se  son  tuo  eposo,  in  M.  di  M.) ;  (9)  Le  feu  me 
monte  au  visage  (I,  6=Come  chi  giuocha  alle  palle  in  M.  di  M.);  (10)  On  la  puissante 
querelle  (II,  1  not  traced  by  Wotquenne);  (11)  Le  badinage,  I'humeur  volage  (II,  1 
not  traced  by  Wotquenne);  (12)  Que  c'est  un  plaisir  extreme  (II,  1  not  traced  by 
Wotquenne);  (13)  Non,  je  suis  trop  en  colore  (II,  2=Quando  sciolto  avr6  il  contratto 
in  M.  di  M.);  (14)  D^sormais,  Je  sgaurai  mieux  (II,  2  not  traced  by  Wotquenne); 
(15)  Qu'  esp^re  un  amant  (II,  2  not  traced  bv  Wotquenne);  (16)  Ingrat,  je  romps 
ma  chatne  (II,  2  not  traced  by  Wotquenne);  (17)  Ah!  mon  coeur  soupire  (II,  3  not 
traced  by  Wotquenne);  (18)  Grace,  eois  plus  traitable  (II,  4=Ad  un  povero  Tracollo, 
in  Pergolesi's  TracoUo);  (19)  Que  mille  plaisirs.    (Not  traced  by  Wotquenne). 

Of  these  nineteen  arias,  nos.  1-9, 13, 16, 18  are  in  the  score,  as  printed  by  Bailleux, 
resp.  De  la  Chevardiere,  and  nos.  10-12, 14, 15, 17, 19  are  not.  It  should  also  be  noted 
that  "A  telle  qui  t'entage,"  the  last  aria  in  the  score,  is  not  in  the  revised  libretto. 
In  other  words,  the  aria  belonged,  as  did  the  entire  printed  score,  to  th.Q  first  version 
of  Bauran's  parody,  and  does  not  embody  any  of  the  alterations  in  the  second  act, 
which,  as  a  footnote  (on  p.  20)  informs  us,  had  oeen  found  to  be  "trop  serieux  &  trop 
uniforme." 


OPERA   LIBRETTOS  715 

II  maestro  di  musica — Continued. 

The  Brussels  1758  ed.  establishes  still  another  important  fact.  The  ConBervatory 
at  Brussels  possesses,  besides  the  printed  score,  one  (no.  2028)  that  is  ia  manuscript, 
with  "sept  morceaux  de  plus  que le  n*  precedent,  tous  au  second  act."  Beyond  this 
remark,  Wotquenne  ventured  no  conjectures.  It  turns  out,  from  comparison,  that 
six  of  these  nos.  in  the  manuscript  score  are  identical  with  nos.  10-12,  14, 15, 17  in  the 
libretto  of  the  revised  version,  and  only  one  aria  ("Mais  il  faut  enfin  prendre  xm 
parti")  does  not  appear  therein.  This  manuscript  score  therefore  represents  the 
revised"  version  of  the  opera,  and  Brussels  possesses,  therefore,  the  score  of  both 
versions. 

The  first  version  was  first  performed  at  Paris  May  28,  1755;  the  second  version  on 
March  7,  1757;  and  at  Bruxelles,  Theatre  de  la  Monnaie  in  1757.       ML  50.2.M3P3 

—  Le  maitre  de  musique,  com6die,  m^lee  d'ariettes,  parodiees  de 
I'italien  par  Baurans. 

Paris,  Au  bureau  de  la  petite  hihlioiheque  des  theatres,  1784'  1  p-  1-, 
iv,  50  p,  15  p.  (music)     13''^. 

Two  acts.  Argument,  date  of  first  performance  as  May  28,  1755  (Paris,  Com6die 
italienne),  and  "Jugemens  et  anecdotes  eur  le  Maitre  de  musique"  which  read,  in 
part: 

"Cette  piece  n'est  encore  qu'ime  parodie  d'un  intermede  italien,  en  deux  actee, 
donne  h  I'Op^ra,  sous  ce  titre:  II  maestro  di  imisica,  le  3  octobre  1752.  Le  public 
accueillit  trds-bien,  k  la  Com^die  italienne,  cette  seconde  traduction  de  Baurans,  et 
lui  sut  gr6  d'avoir  puis6  deux  fois  dans  la  meme  source,  pour  lui  procurer  de  nou- 
veaux  plaisirs,  inconnus  jusqu'alors  en  France.  Le  maitre  de  musique  n'eut  cepen- 
dant,  pas  le  meme  succ^s  qu'avoit  eu  la  Servante  maitresse  .  .  . 

"Le  sujet  du  Maitre  de  musique  a  ete  traits  en  ballet-pantomime,  par  Sabadini 
.  .  .  Ce  ballet,  compos6  sur  la  musique  italienne,  fut  donn6,  apr^  la  seconde  repre- 
sentation de  la  Servante  maitresse,  le  17  aoiit  1754,  et  il  r^ussitbeaucoup." 

The  text  is  followed  by  these  "Airs  du  Maitre  de  musigue":^  "Quel  d^lice,  ne 
trouve  point"  (="A  un  gusto  da  stordire,"  in  "II  maestro  di  musica"),  "La  pudeur 
qui  me  gmde"  (="Io  sono  una  donzella"  in  Sellitti's  "Cinese  rimpatriato  ),  "Si 
d'une  ame  propice"  (="Bella  mia,  se  son  tuo  sposo"  in  "II  maestro  di  musica"). 
The  text  is  the  same  as  in  the  Brussels  (1758)  edition,  belonging,  therefore,  to  the 
revised  version  of  1757.  Schatz  5467 

La  maga  Circe. 

One  act  farsetta,  by  unknown  author,  music  by  Pasquale  Anfossi. 

First  performed  at  Rome,  Teatro  Capranica,  carnival  1788  together  with  Basili's 
"La  bella  incognita"  and  original  libretto  printed  together  with  libretto  of  the  latter 
on  p.  28-55.     (5ee  "La  bella  incognita.")  ML  50.2.B28B2 

— ^La  maga  Circe.  Dramma  ^iocoso  per  musica  in  un  atto  da  rappre- 
sentarsi  nel  Teatro  della  nobiliss.  Accademia  degl'  Intronati  nel  car- 
nevale  1792  .  .  . 

Siena,  n.  puhl,  1792.    23  p.     16^"^- 

With  cast  and  name  of  Pasquale  Anfossi  as  composer  but  not  of  librettist,  who  is 
unknown  to  Schatz.  On  p.  5  the  titles  of  three  ballets  by  Giuseppe  Bossi:  "II  gene- 
roso  perdono,  ballo  eroico  pantomime;  musica  del  rinomato  Sig.  Francesco  Giuliani, 
Livomese,"  "La  burla  di  D.  Pacconio  a  Parigi,"  and  "La  filosofa  olandese." 

Schatz  262 

—  La  maga  Circe,  commedia  in  musica  di  un  solo  atto  da  rappre- 
sentarsi  nel  Regio  teatro  di  S.  Carlo  della  Principessa  I'autunno  dell' 
anno  1797. 

Lishona,  Simone  Taddeo  Ferreira,  1797.     84  p-     16"^. 

Cast,  scenario,  and  name  of  Anfossi  as  composer.    Italian  and  Portiufuese  text. 

Schatz  263 


716  LIBRARY   OF   CONGRESS 

La  maga  fulminata.  Favola  di  Benedetto  Ferrari  dalla  Tiorba. 
Rappresentata  in  musica  in  Bologna,  e  in  Venetia.  In  questa  quarta 
impressione  dall'  autore  corretta. 

n.  i.,  n.  d.  [53]-110  p.  75J'=™.  (Benedetto  Ferrari,  Poesie  dram- 
matiche,  Milano,  1644-) 

Detached  copy.  Three  acts.  Dedication  by  the  composer,  Francesco  Manelli, 
dated  Bologna,  April  20,  1641,  six  sonnets  by  Angelo  Botti,  Francesco  Sbarra,  Fran- 
cesco Peruzzi,  Aneelo  de'  Rossi,  conte  Paolo  Bossio,  and  Lelio  Altogradi,  all  addressed 
to  Ferrari,  the  author,  amiment,  prologue,  list  of  characters,  and  poem  by  the  prin- 
ter, G.  P.  Ramellati,  to  Ferrari.    Manelli  says  in  his  dedication: 

"La  Maga  fulminata  del  Sig.  Ferrari,  una delle  peregrine  opere,  c'habbiano  calcate 
le  scene  reali.  Fit  gi^  da  me  vestita  della  musica;  hora  Vnb  con  maggiore  studio 
raffinata  .  .  ." 

First  performed  at  Venice,  Teatro  Caesano,  carnival  1638.  Schatz  5888 

Le  magazin  des  modernes,  opera-comique  en  un  acte;  repr^ent^ 
pour  la  premiere  fois  sur  le  Th^itre  de  la  Foire,  en  1733. 

Charles  FranQois  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  2, 
[281]-326  p.     17'='^. 

Prose  and  vaudevilles.  Some  of  the  airs  printed  in  the  text.  Composer  not 
recorded  by  Parfaict,  who  dates  first  performance  February  3,  1736!     PQ  2019. P3 

Die  magd  als  frau  im  hause.     Tr.  of  Pergolesi's  La  serva  padrona. 

Magdelon.  ComMie  6pisodique,  en  prose  et  en  un  acte,  m^l6e 
d'ariettes.  Repr^ent^e,  pour  la  premiere  fois,  h.  Paris,  le  16  prairial 
an  VII,  et  pour  la  26®  fois,  le  3  vend^miaire  suivant,  par  les  com^diens 
du  Th6&tre  du  Palais  Egalit6,  dit  Montansier.  Paroles  et  musique 
du  Cousin- Jacques. 

Paris,  Moutardier,  an  VIII  [1799-1800].  21^"^.  2  p.  I.,  35,  [1]  p. 
21 Y"^. 

Cast  and  Avant-propoe,  in  which  Cousin  Jac<}ue8  (Beffroy  de  Reigny)  calls  this  of 
all  his  pieces  the  easiest  to  play  and  pays  a  special  tribute  to  the  Magdelon  of  Madame 
Barroyer. 

First  performed,  aa  indicated,  June  4, 1799.  *  Schatz  706 

II  maggior  impossibile.     A.  T.  of  Pallavicino's  Bassiano. 

La  maggior  impresa  d'Ercole  o  sia  Admeto  ed  Alceste,  ballet.  See 
Pio's  Nettuno  ed  Egle. 

Magia  contro  magia,  ballet.  See  Bemardini's  L'ultima  che  si 
perde  h>  la  speranza. 

Magia  contra  magia,  ballet.    See  P.  Guglielmi's  L'Azzardo. 

Le  magistrat  du  peuple.     A.  T.  of  Ladumer's  Wenzel. 

The  m.agiiet.  A  musical  entertainment,  as  sung  at  Marybone 
Gardens. 

London,  T.  Becket,  1771.     29,  [3]  p.     20^"^. 

The  [3]  p.  contain  a  publisher's  book  list. 

One  act.     Neither  author  nor  composer  recorded  by  Schatz. 

Performed  1771,  as  indicated.  Longe  190 

Der  m.agxietstein  der  herzen.  Tr.  of  Salieri's  La  calamita  de 
cuori. 


OPERA   LIBRETTOS  717 

Le  luagnifique,  com^die  en  trois  actes,  en  prose  et  en  vers,  mise 
en  musique,  termin^e  par  un  divertissement.  Par  M.  Sedaine.  La 
musique  est  de  M.  Gretry.  Representee  k  Paris,  pour  la  premiere 
fois,  par  les  Com^diens  italiens  du  Roi,  le  lundi  4  mars  1773,  &  h. 
Versailles  en  presence  de  Sa  Majesty,  le  26  mars  1773. 
Paris,  Claude  Eerissant,  1773.    52  p.     19''^. 

Cast  and  same  avertissement  as  in  the  next.    The  "ariette  "  here  on  p.  50-52. 

ML  50.2. M2G7 

—  Le  magnijSlque,  comMie  en  trois  actes,  en  prose  et  en  verSj  mise  en 
musique,  termin^e  par  un  divertissement.  Par  M.  Sedaine.  La 
musique  est  de  M.  Gretry.  Representee  a  Paris,  pour  la  premiere 
fois,  par  les  Comediens  italiens  du  roi,  le  lundi  4  mars  1773,  &  h 
Versailles  en  presence  de  Sa  Majesty,  le  26  mars  1773. 

Paris,  Claude  Eerissant,  1773.    56  p.     18^"^. 

Cast.  In  the  "Avertissement"  Sedaine  says  that  he  wrote  his  libretto  without 
ever  having  seen  Houdart  de  la  Mothe's  piece  of  the  same  title  (1731).  At  the  end 
of  the  avertissement,  these  esthetic  or  dramaturgie  remarks  are  of  interest: 

"II  faut  quelque  reflexion  pour  e'appercevoir  des  eoin  avec  I'auteur  du  drame 
^carte  les  moyens  de  paroltre  aux  depens  de  son  associ^,  comme  il  ee  replie,  comme  il 
a'efface,  combien  enfin  il  a  fait  de  sacrifices  pour  n'etre  que  le  pi^destal  de  la  statue 

au'il  lui  61eve.  II  est  besoin,  il  est  vrai,  que  le  pi6destal  soit  eolide,  &  je  n'ose  nv'en 
atter  .  .  .  J'ai  mis  avec  une  sorte  d'affectation  le  jeu  du  theatre,  &  la  pantomime 
qui  occupe  la  scene  pendant  les  ritoumelles  (toujours  trop  longues  pour  tout  auditeur 
qui  n'est  pas  musicien  ..." 

On  p.  53-56,  the  "^ Ariette,  Jour  heureux,  douce  esp^rance  "  (III,  8).    Schatz  4167 

—  Le  xuagnifique,  com^die  en  trois  actes,  en  prose  et  en  vers,  mise 
en  musique,  termin^e  par  un  divertissement.  Par  M.  Sedaine.  La 
musique  est  de  M.  Gretiy.  Representee  h.  Paris,  pour  la  premiere 
fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le  lundi  4  mars 
1773,  &  a  Versailles  en  presence  de  Sa  Majeste,  le  26  mars  1773. 

Paris,  Eerissant,  1782.     56  p.     19'^'^. 

Cast  and  same  avertissement.-  On  p.  53-56,  the  ariette, '  'Jour  heureux,  douce  esp^ 
ranee"  (III,  8).  Schatz  11708 

—  Der  praechtige  freygebige,  ein  singspiel  in  drey  aufzuegen  aus 
dem  franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  177 J/..  88  p.,  12  p. 
{folded  music).     15^'^™. 

By  Joh.  Heinr.  Faber,  who  is  not  mentioned.  Cast.  The  music  (voice  and  bass) 
consists  of  "AchI  wie  istdas  pferd  so  schon"  ("Ahl  c'estun  superbecheval,"  I,  6)  and 
"Ach  ja,  eifersucht  qualt  ihn"  ("0  ciell  quel  air  de  courroux!"  Ill,  6). 

Schatz  4168 

Songs,  duets,  trios,  finales,  etc  in  Mahznoud.     A  musical  romance, 
intnreeacts;  as  performed  at  the  Theatre  Royal,  Drury-Lane.    The 
musick  by  the  late  Mr.  Storace.     With  a  few  selections  from  Sarti, 
Haydn,  etc. 
71.  i.,  1796.    24  p.    21^"^. 

Cast.  By  Prince  Hoare,  who  is  not  mentioned.  The  score  was  prepared  for  per- 
formance by  Michael  Kelly. 

First  performed  April  30,  1796.  Lonok  234 


718  UBRABY  OF  CONGRESS 

The  maid  of  the  mill.  A  comic  opera.  As  it  is  performed  at  the 
Theatre  Royal  in  Covent  Garden.  The  music  compiled,  and  the 
words  written  by  the  author  of  Love  in  a  village. 

London,  J.  Newberry,  R.  Baldvdn  [etc.],  1765.  1  p.  I.,  iv,  ii,  [2],  75, 
[1]  p.     19<^. 

On  last  page,  publishers'  advertisement  of  tenth  [!]  ed.  of  "Love  in  a  village." 

Three  acts.  By  Isaac  Bickeretaffe.  Cast,  preface,  with  statement  that  the  text  is 
based  on  Richardson's  "Pamela,"  and  dedication,  in  which  Bickeretaffe  says: 

"...  How  far  the  Comic  Opera,  under  proper  regulations,  has  a  right  to  be 
acknowledged  for  a  junior  offspring  of  the  Drama,  and  as  such  become  candidate  for  a 
share  of  public  encouragement,  I  shall  not  pretend  to  determine;  but  "if  it  can  be  ren- 
dered an  agreeable  amusement,  the  English  Theatre  has  never  scrupled  to  adopt,  what 
was  capable  of  pleasing  there;  and  though  as  a  work  of  genius,  it  is  by  no  means  to  be 
set  in  competition  with  good  tragedies  and  comedies,  it  may,  I  apprehend,  be  per- 
mitted as  an  occasional  relief  to  them,  without  bringing  either  our  taste  or  understand- 
ing into  question. 

"I  need  not  inform  your  Royal  Highness,  that  in  Frailce,  where  the  stage  has  been 
cultivated  with  more  care,  and  success,  than  in  any  other  country,  this  species  of 
entertainment  is  receiving  very  great  applause;  nor  is  it  thought  any  injury  to  Cor- 
neille,  and  Moliere,  that  the  pieces  of  Anseaume  and  Favart,  meet  with  success.  It 
is  true,  among  the  French,  comic  operas  have  very  often  the  advantage  of  being 
extremely  well  written,  of  which,  On  ne  S^avise  jamais  de  tout,  Le  Roy  et  le  Fermier, 
and  some  others  are  an  instance;  nor  would  the  best  composition  of  the  greatest  mas- 
ter, make  a  very  contemptible  poem  pass  on  an  audience :  I  wish  I  could  assert  with 
truth,  that  in  this  respect,  we  fall  nothing  behind  our  neighbours,  and  that  what  I  here 
present  to  your  Royal  Highness,  might  lay  claim  to  some  degree  of  merit,  even  in  the 
writing;  but  though  I  cannot  do  this,  permit  me  to  say,  I  have  attempted  to  render 
it  a  little  interesting,  and  not  wholly  undiverting,  as  mr  as  the  music,  my  principal 
care,  would  give  me  leave  ..." 

Neither  Samuel  Arnold,  who  assisted  Bickenstaffe  in  the  selection  and  arrange- 
ment of  the  music,  is  mentioned,  nor  any  other  composer  on  whose  works  they  drew 
for  this  pasticcio.  "The  table  of  the  songs"  in  Preston  and  Son's  vocal  score  men- 
tions besides  Arnold  the  following  composers:  Ea,rl  of  Kelly  (Overture),  Abos,Bach, 
Ciampi,  Cocchi,  Duni,  Galuppi,  Giardini,  Hasse,  Jonuuelli,  Laschi,  Monsig^ny, 
Pergolesi,  Philidor,  Piccinni,  Binaldo  di  Capua,  Scarlatti,  Vinci  and  "the  late 
elector  of  Saxony." 

First  performed,  January  31,  1765,  as  indicated.  Longe  46 

Second  copy.    AC  901  .M5 

—  The  maid  of  the  mill.  A  comic  opera.  By  Isaac  Bickerstaff. 
Adapted  for  theatrical  representation,  as  performed  at  the  Theatre 
Royal,  Covent-Garden,  regulated  from  the  prompt  book,  by  permis- 
sion of  the  managers  .  .  . 

London,  JoJin  BeU,  1791.  front,  1  p.  I.,  vii,  U],  12-102  p.  15'='". 
(J.  BeU,  British  Theatre,  London,  1791-1797,  v.  1.) 

The  front,  is  a  port,  of  Mr.  Blanchard  as  Ralph  in  the  "Maid  of  the  Mill."  The 
p.  1.  is  an  engraved  title  page  of  the  series  with  a  scene  from  the  same  opera.  Both 
engravings  are  dated  January  4,  1791.  Author's  dedication,  biographical  sketch  of 
the  author,  editorial  estimate,  preface,  Drury-Lane  and  Covent-Garden  casts. 

PR  1241. B4 

—  The  man  of  the  mill.  A  new  burlesque  tragic  opera.  The 
musick  compiled,  and  the  words  written,  by  Seignior  Squallini. 

London,  J.  Cooke,  1765.     1  p.  I.,  42  p.    20""". 

Three  acts.  A  parody  of  "The  maid  of  the  mill."  Author  not  recorded  by 
Clarence.     Not  performed.  Longe  125 

The  maid  of  the  oaks :  a  new  dramatick  entertainment.     As  it  is 
performed  at  the  Theatre-Royal,  in  Drury-Lane  .  .  . 
London,  T.  Becket,  1774.     ^  p.  I.,  68  p.     19'='^. 


OPERA   UBRETTOS  719 

The  maid  of  the  oaks — Continued. 

Five  acts  with  considerable  incidental  music,  prologue  and  epilogue.  Cast  and 
preface.  By  John  Burgoyne.  Neither  he  is  mentioned,  nor  Francois  Hippolyte 
Barthelemon,  who  partly  composed,  partly  selected  the  music  from  Bousseau, 
Philidor,  and  LaBorde. 

First  performed,  as  indicated,  November  5,  1774.  Lonob  48 

La  maison  isolee,  ou  Le  vieillard  des  Vosges,  comedie  en  deux 
actes,  en  prose,  melee  d'ariettes,  representee  sur  le  Theatre  Italien, 
le  22  floreal,  an  5,  11  mai  1797,  (vieux  style)  Paroles  de  Marsolier. 
Musique  de  Dalairac. 

Paris,  Barha,  An  dnguieme  de  la  Repuhlique  [1 797].     4^,  {2]  p.     20^'^. 

The  2  additional  p.  contain  Barba's  "Pieces  de  Theatre."    Cast.      Son atz  2363 

Le  maitre  de  musique.  Parody  of  Pergolesi's  II  maestro  di 
musica. 

Le  maitre  en  droit,  opera-comique,  en  deux  actes,  represents  pour 
la  premiere  fois  sur  le  ThS^tre  de  I'OpSra-comique  ae  la  Foire  S. 
Germam,  le  13  fevrier  1762. 

Paris,  Duchesne,  1762.     SI  p.     19^^"^. 

Neither  the  author,  Lemonnier,  is  mentioned,  nor  the  composer,  Monsigny. 

First  performed,  as  indicated,  February  13,  1760  (CI.  &  L.),  February  14.  1760 
(Wotquenne),  February  23,  1760  (Schatz,  ae  in  next  entry). 

ML  50.2.M31M6 

— Le  m.aitre  en  droit,  opSra-comique,  en  deux  actes ;  repr^entS  pour 
la  premiere  fois  sur  le  The^ltre  de  TOpSra-comique  de  la  Foire  S. 
Germam,  le  23.  fevrier  1760. 

Paris,  Duchesne,  1764.    38  p.     W"^. 

Neither  the  author,  Pierre  R6n6  Lemonnier,  nor  the  composer,  Monsigny,  is 
mentioned.  Schatz  6577 

Le  major  Palmer,  drame,  en  trois  actes,  en  prose.     Par  Pigault- 
Lebrun.     Musique  du  citoyen  Bruni.     Represents,  pour  la  premiere 
fois,  sur  le  Theatre  Feydeau,  le  7  pluvidse  [January  26]  de  ran  cin- 
qui4me  de  la  RSpublique. 
Paris,  Huet,  an  dnquieme,  {1797).    2  p.  I.,  72  p.     21  <''^. 

Cast  and  dedicatory  poem  to  Mademoiselle  Lesage,  who  took  the  part  of  "Amalie." 

ML  50.2.M32B7 

Malmosor.     O.  T.  of  Buini's  Artanaganamenone. 

Man  kann  es  ja  probieren.  A.  T.  of  Schweitzer's  Walmir  und 
Gertraud, 

The  man  of  the  mill.     Parody  of  The  maid  of  the  mill. 

Man  sieht  niemals  alles  voraus.  Tr.  of  Monsigny's  On  ne  s'avise 
jamais  de  tout. 

Mandame.     See  Mandane. 

[Mandane]  Mandame  [ !]  Dramma  per  musica  da  rapresentarsi  nel 
Teatro  di  S.  Angelo  nel  camovale  dell  anno  1736. 

Venezia,  Domenico  Tobacco,  1736.    60  p.     14h''^- 

Three  acts.  By  Bartolomeo  Vitturi,  who  is  not  mentioned.  Argument,  notices 
to  the  reader,  scenario,  cast,  and  name  of  the  composer,  Ignazio  Fionllo. 

Schatz  3203 


720  LIBKABY   OF   CONGBESS 

II  manescalco,  ballet.     See  Rust's  Adriano  in  Siria. 

II  maniscalco  francese,  ballet.     See  Mortellari's  Semiramide. 

II  maniscalco  francese,  ballet.     See  Zingarelli's  Alsinda. 

Manto  la  fee,  opera  represent 6  par  TAcademie  royale  de  musique 
I'an  1711.  Les  paroles  de  M.  Menesson,  &  la  musique  de  M.  Batistin. 
LXXVI.  opera. 

n.i.,n.d.  pi.,  258-314  p.  14."^.  {Recueil  general  des  opera,  t.  X, 
Paris,  1714.) 

Detached  copy.     Prologue  and  five  acts.     Music  by  Jean  Batistin  Stuck. 

First  performed  January  29,  1711,  as  indicated.  Schatz  10123 

Second  copy.    ML  48. R4 

Marc'  Antonio.     See  M.  Curzio. 

Marcello  in  Siracusa.  Drama  per  musica  nel  famoso  Teatro 
Grimano  I'anno  MDCIjXX  di  Matteo  Noris  .  .  . 

Veneiia,  Francesco  Nicolini,  1670.    front.,  107  p.     13^'''^. 

Last  page  incorrectly  paged  197,  with  running  heading  Secondo  instead  of  Terzo. 
Three  acts.  Author's  dedication,  notice  to  the  reader  with  name  of  the  composer 
Giovanni  Antonio  Boretti,  argument,  and  scenario.  Schatz  1220 

D  marchese  Carbonaro.  Dramma  ^iocoso  per  musica  di  Filippo 
Livigni  da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Mois^  il  carno- 
vale  deir  anno  1776. 

Venezia,  Gio.  Battista  Casali,  n.  d.    64  p.     16\'^'^. 

Three  acts.  Cast,  scenario,  and  name  of  Francesco  Salari  as  the  composer.  On 
p.  31-32,  a  brief  description  of  Gio.  Battista  Martein's  ballet  (title  not  given),  per- 
formed as  primo  ballo.  The  second,  by  Bartolamio  Cambi,  was  called  "Le  peregrine 
erranti."    The  composers  of  the  music  are  not  mentioned.  Schatz  9267 

II  marchese  del  Bosco.     Intermezzi  per  musica  da  rappresentarsi 

nel  Teatro  Giustiniano  di  S.  Moise.     Nella  fiera  della  Ascensione  dell' 

anno  1747. 

Venezia,  Modesto  Fenzo,  1747.     21  p.  (incl.  front.)     14^"^- 
Three  parts.    Author  and  composer  not  mentioned  and  imknown  to  Schatz.    The 

intermezzi  were  performed  with  the  anonymous  ope'ra,  "La  finta  pazza"  (Wiel). 

Schatz  11349 

n  marchese  di  Castel  Verde.     Dramma  eiocoso  per  musica  da 
rappresentarsi  nel  nobil  Teatro  delle  Dame  nel  camevale  dell'  anno 
1779  .  .  . 
Roma,  1779,  Si  vendono  da  Luigi  Bendio.     60  p.     15'^^. 

Three  acts.  Dedication,  cast,  scenario,  and  name  of  composer,  Agostino  Accorim- 
boni,  but  not  of  librettist,  who  is  unknown  to  Schatz.  The  dedication  states  that  the 
opera  waa  to  be  performed  at  Rome  "per  la  prima  volta."  Schatz  13 

II  marchese  di  Spartivento,  owero  II  cabalista  ne  sa'  men  del 
caso.  Farsetta  per  musica  da  rappresentarsi  nel  Teatro  della  Valle 
nel  camevale  dell'  anno  1747  .  .  . 

Roma,  Si  vendono  da  Muzio  Bona,  1747.    36  p.     15'^'^. 

Two  parts.  Author  not  mentioned.  Dedication,  cast  and  name  of  Pietro  Auletta 
as  composer,  with  note  that  "per  comodo  de'  Signori  musici"  "alcune  arie"  marked 
with  asterisk  were  composed  by  Benedetto  Micheli,  but  only  "Perchfe  il  tempo  di 
vincersi "  has  an  asterisk.  ML  50.2.M37A9 


OPEBA   LIKEETTOS  721 

II  marchese  di  Tulipano  o  sia  II  matrimonio  inespetato.  L.  T.  of 
Paisiello's  II  matrimonio  inaspettato. 

II  marchese  Sgrana.  Drama  per  musica  di  Antonio  Palomba 
Napoletano.  Da  rappresentarsi  nel  Teatr^  nuovo  sopra  Toledo  nella 
primavera  di  quest'  anno  1738  .  .  . 

Nayoli,  Nicola  di  Biase,  1738.    69  p.     15<^. 

Three  acts.     Dedication,  cast,  and  name  of  Pietro  Auletta  ae  composer 

SCHATZ  499 

II  marchese  villano.     O.  T.  of  Chiari's  libretto  I  raggiri  fortunati. 

II  marchese  villano.     Dranmia  giocoso  per  musica  da  rappresen- 
tarsi ne'  Teatri  privilegiati  di  Vienna  in  tempo  delle  feste  per  li  felicis- 
simi  sponsali  di  Ferdinand©  II  di  Borbone  .  .  .  e  di  Maria  Giuseppe 
d'Austria  I'anno  MDCCLXVII. 
Vienna,  Ghelen,  n.  d.     65  p.     16"^. 

Three  acts.  By  Pietro  Chiari,  who  is  not  mentioned.  Scenario  and  name  of  Bal- 
dassare  Qaluppi  as  composer. 

First  performed  at  Vienna  in  September,  1767;  at  Venice,  Teatro  di  S.  Moied 
February  2,  1762.  Schatz  3458 

—  La  lavandara.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  A.  Serenissima  il  Signor  principe  di  Carignano 
I'autunno  dell'  anno  MDCCLXX. 

Torino,  Onorato  Derossi,  n.  d.     50,  [21  -p.     16^. 

Three  acte.  Cast.  Neither  the  author,  Pietro  Chiari,  nor  the  composer,  Qaluppi, 
is  mentioned.  The  dialogue  follows  that  of  "II  marchese  villano  "  closely,  but  many 
arias  are  different.  For  instance,  ' '  II  marchese  villano  "  has  (1,4),  in  the  Vienna  ver- 
sion, "Nina  cara,  Nina  bella,"  whereas  "La  lavandara"  has  "Chi  vi  a  prender  la 
consorte."  Schatz  3515 

—  La  lavandara  astuta.  Dranmia  giocoso  da  rappresentarsi  in 
musica  nel  Regio-Ducal  Teatro  Nuovo  di  Mantova  Vautxmno  dell' 
anno  1771.  In  occasione  del  felicissimo  passaggio  di  Sua  Altezza 
Reale  il  serenisfeimo  Ferdinando  Carlo  arciduca  d'Austria  ... 

Mantova,  Alberto  Pazzoni,  n.  d.     56  p.    20'^^. 

Two  acts.  By  Pietro  Chiari,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Qaluppi  as  composer.  A  condensation  of  "  11  marchese-  villano, ' '  the  third  act  having 
been  practically  suppressed.  The  two  versions  show  also  noticeable  differences  in 
the  lyrical  parts,  and  "La  lavandara  astuta"  begins  "Benedetta  primavera." 

Schatz  3505 

—  II  matrimonio  per  inganno.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  di  S.  Giacomo  di  Corfti  nell'  autunno  dell' 
anno  1771    .  .  . 

Venezia,  Giamhattista  Casali,  1771.     60  p.     15Y^- 

Three  acts.  By  Pietro  Chiari,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  scenario,  and  name  of  Qaluppi  as  composer.  Another  version  of  "II  marchese 
villano."  Itbegins,  like  "La  lavandara  astuta,"  with  "Benedetta  primavera."  The 
fourth  scene  of  act  first  opens,  like  the  Vienna  version  of  "II  marchese  villano,"  with 
"Nina  cara,  Nina  bella,  but  ends  with  "Sai  che  abbiamo  un  marchesato,"  instead 
of  "Guardami  in  volto,  e  poi."  Scpatz  3506 

La  marchesina  di  Nanchin  ed  il  conte  di  Pelusio,  intermezzi. 
See  Caldara's  Camaide,  imperatore  della  China. 

72251°— VOL  1—14 46 


722  LIBHARY  OF  CONGRESS 

M.  Curzio.  Dranuna  per  musica  nella  solenne  celebrazione  de' 
Comizj  della  serenissima  Repubblica  di  Lucca  I'anno  MDCCXCI. 
Lucca,  Francesco  Bonsignori,  n.  d.  Ixii  p.  20^^, 
On  p.  Ixi-lxii  substitute  ante  "Al  zelo,  che  m'accende"  and  "Alme  amanti,  a 
voi  ritomo."  Argument.  Divided  into  "Giomata"  I-III,  each  having  two  parts. 
Not  recorded  by  Nerici,  who,  however,  mentions  Pasquale  Antonio  Soffl,  Antonio 
Puccini,  and  Marco  Santucci  as  composers  on  p.  335  of  his  "Storia  della  musica  in 
Lucca"  (1879). 

Since  1431  the  election  of  the  city  government  was  accompanied  in  Lucca  by  the 
national  festivities  of  the  "Comizj,'"'  popularly  known  as  "le  feete  delle  Tasche,"  in 
December,  first  biennial,  then  tri-ennial,  and  since  1750  every  thirty  months.  The 
festivities  lasted  three  days  and  took  place  at  the  government  palazzo. 

According  to  Nerici,  the  first  definite  news  of  the  vocal  and  instrumental  music 
used  at  the  "feste  delle  Tasche"  date  from  the  year  1636,  when  Valerio  Guami  would 
seem  to  have  been  the  composer  of  at  least  part  of  the  music.  With  the  fall  of  the 
republic  of  Lucca  in  1799,  the  ''feste  delle  tasche"  died  a  natural  death. 

In  the  case  of  this  "M.  Curzio"  there  would  seem  lo  be  little  room  for  doubt  that 
it  was  a  bona-fide  opera,  yet  the  L.  of  C.  possesses  quite  a  few  "Tasche"  libretti  of  a 
similar  character  but  which  are  desi^ated  as  "concerto  in  musica,"  "applausi  musi- 
cali,"  etc.  They  would  lead  to  the  impression  that  the  works  were  not  performed  as 
operas  with  scenery  and  action,  but  as  dramatic  cantatas,  with  scenery  perhaps,  but 
without  action,  even  though  occasionally  called  "Dramma  per  musica"  or  "Com- 
ponimento  dramatico."  A  characteristic  feature  of  these  works  was  that  practically 
without  exception,  text  and  music  were  the  productions  of  native  authors  and  com- 
posers. As  a  rule,  each  "giomata"  was  allotted  to  different  authors  and  composers, 
if  the  subjects  for  each  day  were  different  and  to  different  composers,  even  if  the 
text  of  the  whole  formed  a  trilogy  by  one  author. 

The  librettos  were  practically  always  printed  without  names  of  authors,  com- 
posers and  performers.  Since  these  rare  and  curious  texts  sometimes  figure  as  operas 
in  reference  books  and  since  Nerici  does  not  make  it  at  all  clear  whether  these  festival 
works  were  operas  or  dramatic  cantatas — my  impression  being  that  they  were  of  the 
latter  kind — it  is  perhaps  best  to  give  here  a  brief  list  of  those  m  the  L.  of  C.  (those  so 
far  found  all  in  ML54.2.L9,  chronologically  arranged).  The  set  is  not  quite  com- 
plete, but  it  contains  some  texts  unlmown  to  Nerici. 

1645    I-III  Applausi  musicali.    Neither  author  nor  composers  known  to  me.     Dif- 
ferent in  subject  from  Francesco  Sbarra's  text  "Gli  ossequi  della  fortuna  " 

mentioned  by  Nerici  under  1645. 
1651    II  La  visionej  poesia  per  musica.    Text  by  Silvestro  Torcigliani.    Composer 

not  mentioned  by  Nerici. 
1654    I  La  liherth  trionfante,  applausi  musicali.    Text  by  Lodovifto  Breni,  music  by 

Marco  Bigongiari.    Not  recorded  by  Nerici. 
1654    II  II  portx)  della  lihertb,,  concerto  musicale.    Text  by  Bartolomeo  Beverini, 

music  by  Dom.  Stiava.    Not  recorded  by  Nerici. 
1654    III  La  nave  d'Argo,  idillio.    Text,  according  to  contemporary  ms.  note,  by 

Francesco  Sbarra,  music  by  Bernardino  Roncaglia.  . 

1657    I  Uinvidia  abbattuta,  applausi  musicali.    Text  by  Celio  Altogradi,  music  by 

Marco  Bigongiari.    Not  recorded  by  Nerici. 
1657    II  Hercole  perseguitato,  idillio.    According  to  contemporary  ms.  note,  the  text 

was  by  Bartolomeo  Beverini,  the  music  by  Domenico  Stiava.     Nerici 

mentions  Francesco  Sbarra  as  the  author. 
1657    III  La  pace,  concerto  musicale.    According  to  contemporary  ms.  note,  the  text 

was  by  Domenico  Vanni,  the  music  by  Bernardino  Roncaglia. 
1660    I  GV avvami  fortunati  del  mondo  naufragante,  concerto  musicale.    Not  recorded 

by  Nerici.    Author  and  composer  unknown  to  me. 
1660    II  Bruto  costante,  concerto  musicale.    Not  recorded  by  Nerici.    According  to 

contemporary  ms.  note,  the  author  was  Bartolomeo  Beverini.     The  com- 
poser is  not  mentioned. 
1660    III  La  liberth  trionfatrice  del  tempo.    Not  recorded  by  Nerici.    Author  and 

composer  unknown  to  me. 
1663    I  I  ^anti  a66a««ti,  concerto  musicale.    Nerici  mentions  the  author,  Domenico 

Berti,  but  not  the  composer. 
1663    II  Scipione  Affricano,  concerto  musicale.    Not  recorded  by  Nerici.    Author 

and  composer  imknown  to  me. 


OPERA   LIBRETTOS  723 

M.  Curzio — Continued. 

1663  III  La  fortuna  incatenata.  Not  recorded  by  Nerici.  Author  and  composer 
unfaiown  to  me. 

1666  I  II  vessillo  della  liherth,  concerto  musicale.-  Text  by  Paolino  Caaoli,  com- 
poser unknown  to  Nerici. 

1666    II  GVamori  politici  della  liherth  raminga,  concerto  musicale.    Not  recorded  by 

Nerici.    Composer  unknown  to  me.    Text,  according  to  contemporary 

ms.  note,  by  Vincenzo  Cini. 
1666    III  Horatio  vero  amatore  della  patria,  concerto  musicale.    Not  recorded  by 

Nerici.    Author  and  composer  unknown  to  me. 
1669    I  La  prudema  vittoriosa,  applausi  musicali.    Not  recorded  by  Nerici.    Text, 

according  to  contemporary  ms.  note,  by  Bartolomeo  Beverini.    Composer 

not  mentioned. 
1669    II  La  dtthfelice,  applausi  musicali.    Not  recorded  by  Nerici.    Text,  according 

to  contemporary  ms.  note,  by  Amadeo  Saminiati.    Composer  unknown  to 

me. 
1669    III  Martio   Cariolano,  applausi  musicali.    Not  recorded  by  Nerici.    Text, 

according  to  contemporary  ms.  note,  by  Leone  Santucci.    Composer  not 

mentioned . 
1672.   I  Gli  avantaggi  della  Concordia,  applausi  musicali.     Not  recorded  by  Nerici. 

Text,  according  to  contemporary  ms.  note,  by  Nicolao  Bartolini.    Composer 

not  mentioned. 
1672    II  II  consiglio  fedele,   applausi  musicali.    Not  recorded  by   Nerici.    Text, 

according  to  contemporary  ms.  note,  by  Amadeo  Saminiati. 
1672    III  II  merito  riconosciuto,  concerto  musicale.    Composer  unknown  to  Nerici, 

who  records  Giov.  Vittorio  Diversi  as  author. 
1675    I  II  Fetonte,  applausi  musicali.    Text  by  Bernardo  Moscheni,  according  to 

contemporary  ms.  note,  by  Ottavio  Carli,  according  to  Nerici,  who  does 

not  mention  the  composer. 

1675  II  h'amore  della  patria,  applausi  musicali.  Text  by  Bernardo  Moscheni,  com- 
poser not  mentioned  by  Nerici. 

1675  III  Mutio  Scevola,  applausi  musicali.  Not  recorded  by  Nerici.  Text  by 
Donato  Antonio  Leonardi,  according  to  contemporary  ms.  note.  Com- 
poser not  mentioned. 

1678  I  II  trionfo  del  ben  pubblico,  applausi  musicali.  According  to  contemporary 
ms.  note,  the  text  was  by  Matteo  R^ali,  the  music  by  Bernardino  Ron- 
caglia. 

1678  II  II  Temistocle,  applausi  musicale.  Not  recorded  by  Nerici.  Text  by  Giov. 
Nicolao  Barsanti,  according  to  contemporary  ms.  note.  Composer  not 
mentioned. 

1678  III  La  liberth  ramminga,  applaiisi  miisicali.  Text  by  Michele  di  Poggio- 
Composer  unknown  to  Nerici. 

1681  I  Fabio  vincitor  di  se  stesso,  concerto  in'mu6i<|a.  Nerici  (under  1678)  mentions 
the  author,  Bartolemeo  Andreucci,  but  not  the  composer. 

1681  II  Trasibolo  ateniese,  applausi  musicali.  Neither  author  nor  composer  known 
to  Nerici. 

1684  I  becio  sacrificato  alia  patria,  applausi  musicali.  Nerici  mentions  the  author, 
Pier  Francesco  Boccella,  but  not  the  composer. 

1684  II  h'idea  del  comando  nel  cuore  di  Germanico  invindbile,  concerto  in  musica. 
Not  recorded  by  Nerici.    Author  and  composer  unknown  to  me. 

1684  III  La  libertdi  gelosa  di  se  stessa  in  persona  di  Annibale  amante  di  patria,  applausi 
musicali.  Nerici  mentions  the  author,  Michele  Boccella,  but  not  the 
composer. 

1687  I-III  Marc^  Antonio,  poesie  per  musica.  Nerici  mentions  the  author,  Dome- 
nico  Berti,  but  not  the  composer. 

1690  I-III  II  Catone,  poesie  per  musica.  Nerici  mentions  the  author,  Bernardino 
Moscheni,  but  not  the  composer.  * 

1693  I  La  liberth  sempre  stabile  nelle  vicende  del  principato,  concerto  per  musica. 
Nerici  mentions  the  author,  Paolo  Sinibaldi,  but  not  the  composer.  Im- 
print has  date  of  December  4. 


724  LIBRARY   OF   CONGRESS 

M.  Curzio — Continued. 

1693  III  Horatio,  concerto  per  luusica.  Not  recorded  by  Nerici.  Imprint  has  date 
of  December  7. 

1735  I-III  Lticio  Giunio  Bruto  prima  consolo  di  Roma,  componimento  per  musica. 
Nerici  mentions  the  composers,  Giovanni  Antonio  Canuti,  Giuseppe  Mon- 
tuoli  and  Domenico  Pierotti,  but  not  the  author  for  this  year. 

1741  I-III  Solone,  dramma  per  musica.  Nerici  mentions  the  composers,  Pier  Vin- 
cenzo  Chiocchetti,  Domenico  Pierrotti  and  Giacomo  Puccini,  but  not  the 
author  for  this  year. 

1744  I-III  Teramene,  dranuna  per  musica.  Not  recorded  by  Nerici,  who  mentions 
Giov.  Lorenzo  Fascetti,  Domenico  Pierotti  and  Giacomo  Puccini  as  com- 
posers for  this  year,  but  not  the  author. 

1755  I-III  Marco  Manlio  Capitolino,  dranuna.  Not  recorded  by  Nerici  who  men- 
tions as  composers  for  this  year — ^he  has  incorrectly  1756— Frediano  Matteo, 
Pasquale  Antonio  Soffi  and  Giacomo  Puccini. 

1760  I-III  Roma  liberata  dalla  signoria  cfe'  re,  dramma.  By  Giambattista  Monte- 
catini.  Nerici  mentions  Pasquale  Antonio  Soffi  (due  giomate)  and  Gia- 
como Puccini  as  composers  for  this  year. 

1765  I-III  La  confederazione  de  i  Sabini  con  Roma,  dramma.  Nerici  mentions  Pier 
Angelo  Trenta  as  author,  Giacomo  Puccini,  Lelio  Ignazio  di  Poggio  and 
Luigi  Boccherini  as  composers. 

1768  I-III  L'esilio  di  M.  P.  Cicerone,  dramma.  Nerici  mentions  Orazio  Gherardi 
Scolopio  as  author,  Giacomo  Puccini  and  Lelio  Ignazio  di  Poggio  as  com- 
posers. 

1770  I-III  II  Narsete,  generate  di  Giustiniano  imperatore,  dramma.  Not  recorded  by 
Nerici,  who  mentions  Pellegrino  Tomeoni,  Giacomo  Puccini  and  Antonio 
Puccini  as  composers  for  this  year,  but  not  the  author. 

1775  I-III  Roma  liberata  dalla  congiura  di  Catilina,  dramma.  Nerici  mentions  as 
composers  for  this  year  Florido  Tomeoni  and  Antonio  MicheU,  but  not  the 
authors. 

1777  I-III  Marco  Manlio  Capitolino,  dramma.  Text  by  Bartolomeo  Baroni,  music 
by  Antonio  Puccini  (June  7),  Giacomo  Puccini  (Jime  8)  and  Pasquale 
Ajatonio  Soffi  (June  9). 

1779  I-III  Cesare  nella  Brettagna,  dramma.  Text  by  abate  Serafini,  music  by 
Giuseppe  Finucci  (June  7),  Antonio  Puccini  (June  8),  Antonio  MicheU. 

1781  I-III  II  Castruccio,  dramma  per  musica.  Nerici  mentions  as  author,  Carlo 
Provenzali,  as  composers  Domenico  Quilici  (May  28) ,  Antonio  Puccini  (May 
29) ,  and  Giuseppe  Finucci  (May  30) .    This  is  bound  in  with  ML  48.  A5, v  .28. 

1783  I-III  Leonida  ri  di  Sparta,  dramma.  Nerici  mentions  as  author  Francesco 
Franceschi,  as  composers  Giuseppe  Rustici  (June  2),  Antonio  Puccini 
(June  3),  Giuseppe  Finucci  (June  4). 

1786  I-III  L'Emilio,  dramma  per  musica.     Not  mentioned  by  Nerici,  who  says 

that  the  music  for  second  day  (June  7)  was  composed  by  Pasquale  Antonio 
Soffi,  of  the  third  day  (June  8)  by  Antonio  Benedetto  Maria  Puccini. 
That  for  the  first  day  (June  6)  was  by  Giuseppe  Rustici. 

1787  I-III  Lucca  liberata,  dramma.     Not  recorded  by  Nerici,  who  says  that  the 

text  was  written  by  Alessandro  Ottolini  and  the  music  composed  by  Pas- 
quale Antonio  Soffi  (June  11),  Antonio  Puccini  (June  12)  and  Domenico 
Quilici  (June  13). 

1789  I-III  Bruto,  dramma.  Not  recorded  by  Nerici,  who  mentions  Luigi  Vannucci 
as  author,  Domenico  Quilici  (June  25),  Giuseppe  Rustici  (June  26)  and 
Antonio  Puccini  (June  27)  as  composers. 

1791    I-III  M.  Curzio,  as  at  beginning  of  this  entry. 

ML54.2.L9     1791 

Marco  Manlio  Capitolino.     See  M.  Curzio. 

Le  marechal,  ballet.     See  P.  Guglielmi's  L'impostore  punito. 


OPERA   LIBRETTOS  725 

Le  marechal  ferrant,  opera  comique  en  un  acte;  repr^sent^  pour 
la  premiere  fois  sur  le  Th^Mre  de  I'Opera  comique  de  la  Foire  Saint 
Laurent  le  22  aotit  1761.  Par  M.  Quetant.  La  musique  de  M. 
Philidor.  Seconde  edition,  revlie,  corrig^  &  augmentee  par 
I'auteiu". 
Paris,  Claude  Eerissant,  1761.    1  p.  I.,  62,  [2]  p.    19'"^. 

Cast.    The  [2]  p.  contain  text  of  the  "Vaudeville:  L'amour  ee  plait." 

YUDIN  PQ 


—  Le 
pour 


!  marechal  ferrant,  op^ra-comique  en  un  acte.     Represents, 

la  premiere  fois,  sur  le  ThS^tre  de  I'Opera-comique  de  la  Foire 

Saint  Laurent,  le  22  ao0.t  1761.     Par  M.  Quetant.     Nouvelle  Edition. 

Paris,  Claude  Eerissant,  1765.     ^6  p.     19""^. 

The  composer,  Philidor,  is  not  mentioned.  Schatz  8018 

—  Le  marechal  ferrant,  op6ra  comique,  en  im  acte,  rfprfeentS  pom- 
la  premiere  fois  sur  le  Theatre  de  I'Opera  comique  de  la  Foire  Saint- 
Laurent,  le  22  aott  1761.  Par  M.  Quetant.  La  musique  de  M. 
Philidor. 

Paris,  Claude  Eerissant,  1785.     48  p.     IS'^. 

Cast.    On  p.  23-26,  the  ariette,  "Charmant  objet  de  ma  flame."      Schatz  11741 

—  Der  hufschmied,  eine  operette  in  einem  aufzuge.  Nach  dem 
franzoesischen  des  herm  Quetant.     Die  musik  ist  von  herrn  Philidor. 

Frankfurth  und  Leipzig,  Esslinger,  1772.    64  p.,  4  V-  ijnusic).    15'^'^. 

Johann  Andre's  translation,  who  is  not  mentioned.    The  music  consists  of  the 

aria  "Komm,  ach  komm  zuruck"  and  the  vaudeville  "Die  liebe  fordert  heisse  glut." 

Schatz  8019 

—  Der  hufschmled,  eine  komische  oper  in  zwey  akten,  nach  Quetant 
und  Philidor,  aus  dem  franzoesischen  uebersetzt  von  Heinr.  August 
Ottocar  Reichard  .  .  . 

Riga,  Gpttloh  Christian  Froelich,  1785.     15  p.     16"^. 

Lyrics  only.  * 

First  performed  at  Riga,  Vietinghoff'sches  Theater  i.  d.  gr.  Konigsstrasse,  5/16 
Sept.  1785.  Schatz  8020 

Margaretha,  koenigin  in  Castilien.  In  einer  opera  auf  dem 
Hamburgischen  Schau-platze  aufgefuehret,  den  10.  Aug.  1730. 

[Eamburg],  Gedruckt  mit  Stromerischen  schriften,  n.  d.     Unpaged. 

Five  acts.  Cast,  names  of  Johann  Georg  Hamann  as  author,  of  Georg  Philipp 
Telemann  as  composer,  and  "  Vor-erinnerung "  which  reads,  in  part: 

"Diejenige,  so  der  geschichte  kundig,  duerfften  sich  vielleicht  einer  russischen 
prinzessin  bej^  der  Margaretha  erinnem.  Sie  hat  Olga  geheiesen  und  man  eetzet 
ihre  lebens-zeit  in  dae  achte  jahrhundert.  Sie  verier  ihren  gemahl,  welcher  Ingor 
Oder  Igor  geheissen,  sehr  zeitig;  uod  liess  sich  nichts  so  senr  angelegen  seyn,  als 
desselben  tod  zu  raechen.  Man  hat  wichtige  bewegungs-gruende  gehabt;  wesswegen 
man  die  begebenheit  dieser  heldin,  in  eine  Spanische  verwandelt;  welche  aber  anzu- 
fuehren  man  nicht  fuer  nothwendig  haelt."  Schatz  10263 

Margery,  or,  A  worse  plague  than  the  dragon:  A  burlesque  opera. 
Being  the  sequel  to  the  Dragon  of  Wantley.  As  it  is  perf orm  d  at 
the  Theatre  Royal  in  Co  vent-Garden.  Altered  from  the  original 
Italian  by  Signor  Carini.  Set  to  musick  by  Mr.  John  Frederick 
Lampe.  The  third  edition. 
London,  J.  Sliuckhurgh,  1738.     2  p.  I.,  8-31  p.     20'"^. 


726  LIBBABY  OF  CONGRESS 

Margery — Continued. 

Three  acts.    By  Henry  Carey.    Cast  and  argument  which  ends: 
'The  opera  concludes,  according  to  the  custom  of  all  operas,  with  the  ^neral 
reconciliation  of  all  parties,  no  matter  how  absurd,  improbable,  or  ridiculouB." 
First  performed  December  9,  1738,  as  indicated.  Longe  153 

—  The  dragoness,  a  burlesque  opera.  Set  to  musick  by  Mr.  John 
Frederick  Lampe. 

[115\-150  p.  22*^.  {Henry  Carey,  DramcUicJc  works,  London, 
1743.) 

Later  version  of  ' '  Margery. ' '    Three  acts.    Argumeiit  with  same  remark  as  above. 

The  text  of  "The  Dragoness"  is  noticeably  different  from  that  of  Margery.  For 
instance,  the  airs  "The  tongue  is  a  dangerous  weapon  "  and  "No  place  shall  conceal 
'em"  are  not  in  II,  2,  of  "Margery,"  where  instead  we  have  "\\^etched  is  a  wife's 
condition."  Also  the  dialogue  of  1,  3  was  shortened  and  the  air  I,  2  "The  swain  I 
adore"  is  now  preceded  by  Enter  shepherd"  with  dialogue  and  air  "Hark!  I  hear 
the  midnight  owL"  etc.,  etc,  .  ML  49.A2C2 

Le  mari  pfefere.     Piece  d'un  acte.    Par  Mr.  Le  S    *    *.     Repre- 
sentee h.  la  Foire  S.  Laurent.  1736. 
Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  [363}-4^i  P-    17'^. 

By  Le  Sage.    Largely  en  vaudevilles.    The  airs,  selected  or  composed  and  arranged 
by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 
First  performed  Aug.  11, 1736. 

ML  48.L2IK 

Le  mariage  cache.    A.  T.  of  Kohault's  Sophie. 

Le  mariage  d' Antonio,  com^die  en  un  acte  et  en  prose,  m^\6e 
d'ariettes,  representee  sur  le  TheS,tre  italien,  le  29  juillet  1786.  Les 
paroles  sont  de  Mde.  de  Beaunoir.     La  musique  est  de  MUe.  Gretry. 

Paris,  Vente,  1787.    17  p.    21hf'. 

The  opera  was  instrumentated  by  Lucile  Gr^try's  father,  the  famous  composer. 

ML  50.2.M4G7 

Le  mariage  de  Momus  ou  La  gigantomachie,  op6ra-coniique  en 
trois  actes,  represents  par  les  marionnettes  de  la  troupe  de  Fran- 
cis'que,  h  la  Foire  Saint-Laurent,  en  1722. 
Alexis  Piron,  Oeuvres  complettes,  LAege,  1776,  v.  5,  1^9  p.     17 \'^'^, 

In  prose  and  vaudevilles.    Composer  not  mentioned.    See  also  Tir^sias. 

PQ  2019.P6 

Le  mariage  du  caprice  et  de  la  folie.    Piece  d'un  acte.    Par 
M    *     *     Representee  pour  la  premidre  fois  h,  la  Foire  Saint  Laurent 
1724.     Et  remise  au  thentre  en  1730. 
Le  Theatre  de  la  foire,  Paris,  1731,  t.  viii,  pi,  [185\-238  f.    17"^. 

By  Alexis  Piron.  Largely  en  vaudevilles.  The  airs,  selected  or  composed  and 
arranged  by  Jean  Claude  GiUier,  are  printed  at  the  end  of  the  volume  in  tne  "Table 
des  airs."    Text  by  Piron.  * 

First  performed  August  16, 1724.  ML  48.L2VIII 

—  Le  caprice,  op6ra-comique,  en  un  acte.  M^ie  de  prose  &  de 
vaudevilles.  Represente,  poiu*  la  premiere  fois,  le  16  aoM  1724,  sur 
le  Theatre  de  TOpera-comique. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  t.  3,  [223]-283  p. 

Epitre  d^catoire  aux  dances.    Same  as  the  above.  PQ  2019.P6 


OPERA   LIBBETTOS  727 

Le  mariage  du  diable.     A.  T.  of  Gluck's  L'ivrogne  corrig^. 

Le  mariage  impromptu.     A.  T.  of  Gaveaux'  Le  petit  matelot. 

Le  mariage  par  escalade,  opera-comique,  a  I'occasion  de  la  prise 
du  Port-Mahon,  represent  e  pour  la  premiere  fois  sur  le  Th.6S,tre  de 
rOpera-comique,  le  samedi  11  septembre  1756.  NouveUe  edition, 
augment  ee  de  couplets  qui  avoient  6t6  retranch^s  &  de  vaudevilles. 
Paris,  Duchesne,  1757.  66  p.  19<^.  (Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  viii!) 

One  act.  En  vaudevilles.  On  p.  49-56  three  "Aire  du  mariage  par  escalade'* 
and  two  vaudevilles.  According  to  Font,  the  couplets  on  the  taking  of  Port-Mahon 
(1756)  are  by  Piron.  The  play  was  first  presented  in  honor  of  due  de  Richelieu  by 
Mme.  de  Mauconseil  at  Bagatelle,  which  explains  Favart's  dedication  to  her  ("C'est 

Ear  vos  ordres  que  j  'ai  compost  ce  petit  op6ra-comique  "■) .    The  dedication  is  preceded 
y  an  Avertissement,  in  which  the  author  insists  that  he  is  under  no  contract  to 
write  exclusively  for  the  Comedie  italienne,  and  says: 


"Cette  petite  piece  n'a  6t6  compos^e  que  pour  une  fete  particuliere  que  I'on  pr6- 
paroit  pour  le  retour  de  M.  le  marechal  de  Richelieu.  Mais  I'accueil  favorable  que 
le  pubUc  k  fait  h.  tons  les  ouvrages  qui  ont  paru  sur  la  prise  de  Mahon,  a  donn6  lieu 
de  penser  qu'il  auroit  la  mdme  indulgence  pour  cette  ba^telle. 

"Quelques  critiques  ont  trouv6  que  Ton  ne  menageoit  pas  assez  les  Anglois,  que 
nous  ne  devions  point  rendre  injure  pour  injure,  ni  imiter  I'ind^cence  des  spectacles 
de  Londres  k  notre  ^gard;  ce  sentiment  fait  honneur  k  notre  nation;  mais  une  d^li- 
catesse  trop  scrupuleuse  auroit  empech^  de  faire  parler  lee  personnagee  selon  leur 
caractere  ..." 

Favart's  musical  collaborator  is  not  mentioned  by  Font.  ML  49.A2F1 

—  Le  m.ariage  par  escalade,  opera-comi(jue  a  I'occasion  de  la  prise 
du  Port-Mahon;  represent e  pour  la  premiere  fois  sur  le  Theatre  de 
rOpera-comique,  le  samedi  11  septembre  1756.     Nouvelle  edition. 

Paris,  la  veuve  Duchesne,  1777.    64  p-     19*^. 

On  p.  49-64  seventeen  unaccompanied  "Airs  du  Mariage  par  escalade."  Same 
dedication  and  Avertissement.  Schatz  1197 

Les  mariages  de  Canada.     See  La  premidre  representation. 

Les  m.ariages  Samnites,  drame  lyrique  en  trois  actes  et  en  prbse. 
Par  M.  de  Rozoi  ...  La  musique  de  M,  Gretry  .  .  .  Repr6sent6 
pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du  Roi,  le 
mercredi  12  juin  1776.     Nouvelle  edition. 

Paris,  la  veuve  Duchesne,  1776.     xiii,  58  p.     18\'^. 

Dedication,  cast,  and  "Preface"  in  which  the  author  first  starts  out  with  a  kind  of 
argomento,  but  then  takes  issue  with  his  critics.    He  says,  for  instance: 

"J'ai  fait  quelques  changements  k  cet  ouvrage  depuis  la  premiere  representation, 
lis  consistent  d'abord  a  avoir  supprim^  quelques  phrases  dans  le  role  d'Euphemie,  & 
un  r6cit,  par  lequel  je  donnois  k  croire,  qu'  Agathis,  aprfes  ^tre  retoum6  au  combat, 
pouvoit  8  etre  trop  livr6  a  eon  courage,  &  avoit  regu  un  coup  mortel.  La  douleur 
d'Eumene,  de  Cepnalide,  &  d'Euphemie  amenoit  un  trio  du  plus  grand  effet  musical  .  .  . 
Le  public  a  paru  ne  pas  aimer  ce  r6cit  .  .  .  Sans  doute,  parce  qu'  un  r^cit  un  peu 
tragique  semble  absolument  Stranger  au  Theatre  italien,  on\l'OpeT&comique  .  .  . 

Le  second  detail  dans  lequel  je  dois  entrer,  est  d'assurer,  que  1' indisposition 
Beule  de  M.  Clairval  a  retard^  la  seconde  representation  de  cet  ouvrage  ,  .  .' 

On  p.  30-32,. the  "Choeur  des  jeunes  Samnites.  Dieu  d'amour,  en  ce  jour"  (I,  7, 
and  on  p.  66-68,  the  air  of  "Vous,  qui  voyez  un  coeur  edorre"  (III,  7). 

Schatz  4169 

—  Les  mariages  Samnites,  drame  lyrique  en  trois  actes,  et  en 
prose.     Par  M.  de  Rozoi  .  .  .     Repr6sent6  pour  la  premiere  fois, 


728  LIBBAEY   OF  CONGBESS 

Les  manages  Samnites — Continued. 

Sar  les  Com^diens  italiens  ordinaires  du  roi,  le  mercredi  12  juin  1776. 
[ouvelle  edition, 

Paris,  la  veuve  Duchesne,  1776.    xv,  66  p.     W^. 
Same  cast,  etc.,  as  in  the  last  entry,  but  no  music  printed  in  the  text.    Yttdik  PQ 

—  Les  mariages  Samnites,  com6die  h^roiC[ue,  en  trois  actes  et  en 
vers;  m^lee  d'ariettes.  Par  M.  de  Rozoi  .  .  .  Representee  en 
prose  pour  la  premiere  fois  ...  12  juin  1776,  remise  au  Theatre  en 
1777  &  1780;  &  redonn^e  en  vers  le  22  mai  1782.  La  musique  de 
M.  Gretry. 

Paris,  Bdin,  1782.     xiv,  [2],  61  p.    20^"^. 

Preface,  list  of  errata,  and  cast.    In  the  preface  the  author  says: 
"On  m'avoit  reproch6  de  n 'avoir  point  ^crit  en  vers  un  sujet  aussi  h^rolque:  j'ai 
cm  devoir  au  public  &  h.  I'amiti^,  de  me  conformer  k  leur  avis.    Le  succes,  que  cet 
ouvrage  a  obtenu  sur  le  Theatre  de  Rouen,  depuis  que  je  I'ai  mis  en  vers  m'a  d^ja 
r^compens^  de  mes  peines." 

Further  on.  he  regrets  "que  Ton  ne  donne  point  au  Th64tre  la  fin  du  deuxi^me  acte, 
telle  que  je  1  avois  compos^e,  &  telle  qu'  elle  n'a  jamais  6t6  representee."  On  the 
other  hand,  he  congratulates  himself  on  having  reinserted  the  trio.  Schatz  4170 

—  Die  sam.nitische  vermaehlungsfeyer.  Ein  schauspiel  mit 
gesang.  Aus  dem  franzoesischen.  Nach  der  musik  von  Gretry,  auf 
aem  Hoftheater  .  .  .  [zu]  Schwedt  .  .  .  zum  erstenmale  aufgefuehrt. 

Berlin,  Christian  Friedrich  Eimburg,  1780.     64  p.     16*^^. 
German  version,  by  Johann  Andr6  and  Friedrich  Ludwig  Wilhelm  Meyer,  who  are 
not  mentioned.  Schatz  4171 

La  Mariamme.  Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  di  SS.  Gio.  e  Paulo.     Nell'  anno  MDCXCVI  .  .  . 

Venetia,  Nicolini,  1696.     86  p.     14'^'^. 

Three  acts.  Notice  to  the  reader,  argument,  scenario,  and  dedication,  in  which 
the  anonymous  author  calls  this  "questa  prima  adulatione  del  mio  genio."  The  text 
waa  by  Ijorenzo  BurUni.    The  composer,  Giov.  Maria  Huggeri,  is  not  mentioned. 

Schatz  9139 

La  Mariane.     See  Albinoni's  Gl'eccessi  della  gelosia. 

Marianne,  com6die  en  im  acte  et  en  prose,  mSlee  d'ariettes;  repre- 
sentee pour  la  premiere  fois  sur  le  The&tre  de  I'Opera-comique  cie  la 
rue  Favart,  le  19  messidor,  an  4«  (7  juillet  1796,  v.  st.).  Paroles  de 
Marsollier,  musique  de  Dalayrac. 

Paris,  chez  Vente,  [n.  d.],  De  Vimprimerie  de  Chaignieau  [.f]  aine. 
65  p.    21'^'^. 

Cast,  only  two  of  the  actors  being  called  "Le  c."[itoyen].  ML  50.?.M45D2 

—  Marianne  .  .  .  [same  as  in  the  above]. 

Paris,  chez  Vente,  [n.  d.],  De  Vimprimerie  de  Ohaigneau  [f\  aine. 

Same  cast,  all  being  now  "Ce°"  and  "0>,"  and  same  text.         ML  50.2.M45D21 

Marie  von  Montalban,  oder  Lanassa's  zweyter  theil.  Ein  trauer- 
spiel  mit  choeren  in  fuenf  aufzuegen,  von  J.  N .  Komareck. 

n.  i.,  1794.     86  p.     ;^<="». 

Author's  dedication,  dated  Pilsen,  am  V^  homung  [February],  1792.  On  p.  82-86, 
"Nachrede."  in  which  the  author  says  that  he  was  inspired  to  write  this  piece  by 


OPEBA   LIBRETTOS  729 

Marie  von  Montalban — Continued. 

•'Lanassa,"  the  German  version  (by  Pluemicke)  of  Le  Mierre'e  "La  Veuve  de  Mala- 
bar," and  performed  at  Pilsen  February  19, 1791,  by  the  Vossische  Schauspielergesell- 
schaft,  which  Komareck  then  criticizes  violently  for  the  liberties  taken  with  pieces 
in  the  repertory,  sometimes  leaving,  as  he  claims,  nothing  of  the  piece  except  its 
name.    His  wish  for  his  own  piece  is — 

"dass  die  musik  zu  den  choeren  nur  fuer  saenger,  imd  fuer  keine  schnattergaense, 
wie  wir  eie  und  ein  wildes  miauen  hier  hoeren  mussten,  komponirt  werden  moechte, 
damit  es  Voss  und  konsorten  nie  einfallen  koennte,  sich  daran  zu  versuendigen  ..." 

First  performed,  with  music  by  Peter  von  Winter,  at  Munich,  Hof  u.  National- 
theater,  January  28,  1800.  Schatz  11633 

Le  marin  genereux.     A.  T.  of  Piccinni's  L'esclave. 

Songs,  duets,  trio  and  choruses,  in  the  Mariners,  a  musical  enter- 
tainment, in  two  acts.  As  performed  at  the  King's  Theatre,  Hay- 
Market  ... 

London,  C.  Lomides,  179S.     16  p.    20'^'^. 

Neither  the  author,  Samuel  Birch,  is  mentioned,  nor  the  composer,  Thomas 
Attwood,  who,  as  appears  from  Longpaan  &  Broderip's  vocal  score  partly  com- 
posed this  pasticcio,  partly  compiled  it  from  Shaw,  Maxtini  (Martin  y  Soler?), 
Ferrari,  Mozart,  Miss  Bannister,  Dittersdorf . 

First  performed  May  10,  1793.  Lonoe  227 

Mario  e  Felice,  ballet.     See  Bianchi's  Ines  de  Castro. 

VoUstaendiger  musik-text  ■'ur  grossen  komischen  oper  in  2  auf- 
zuegen:  Die  marionettenbude,  oder  Der  jahrmarkt  zu  Gruenwald. 
Die  musik  ist  von  herrn  Th.  Weigl,  dem  juengern. 

Salzburg,  Franz  Xaver  Duyle,  1797.     SO  p.     17^"^. 

The  author,  Carl  Friedrich  Hensler,  is  not  mentioned. 

First  performed  at  Vienna,  Theater  in  der  Leopoldstadt,  March  17,  1795. 

ML  50.2.M455W3 

II  maritato  fra  le  disgrazie.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  autunno  del 
corrente  anno  1774. 


cm 


Napoli,  n.  pull.,  1774.     69  p.     15 
Three  acts.     Argument,  scenario,  cast,  and  name  of  Gaetano  Liatilla  as  composer. 

Schatz  5464 

II  marito  che  non  ha  moglie.  Dranmia  giocoso  per  musica  di 
Giovanni  Bertati  da  rappresentarsi  nel  Teatro  Giustiniani  di  San 
Mois6  neU  autimno  dell'  anno  1774. 

Venezia,  Antonio  Graziosi,  177 4.     6S  p.     17^'^. 

Three  acts.    Cast,  scenario,  and  name  of  Gennaro  Astaritta  as  composer. 

Schatz  373 

II  marito  disperato.  Dramma  giocoso  di  Giambatista  Lorenzi 
P.  A.  da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  seconda  com- 
media del  corrente  anno  1785. 

Napoli,  n.  pull.,  1785.     64  p.     15"^. 

Two  acts.    Cast  and  name  of  the  composer,  Domenico  dmarosa.    Schatz  1942 

—  Arien  und  gesaenge  aus  der  komischen  oper  in  zwey  akten :    Die 
bestrafte  eifersucht.     Die  musik  ist  von  CWarosa. 
Berlin,  n.  pull,  1794.     45  p.     W"^. 

Translated  by  Friedrich  Hildebrand  von  Einsiedel  (Schatz).    Cast. 

First  performed  at  Berlin,  Nationaltheater,  September  4,  1794.         Schatz  1943    * 


730  LIBRABY  OF  CONGRESS 

II  xuarito  geloso  Draroma  giocoso  per  musica  da  rappresentarsi  in 
Livorno  nel  Nuovo  teatro  detto  dagli  Armeni  il  camevale  dell'  anno 
1784. 

Livorno,  Antonio  Lami  e  corny.,  n.  d.     93  p.  (in^l.  Ji.-t.). 

Two  acts.  Cast,  scenario,  name  of  Felice  Alessandri  as  composer.  Author 
unknown  to  Schatz.  Schatz  147 

H  marito  geloso.  Dranima  giocoso  per  musica  di  Giovanni  Bertati 
da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Mois6  per  la  seconda 
opera  dell'  autunno  I'anno  1781. 

Venezia,  n.  puhl.,  n.  d.     64  p.     17"^. 

Two  acts.    Cast  and  name  of  Luigi  Caruso  as  composer  ("La  musica  sar^"). 

Schatz  1645 

II  marito  giogatore  [!1,  e  la  moglie  bacchettona.  Intermezzi  per 
musica  da  rappresentarsi  iiel  Teatro  di  S.  Angelo  il  camevale  dell' 
anno  1719. 

Venezia,  Marino  Rossetti,  1719.     16  p.     15'^'^. 

No  cast,  but  it  is  well  known  to  have  been  tne  same  as  at  Brussels  in  1728.  {See 
below).  Neither  the  author  of  the  text  is  mentioned  nor  the  composer.  Schatz 
attributes  the  text  to  Antonio  Salvi  and  the  music  to  Giuseppe  Maria  Orlandinl. 
First  performed  as  intermezzi  in  Chelleri's  "Amalaaunta"  on  December  24,  1718, 
according  to  Schatz.  Schatz  7337 

The  outlines  of  the  text  are  (arias  in  Italics) : 
(Int.  Prime)  Si  si  maledetta. 

Disgraziato  Bacocco. 

Un  consorte  sdagurato. 

O  Bacocco,  Be  questa  6  la  vigilia. 

Serpilla  diletta  (duet). 
(Int.  Sec.)     Serpilla  indiavolata. 

Signor  giudice. 

Alzatevi  madonna,  e  non  piangete. 

Questo  I  queir  nomo  (duet). 
(Int.  Terzo)  A  questa  pellegrina. 

La  vergogna,  il  dispetto. 

lo  gid,  sento. 
Under  no.  2372  of  the  Brussels  Conservatory  catalogue  Mr.  Wotquenne  lists  the 
score  of  "Serpilla  eBaiocco  0  vero  II  marito  giocatore  e  la  moglie  bacchettona,  inter- 
mezzi comici  musicali  da  rappresentarsi  in  Bruselle  nell'  opera  di  I/ucio  Papirio  il 
1728  dalla  Sig.  Rosa  Ungarelu  di  Bologna  e  dal  Sig.  Antonio  Maria  Ristorini  di 
Firenze."  Mr.  Wotquenne  adds  that  this  is  not  really  the  title  of  this  score,  of  which 
the  L.  of  C.  has  a  transcript  with  title  "II  Giocatore,"  but  that  it  is  a  "titre  copi6 
d'aprfes  le  livret."  He  means  the  libretto  published  at  Brussels  for  the  performances 
(first:  November  4)  1728  of  "Lucio  Papirio,"  music  by  Orlandini  [1]  and  of  the  inter- 
mezzi imder  discussion.  The  text  of  the  Brussels  libretto,  I  know  from  a  private 
communication  to  me  by  Mr.  Wotquenne,  is  the  same  as  in  the  original  Venice  libretto 
of  1719  "II  marito  giogatore  e  la  moglie  bacchettona."  This  means  that  it  does  not 
contain  in  the  second  intermezzo  the  aria,  etc.  "Con  tan  to  stranutare,"  which  is  the 
distinguishing  feature  of  the  Brussels  score  no.  2372,  the  text  of  which  is  otherwise 
the  same  as  in  the  librettos  mentioned.  As  Georgy  Calmus  pointed  out,  a  manuscript 
note  (not  in  our  transcript  of  the  Brussels  score)  says  that  this  aria,  etc.,  was  taken 
from  "II  vecchio  pazzo  in  amore."  The  statement  is  correct,  since  the  aria  (and 
part  of  the  connecting  dialogue)  appears  in  the  libretto  of  this  title  (See  Schatz  11376) 
in  the  first  of  the  three  intermezzi  first  performed  with  "La  caduta-di  Leone  Impe- 
rator  d'Oriente"  (music  by  Paganelli)  at  Venice,  Teatro  Giustiniano  di  S.  Moisfe, 
carnival  1731.  Neither  author  or  composer  are  mentioned  in  the  libretto  and  both 
are  unknown  to  Schatz. 

Possibly  this  was  not  the  first  performance  of  "II  vecchio  pazzo  in  amore,"  but 
until  an  earlier  performance  is  discovered,  this  Venice  perfom.ance  of  1731  must  be 
considered  the  first  known.  Therewith  the  date  of  the  anonymous  Brussels  score 
with  the  interpolated  aria  from  "II  vecchio  pazzo  in  amore"  is  approximately  fixed  as 
not  earlier  than  1731.  It  follows  that  the  anonymous  score  was  not  used  at  Brussels 
in  1728,  though  Mr.  Wotquenne  has  given  it  the  title  of  the  Brussels,  1728  libretto. 


OPEBA   LIBRETTOS  731 

II  marito  giogatore  [!],  e  la  moglie  ba*cchettoxia — Continued. 

the  text  of  vhich  does  not  contain  the  interpolated  aria  "Con  tan  to  stranutare"  but 
coincides  fully  with  the  original  Venice,  1719  libretto. 

Below,  there  is  listed  under  "The  gamester,"  London,  1736,  another  edition  of 
the  text  which  coincides  fully  with  the  original  text.  This  London  version  of  "II 
marito  giogatore"  is  positively  attributed  in  the  libretto  to  Orlandini.  It  would 
follow,  it  seems  to  me,  that  we  do  not  have  the  right  to  attribute  any  score  exclusively 
to  Orlandini,  the  text  of  which  does  not  coincide  fully  with  the  text  of  the  London 
libretto.  Scores  Like  the  Brussels  score  with  its  interpolated  matter,  therefore,  repre- 
sent, if  at  all,  Orlandini's  setting,  not  in  its  original  form,  hut  in  a  later,  adulterated 
form.  This  means  that  as  yet  Orlandini's  score  in  its  original  form  has  not  come  to 
light  again  and  that  no  historical  arguments  can  be  based  on  interpolations  for  which 
he  was  not  responsible! 

In  his  catalogue  of  "Handschriften  nebst  den  alteren  Druckwerken  der  Musik- 
Abtheilun^  der  Herzogl.  Bibliothek  zu  Wolfenbuttel,"  1890,  Emil  Vogel  has,  under 
no.  257,  this  entry: 

"Erste  Halfte  des  18.  Jahrh.    Vinci,  Leonardo.    Intermezzo:  Bacocco  e  Serpillo[l] 
.  .  .  Partitur.    Der  Componist  dieses  Intermezzo  war  bisher  nicht  bekannt  ..." 
and  under  no.  258  another  copy  with  title  "Serpilla  e  Bacocco"  and  remark  "Par- 
titur, dieselbe  wie  No.  257,  doch  mit  veranderter  Schlusselvorzeichnimg  in  den 
Singstimmen." 

Our  transcript  of  one  of  these  scores  includes  a  note — ^presumably  inVogel's  hand: 

"Die  hier  vorUegende  Partitur  ist — wenn  nicht  iiberhau^t  die  einrige  erhaltene — 
sicher  die  einzige,  welche  den  Namen  des  Comp>onistenangiebt."  , 

The  text  of  this  score,  too,  coincides  fully  with  the  text  of  the  original  "II  marito 
giogatore "  libretto,  Venice,  1719.  For  this  reason  and  because  these  scores  bear 
the  name  of  Vinci  one  might  feel  inclined  to  conclude  that  the  intermezzos  were 
originally  composed  by  Vinci.  This  conclusion  would  be  hasty,  first,  because 
the  Wolfenbuttel  scores  bear,  not  the  original  title,  but  two  later  titles  of  the 
work;  secondly,  because  the  text  of  the  original  libretto  as  stated  above,  coincides 
also  fully  with  the  text  of  the  London  (1736)  libretto  "The  gamester"  (II  giocatore) 
described  below,  and  the  title  page  of  this  explicitly  calls  Orlandini  the  composer. 
Under  the  circumstances  we  must  assume,  imtil  proof  to  the  contrary  is  adduced, 
that  at  London  a  setting  by  Orlandini  was  actually  used.  Consequently  we  must 
further  assume  that  both  Vmci  and  Orlandini  composed  the  same  (original  and  un- 
adulterated) text  at  a  very  early  date,  but  we  can  not  as  yet  definitely  attribute  the 
earliest  setting,  that  for  Venice,  season  of  1718-19,  to  either  one  or  the  other. 

The  commentary  above  and  below  in  part  supersedes  the  author's  article  on 
"II  giocatore"  in  the  "Musical  Antiquary,"  April  1913,  p.  160-174  and  also  his 
remarks  in  controversy  with  Georgy  Calmus  in  "Sammelbande  der  I.  M.  G.  1912/13, 
y.  14,  p.  170-173.  I  wish  to  add  here  that  in  my  opinion  it  is  dangerous  to  deduct 
the  comparative  age  of  fairly  contemporary  scores  from  a  fuller  or  thinner  orchestra- 
tion of  such  copies  as  have  been  preserved  but  are  not  the  autograph  scores  of  the 
composers.  Many  of  the  scores  of  that  period  have  come  down  to  us  not  in  their 
original  form,  but  with  the  "  Partitur-Bild  "  simplified  for  purposes  similar  to  those 
for  which  later  on  "Klavierausziige,"  Vocal  scores,  ^'Partitions,  chant  et  piano," 
etc.,  became  the  customary  substitutes.  How  dangerous  such  arguments  of  appear- 
ance or  even  style  are,  if  in  this  given  case  the  priority  of  Vinci  is  to  be  deducted 
from  a  comparison  of  the  appearance  of  his  scores  with  "Giocatore"  scores  attributed 
to  Orlandini,  may  be  illustrated  by  the  fact  that  of  the  two  composers  Orlandini  is  the 
earlier  and  that  his  first  known  opera  antedates  by  several  years  the  first  known  opera 
by  Vinci! 

—  Serpilla  e  Bacocco.     Intermezzi  comici  musicali.     Da  rappre- 
sentarsi  la  seconda  volta,  che  si  esibisce  il  drama. 

n.  %.,  n.  d.     15  p.    14Y'^. 

Three  parts.  Neither  author  nor  composer  is  mentioned.  The  text  is  practically 
identical  with  Schatz  7337.    Cast.    On  a  fly-leaf  Schatz  has  written  this  note: 

"  Dieses  intermezzo  wurde  als  zwischenspiel  zu  der  2*"*  auffiihrung  von  T.  Albi- 
noni's  oper  "I  veri  amici"  zu  Miinchen,  am  27 /x  1722,  zur  vermiihlungsfeier  dee 
churprinzen  Carl  Albert  mit  der  erzherzogin  Maria  Amalia,  gesungen. 

"  Urspriinglich  war  dieses  Textbuch  demjenigen  der  vorstehenden  oper  angeheftet 
&  folgte  auf  das  erste,  "Veepetta  e  Pimpinone"  betitelte  zwischenspiel." 

Schatz  7338 

—  The   gamester.    An   interlude.    Performed   by  Signora   Anna 
Maria  Faini,  and  Signor  Antonio  Lottini,  at  the  King's  Theatre  in  the 


782  V  LIBRARY   OF   CONGRESS 

D  marito  giogatore  [I],  e  la  moglie  bacchettona — Continued. 
Hay-Market.     The   musick   is   composed   by  Sig.   Giuseppe   Maria 
Orlandini  .  .  . 
London,  J.  Chrichley,  1736.    23  p.     17'^. 

Italian  text  under  the  title  of  "II  giocatore"  faces  the  English. 

First  performed  January  1/12,  1737 j  as  indicated. 

The  text  is  practically  identical  with  that  of  "II  marito  giocatore,"  Venice,  1719. 
According  to  Bumey  "II  ^ocatore,"  first  performed  at  London,  Haymarket,  Jan- 
uary 1,  1737,  was  the  first  "  intermezzo,  or  comic  interlude  which  was  ever  introduced 
between  the  acts  of  an  Italian  opera  [Basse's  Siroe]  in  England."  Schatz  7339 

—  Le  joueur,  parodie.  Par  les  Srs.  Dominique  &  Romagnesi  .  .  , 
Representee  pour  la  premiere  fois,  par  les  Com6diens  itauens  ordi- 
naires  du  roi,  le  21  juulet  1729. 

Les  parodies  du  Nouveau  thedtre  iUdien,  Nouv.  id.,  Paris,  1738, 
t  iv,  {183}-202  p.     i^§'="'. 

*One  act.    A  note  on  p.  185  says: 

"Cette  petite  parodie  de  I'Opera  du  Joueur  faisoit  cidevant  la  scene  xviii  de  la 
Com^die  des  Debuts,  jou^e  avec  les  Paysans  de  quality." 

The  characters  were  (as  in  all  the  "II  giocatore"  librettos)  Bacocco  and  Serpilla, 
and  much  of  the  text  was  in  Italian,  even  text  sung  to  the  French  airs.  (They  are 
printed  at  end  of  the  volume,  in  the  "Table  des  airs,"  92  p.,  of  which  p.  49-72  are 
wanting.  To  this  intermezzo  was  added,  as  an  afterpiece,  on  August  17,  1729,  "Don 
Micco  e  Leebina.  Intermede.")  As  comparison  proves,  some,  hut  not  many,  of  the 
Italian  lines  are  the  same,  or  nearly  the  same,  as  m  the  Venice  (1719)  edition  of  "II 
marito  giocatore."  It  is  therefore  qute  possible  that  where  French  airs  are  not  indi- 
cated in  the  text  the  parodists  used  corresponding  music  in  "II  marito  giocatore," 
performed  at  Paris,  Acad^mie  royale  de  musique,  June  7,  1729,  by  Rosa  Ongarelli 
(Ungarelli)  and  Antonio  Maria  Ristorini.  However,  the  abundance  of  French  airs, 
including  those  to  Italian  text,  that  imitate  text  in  "II  marito  giocatore"  excludes 
the  possibility  that  much  of  the  original  music  was  used  for  the  parody.  Indeed,  even 
the  possibility  of  the  use  of  some  of  it  becomes  doubtful,  in  view  of  the  report  in  the 
"Mercure  du  mois  de  Juillet  1729"  (quoted  by  Parfaict): 

"Toute  la  musique  qu'  on  trouve  trfes  convenable,  est  de  la  composition  du  Sieur 
Mouret  ..."  ML  48.P3 

—  n  giocatore.  Intermezzo  per  musica.  In  tre  atti.  Da  repre- 
sentarsi  in  Parigi,  n'ell  Theatro,  Opera,  il  1752. — ^Le  joueur.  Inter- 
mede en  musique  en  trois  actes.  Repr^ent6  [!]  "k  Paris,  sur  le 
Theatre  de  rOp6ra  en  1752. 

Paris,  la  veuve  Delormel  Scfils,  1762.     27,  [1]  p.     16^"^. 

On  last  page,  the  Approbation,  dated  Versailles,  August  20, 1752.    Cast.    (Serpilla: 

Anna  TonQlli;    Baccocco:    Pietro  Manelli.)    French  prose  text  faces  Italian.    The 

arias  are  not  distinguished  typographically  from  the  recitatives  in  this  libretto,  and  I 

can  not  guarantee  that  the  following  outlines  of  the  text  (arias  in  italics)  are  complete: 

(Atto  I)      Si,  si  mxdedetla. 

Ah  sei  qui  bona  lana? 

(?)  Si  ravviva  nel  mio  core. 

La  buona  moglie  Fk  buono  il  marito. 

Serpilla  diletta  (duet). 
(Atto  II)    Serpilla  indiavolata. 

Oh  che  risa,  oh  die  piacere. 

(?)  Dipotermi  vendicar. 

Speri  jots'  anche  un  di. 

Ub!  che  alcun  non  c'ascolti. 

QiiesV  i  quel  uomo  (duet). 
(Atto  III)  Jo  son  fuor  di  me  stesso. 

A  questa  pellegrina. 

La  vergogna,  il  rispetto. 

(?)  Ecco  disdoUi  i  lacci. 

Ahi  finite. 

Contento  tu  sarai. 


OPERA   LIBRETTOS  738 

II  marito  giogatore  [I],  e  la  moglie  bacchettona — Continued. 

This  text  differs  strikingly  from  the  original  "II  marito  giogatore"  text.  True, 
"Si,  si  maledetta,"  the  first  aria,  and  the  duet,  "Serpilla  diletta,"  are  the  same  in 
both  texts.  Also,  the  second  intermezzo  in  both  begins  with  "Serpilla  India volata," 
and  ends  with  the  duet,  "Questo  b  quell'  uomo."  Furthermore,  the  aria,  "A  questa 
pellegrina,"  is  in  the  third  intermezzo  in  both  texts,  but  the  aria,  "Un  consorte 
sciagurato,"  is  not  in  the  first  intermezzo  of  the  Paris  (1752)  ed.,  nor  "Signer  giudice 
giustizia"  in  the  second,  nor  the  final  duet,  "lo  gi^  sento,"  in  the  third.  The  dia- 
logue, while  for  lines  at  a  time  is  the  same  in  both,  very  much  more  often  is  not  the 
same;  and  Baccocco's  monologue,  at  the  beginning  of  the  third  intermezzo  ("lo  eon 
fuor  di  me  stesso  "),  is  only  in  the  Paris  (1752)  edition.  If  the  text  in  the  latter  (which 
unquestionably  is  Salvi's  "II  marito  giogatore,"  though  considerably  altered)  was 
actually  used  m  the  performances  of  1752  at  Paris,  then  the  entry  in  Clement  et  de 
Laporte's  "Anecdotes  dramatiques,"  Paris,  1775  (Supplement): 

"JouEUR,  (le)  Op^ra  bouffon  italien,  dont  la  musique  est  d'Orlandini,  jouee  k 
rOp^ra  en  1752  "  [firat  on  Tuesday,  August  22,  not  on  August  12,  preceding  Campra's 
Arethuse]  needs  to  be  modified,  because  it  would  have  been  impossible  to  use  Orlan- 
dini'e  score  without  quite  a  few  interpolations  and  alterations. 

As  a  matter  of  fact,  the  Paris  version  used  was  a  pasticcio.  According  to  the  Mercure, 
quoted  by  De  La  Laurencie  {S.  I.  M.  1912,  no.  6,  p.  27^: 

"La  musique  de  cet  intermMe,  tel  qu'il  a  4te  joue,  est  de  differents  auteurs," 
and  the  Mercure  attributes  the  recitatives,  the  duets  in  the  first  two  actes  T' Serpilla 
diletta  "and  "Quest*  equel'  uomo"),  and  the  arias,  "Si,  si  maledetta"  and  A  questa 
pellegrina,"  specifically  to  Orlan(Hiii.  Contant  d'Orville  (I,  10,  not  11)  mentions 
Fergolesi  as  one  of  the  composers  of  this  pasticcio,  and  since  the  text  of  the  final 
duet  in  the  printed  Paris  (1752)  libretto,  "Contento  tu  earai,"  is  indeed  from  his  "La 
serva  padrona,"  there  is  no  reason  for  disputing  the  accuracy  of  Contant  d'Orville's 
remark.  We  know,  however,  from  the  Mercure  that  this  duet  was  replaced  at  the 
third  performance  by  another  piece  (the  duet,  "Pace  con  un  laccio,"  of  the  Doletti 
score?).  At  least  one  more  composer  figured  in  the  pasticcio,  namely,  Giuseppe 
Maria  Buini,  since  De  La  Laurencie  has  traced  the  "Oh  che  risa"  in  the  second  act 
to  him.  He  adds  Pietro  Auletta,  but  without  any  proof  whatsoever  of  his  identity 
with  Doletti.    {See  below.) 

If  at  the  third  performance  "Contento  tu  sarai"  was  dropped,  "Signer  giudice" 
added  to  the  second  act,  and  if,  as  reported,  other  changes  took  place,  then  the  text 
in  the  Paris  (1752)  ed.  can  not  have  been  used  as  printed.  These  doubts  become 
stronger  still  in  \'iew  of  the  score  of: 

"Les  ABiETTES  DU  JouBXTR,  opera  bouffon  italien.  Del  Sg?  Doletti.  R^pr^sent€ 
k rOpera  de  Paris  en  1752  "  Paris,  M?  Boivin,  Mr.  Le  Clerc,  W\^  Castagnarie.  (Undated! 
1  p.  I.,  32  p.,  fol.)    Below  the  privilege:  "Grav6  d'apr^s  la  partition  de  rauteur." 

The  text  of  the  eight  arias  and  duets  in  this  score  is  identical  with  that  of  the  1719 
libretto,  except  that  of  the  two  last  numbers,  "Pace  con  un  laccio"  and  "Spera 
fors'  anch'  un  di."  These  are  not  in  the  "II  marito  giogatore"  libretto.  On  the 
other  hand,  the  last  aria  in  the  1719  libretto,  ' '  lo  gi^  sento, ' '  is  not  in  the  Doletti  score. 
At  any  rate,  with  exception  of  two  out  of  eight  numbers,  the  text  of  all  is  identical 
with  the  texts  as  found  m  the  Wolfenbiittel  Vinci  scores  and  in  the  London  Orlandini 
libretto  and  the  Venice  (1719)  libretto.  But  the  title  page  not  only  attributes  the 
opera  to  one  Doletti  (of  whom  absolutely  nothing  else  seems  to  be  known  to  F^tis, 
Wotquenne,  Eitner),  but  says  that  the  Paris  score  was  engraved  after  his  (the  author's, 
i.  e.  composer's)  score!  Here,  then,  is  a  new  puzzle!  Now,  it  is  a  singular  fact  that 
of  those  two  arias  one,  "Spera  (eperi)  fors'  anch'  un  di,"  appears  in  the  Paris  (1752) 
"II  giocatore"  libretto.  In  view  of  this  fact,  and  in  view  of  the  other  fact,  already 
mentioned,  that  with  the  third  performance  of  "II  giocatore"  Pergolesi's  "Contento 
tu  sarai "  was  replaced  by  another  duet,  the  conjecture  may  be  ventured  that  (the 
otherwise  unknown)  Doletti  composed  these  two  arias,  and  that  in  some  manner  the 
whole  score  came  to  be  attributed  to  him. 

We  know,  however,  that  of  the  other  six  arias  (act  I)  "Si,  si,  maledetta,"  "Un  con- 
sorte sciagurato,"  "Serpilla  diletta"  [duet];  (act  II)  "Signer  giudice,"  "Quest'  6 
quel'  uomo  [duet];  (act  III)  "A  questa  pellegrina  ",  the  music  of  five  is  the  same  as 
in  the  Wolfenbiittel  scores  bearing  Vinci's  name  and  in  the  Brussels  "Giocatore" 
score  no.  2372,  barring  transposition  of  key,  etc.  The  aria  "Si,  si,  maledetta,"  in 
the  Doletti  score  is  the  same  as  in  the  Brussels  score,  but  it  is  different  from  that  in 
the  Vinci  score.  Consequently  as  early  as  1731  {see  above)  a  setting  of  "Si,  si, 
maledetta"  existed  which  was  not  by  Vinci.  This  aria  is  one  of  those  expressly 
attributed  by  the  Mercure  to  Orlandini.  Since  the  recitatives  in  the  Vinci  scores 
are  nearly  all  different  from  those  in  the  Brussels  score  (the  Doletti  score  has  no  reci- 
tatives), again  some  composer  other  than  Vinci  must  nave  composed  these  recita- 


784  LIBRARY  OF  CONGRESS 

D  marito  giogatore  [!],  e  la  moglie  bacchettona — Continued. 

tives  of  the  Brueeels  score.  This  conclusion  recalls  to  our  mind  the  fact  that  the 
Mercure  expreeelv  attributed  the  recitatives  aa  used  at  Paris  (1752)  to  Orlandini. 
Therefore,  if  ^e  Mercure  was  wholly  mistaken  in  assigning  the  arias  identical  in  the 
Vinci  scores  and  the  Brussels  and  the  Doletti  score  (duets  "Serpilla  diletta"  and 
"Quest'  ^quel'  uomo  "  and  the  aria  "A  questa  pellegrina,"  i.  e.,  as  sung  at  Paris,  1752) 
to  Orlandini,  and  if  Leonardo  Vinci,  instead  of  Orlandini,  should  have  to  be  con- 
sidered their  composer,  the  pasticcio  character  of  the  Paris  (1752)  "Giocatore"  would 
have  grown  still  more  pronounced.  If  De  La  Laurencie  adds  to  the  composers  so  far 
traced  Pietro  Auletta,  on  the  theory  of  his  identity  with  Doletti,  this  identity  is 
merely  an  assumption,  and  has  not  been  supported  by  any  evidence. 

ML50.2.G4O7 

—  Baiocco  et  Serpilla,  parodie  du  Joueur;  intermede  en  trois  actes. 
Representee  pour  la  premiere  fois  par  les  Com6diens  italiens  ordi- 
naires  du  roi,  le  jeudi  6  mars  1753.     Nouvelle  Edition. 

Paris,  N.  B.  Duchesne,  1760.  JfS p.  .?5«"*.  {Theatre de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  ii.) 

Cast,  note,  and  music  the  same  as  in  the  1771  ed.  ML  49.A2F1 

—  Baiocco  et  Serpilla,  parodie  du  Joueur,  intermede  en  trois  actes. 
Representee  pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires 
du  roi,  le  jeudi  6  mars  1753. 

Paris,  la  veuve  Duchesne,  1771.     38  p.     17'''^. 

Cast  ajid  note: 

"Get  intermede  est  une  traduction  litt^rale  de  Baiocco  e  Serpilla  6  del  Giocatore, 
op^ra  bouffon,  mis  en  musique  par  Mr.  [Carlo]  Sodi,  &  repr«3ent6  ci-devant  k  la 
Cbm^die  italienne." 


On  p.  3-5  the  airs  of  "Ah!  ahl  ma  cassette"  (I,  1);  p.  6,  "On  n'a  jamais  vu  de 
-         -         .    ■    .■       ■         -(I,  2);  p.  -      - 

);  p.  17-20,  "C'est  un  traltre,  un  vaunen"  (II,  2);  p.  24-27,  "A 
perfide,  barbareP'  (III,  1);  p.  28-32,  "Ingrate,  tu  me  fuis  en  vame"  (III,  2);  p. 


femme"  (I,  2);  p.  11,  duo  "Je  ne  puis  plus  durer"  (I,  2);  p.  14-16,  "Ma  femme  fait 
la  diablesse"  (II,  1);  p.  17-20,  "C'est  un  traltre,  un  vaurien"  (II,  2);  p.  24-27,  "Ahf . 


33-38,  the  duo  "Mon  bonh^ur  est  extreme'  (III,  2). 

This  parody,  though  originally  based  on  that  of  1729,  no  longer  has  anything  in 
common  with  it.    Parfaict  narrates  under  Sodi  the  origin  of  the  new  parody  thus: 

"La  nouvelle  musique  de  la  parodie  du  Joueur,  intermede  italien  qui  a  6t6  repre- 
sentee deux  fois  a  la  cour  avec  beaucoup  de  6ucc4s.  Les  anciens  vaudevilles  ayant 
d6plu  k  la  demiere  reprise  de  cette  parodie,  les  Comediens  Italiens  prirent  le  parti 
de  charger  le  Sieur  Sodi  de  composer  de  nouvelle  musique  sur  les  mgmes  parolee,  & 
le  melange  d'italien  &  de  frangois  ayant  encore  d^plu  dans  les  paroles,  ils  suppri- 
m^rent  tout  I'italien,  &  y  substitu^rent  des  paroles  franyoises  de  la  composition  de 
M.  Favart  qui  fut  oblige  de  parodier  la  musique  du  Sieur  Sodi."  .  .  . 

(Substantially  the  same  remarks  are  to  be  found  in  the  pref.  to  "Theatre  de  M. 
Favart,"  Paris,  1763-77,  t.  I,  p.  xviii.)  Sodi's  score  as  published  (in  L.  of  C.)  agrees 
with  the  libretto.  Schatz  9929 

D  marito  indolente.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  Giustiniani  di  S.  Mois^  il  came  vale  dell'  anno  1778. 
[Venezia],  n.  puht,  n.  d.     62  p.     18*^^. 

Two  acts.  By  Caterino  Mazzol^,  who  is  not  mentioned.  Cast  and  name  of  Alfonso 
Santi  as  the  composer  ("La  musica  sar^").  With  the  opera  was  performed,  com- 
poser of  the  music  not  mentioned,  Riccardo  Blk:k's  ballet  "L'Indiana  a  Londra." 

Schatz  9393 

H  marito  indolente.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia,  di  Caterino  Mazzolk  . . . 
Dresda,  n.  pull.,  1782.     I4I  p.     15i<='». 

Two  acts.  Joseph  Schuster  is  mentioned  as  the  composer.  German  title-page, 
"Dergleichgueltige  ehemann,"  and  text  face  Italian. 

First  performed  1782,  aa  indicated.  Schatz  9747 


OPERA   LIBRETTOS  736 

U  marito  indolente — Continued. 

—  Gesaenge  aus  dem  singspiele  Der  gleichgueltige  ehemann,  in 
zwei  aufzuegen,  nach  dem  italienischen  von  J.  Andr^.  In  musik 
gesezt  von  Schuster. 

Hamburg,  J.  M.  Michaelsen,  1788.     32  p.     16"^. 

Firet  performed  at  Hamburg,  Theater  beim  Ganeemarkt,  September  22,  1788;  at 
Berlin,  Nationaltheater,  May  26,  1788.  Schatz  9748 

II  znarito  raweduto,  baUet.    See  Bianchi's  Piramo  e  Tisbe. 

II  marito  umiliato  ossia  La  moglie  di  spirito,  ballet.  See  Cimarosa's 
Li  amanti  comici. 

Markedet  i  Venedig.     Tr.  of  Salieri's  La  fiera  di  Venezia. 

Der  markt  von  Venedig.     Tr.  of  Salieri's  La  fiera  di  Venezia. 

O  marquez  de  Tulipano  ou  O  casamento  inesperado.  Tr.  of  Paisi- 
ello's  II  matrimonio  inaspettato. 

The  marriage  act :  a  farce.  In  two  acts.  As  it  is  performed  at  the 
Theatre  Royal  in  Covent  Garden. 

London,  G.  Kearsley,  1781.    2p.l.,40p.    ;?;<="». 

Cast.    A  reduced  version  of  Charles  Dibdin's  "The  lelandere  "  (1780). 

First  performed  September  17,  1781  (Schatz  and  Oulton);  September  18,  1781 
(Genest).  Longe  91 

Marriage  at  last.     A.  T.  of  The  fortimate  prince. 

Marriage  by  proxy.     A.  T.  of  The  court  medley. 

The  miarriage  of  Peleus  and  Thetis,  masque.     See  Windsor  castle. 

The  marriage  promise  or  The  disappointed  virgin.  See  The  intri- 
guing courtiers. 

Marsia. 

p.  217-242.  15Y'^-  (Ottavio  Tronsarelli,  Drammi  musicali,  Roma, 
Francesco  UorleUetti,  1632.) 

Three  parte.    Argument.    No  composer  mentioned.  ML49.A2T7 

Marsia  deluso.  Favola  pastorale.  Da  rappresentarsi  in  musica 
nel  famoso  Teatro  Grimani  de'  SS.  Gio.  e  Paolo  il  camovale  deD* 
anno  1714. 

Venezia,  Marino  Rossetti,  n.  d.     72  p.     H^*^. 

Five  acts.    Neither  the  author,  conte  Agostino  Piovene,  nor  the  composer,  Carlo 
Francesco  PoUaroli,  is  mentioned.    Notice  to  the  reader,  cast,  and  scenario. 
First  performed  December  26,  1714,  as  indicated.  Schatz  8302 

Marte  deluso.     L.  T.  of  M.  A.  Ziani's  La  Falsirena. 

Marte,  Venere  e  la  Gloria,  ballet.    See  M.  A.  Valentini's  Solimano. 


736  LIBRARY   OF   CONGRESS 

Marthesie,  premiere  reine  des  Amazones,  tragedie  representee 

{>ar  TAcademie  royale  de  musique.  I'an  1699.     Les  paroles  de  M.  de 
a  Mothe,  &  la  musique  de  M.  Destouches.     XL VIII.  opera. 
front,  p.  413-4.68.     {Recudl  general  des  opera,  t.  vi,  Paris,  1703.) 
14^'^. 

Detached  copy.  Five  acts  and  prologue  with  dedicatory  poem  to  the  king  and 
"  A  vertissement. " 

First  performed,  as  indicated,  November  29,  1699;  at  Fontainebleau  in  the  king's 
private  Uieatre,  October  25,  1699.  Schatz  2548 

Second  copy.    ML  48. R4 

Martin  Velten.     Eine  komische  oper  in  drey  aufzugen. 

n.  %.,  n.  d.     p.  [273]-352.     16<^. 

Detached  copy.  Neither  the  composer,  Carl  Christian  Agthe,  is  mentioned,  nor 
the  author,  who  is  unknown  to  Schatz. 

First  performed  at  Reval,  1778.  Schatz  62 

Martio  Coriolano.     See  M.  Curzio. 

^  Martio  Coriolano.  Drama  per  musica  di  Frencasco  Valsini  da 
rappresentarsi  nel  famoso  Teatro  Grimano  de  Ss.  Gio.  e  Paolo. 
L'anno  MDCLXXXIII  ... 

Venetia,  Francesco  Nicolini,  1683.     48  p.     14^'^'^. 

Three  acts.  Dedication  signed  Frencasco  Valsini  [=Francesco  Silvani]  and  dated 
Venice,  January  20,  1683,  argument,  scenario,  notice  to  the  reader  with  name  of 
Giacomo  Antonio  Perti  as  the  composer,  and  remark  "eccoti  il  mio  secondo  drama." 

Schatz  7957 

r  Marzio  Coriolano.  Drama  per  musica.  Da  rappresentarsi  nel 
famoso  Teatro  di  S.  Gio.  Grisostomo.  L'anno  1698.  Di  Matteo 
Noris  .  .  . 

Venezia,  Nicolini,  1698.    frmU.,  82  p.     14Y'^. 

Three  acts.  Author's  dedication  dated  Venice,  January  18,  1697.  M.  V.  [=1698], 
argument,  notice  to  the  reader,  and  scenario.  The  composer.  Carlo  Francesco  Polla- 
roU,  is  not  mentioned.  •  Schatz  8303 

Masagniello    furioso.     Oder:  Die   neapolitanische   fischer-empoe- 
rung.     Musicalishes  schau-spiel. 

Barth.   Fdnd's  Deutsche  gedichte,  Stade,  1708,  pi.,  p.  [251}-320. 

Three  acts.  Date  of  first  performance  as  June,  1706,  and  "Vorbericht"  with 
remark: 

"Die  italiaenischen  arien  wird  ein  dieser  sprache  kuendiger,  umsonst  anderswo 
als  auff  diesen  blaettem  suchen  " 

which  implies  Feind's  own  authorship.    The  composer,  Reinhard  Kaiser,  is  not 
mentioned .  ML  49 .  AF2 

—  Masagniello  furioso.     Drama  musicale,  da  rappresentarsi  nel 
famosissimo    Theatre    d'Hamburgo,    Die    neapolitanische    fischer 
empoerung  ... 

Hamburg.     Unpaged.     18'^'^. 

(Imprint  partly  cut  off  by  binder.) 

Three  acts.  To  a  few  of  the  arias  the  Italian  text  has  been  added.  Neither  the 
author,  reap,  translator,  Barthold  Feind,  is  mentioned,  nor  the  composer,  Reinhard 
Keiser. 

First  performed,  as  indicated,  June,  1706.  Schatz  5125 


OPERA  LIBRETTOS  737 

Masagniello  furioso — Continued. 

—  Masagniello  furioso.  Drama  musicale,  da  rappresentarsi  nel 
famosissimo  Teatro  d'Amburgo.  [port.]  Die  neapolitanische  fischer- 
empoerung  .  .  . 

Hamburg,  Friderich  Conrad  Grejiinger,  1714-     Unpaged.     19'^'^. 
The  port,  is  supposed  to  be  a  likeness  of  "Masaniello,  vischer  zu  Napels.    1647." 
The  Italian  text  has  been  added  to  some  arias.    Schatz  calls  this  the  second  ver- 
sion, but  at  least  the  text  is  the  same  as  in  the  1706  edition.    Neither  Feind  is  men- 
tioned nor  Keiser.  Schatz  5126 

—  Masagniello  furioso,  oder  Die  neapolitanische  fischer-empoe- 
rung,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau-platze  vor- 
gestellet  im  jahr  1727. 

[Hamburg],  mit  Stromerischen  schrvfften,  n.  d.     Unpaged.     W'^. 

Three  acts.  Cast,  scenario.  Schatz  calls  this  "III.  auegabe."  Neither  the 
author,  resp.  translator,  Barthold  Feind,  is  mentioned,  nor  the  composer^  Reinhard 
Eeiser.  To  some  of  the  arias  the  Italian  text  has  been  added.  The  text  is  the 
same  as  in  the  editions  of  1706  and  1714.  Schatz  5102 

La  maschera  levata  al  vitio.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  Tron  in  S.  Casciano  I'autunno  dell'  anno  1704  .  .  . 

Venetia,  Marin  Rossetti,  1704.     69  p.     14^'"'^. 

Three  acts.  Dedication  signed  and  dated  by  the  author,  Francesco  Silvani, 
Venice,  November  2,  1704,  argument,  cast,  and  scenario.  The  composer.  Carlo 
Francesco  Gasparini,  is  not  mentioned.  Schatz  3571 

La  mascherata. 

[261]-318  p.  16^'^.  {Carlo  GoJdoni,  Opere  drammatiche  giocose, 
t.  i,  Torino,  1757.) 

Three  acts.    For  first  composer,  see  below.  ML  49.A2G6 

—  La  mascherata.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  4^, 
[47V108  p.     18<^^.  PQ 

La  mascherata.  Dramma  comico  per  musica  di  Polisseno  Fegejo 
Pastor  Arcade  da  rappresentarsi  nel  Teatro  Tron  di  S.  Cassiano.  H 
camovale  dell'  anno  1751. 

Venezia,  Modesto  Fenzo,  1751.     70  p.     15*^. 

Three  acts.  By  Goldoni.  The  composer  is  not  mentioned.  Cast  and  scenario. 
Attributed  by  some  to  Galuppi,  by  others  to  Gioacchino  Cocchi.  Pages  3-4,  with 
Goldoni'sdedication,  dated  December24, 1750,  are  missing  in  this  copy.   Schatz3487 

Massenzio.  Drama  per  musica  nel  Teatro  Vendramino  k  S.  Sal- 
vatore.     Del  Bussani  .  .  . 

Venetia,  Francesco  Nicolini,  1673.    80  p.  {incl.  front.)  •  15'^'^. 

Three  acts.  Author's  dedication,  argument,  and  scenario.  The  composer,  Antonio 
Sartorio,  is  not  mentioned. 

First  performed  carnival,  1673,  as  indicated.  Schatz  9494 

Massilie,  ou  La  fondation  de  Marseille.     Op6ra  en  cinq  actes. 

Venard  de  la  Jonchere,  Thedtre  lyrique,  Paris,  1772,  t.  ii,  p.  [14S\-212. 
18^'^'^. 

"Avant-propos "  (p.  147-159).  No  composer  mentioned,  nor  is  any  recorded  by 
CI.  &  L.  ML  49.A2L2 

72251°— VOL  1—14 47 


738  LIBRARY   OF   CONGRESS 

Massimiano.  Dramma  per  miisica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nell'  carnevale  dell'  anno 
1731   ... 

Venetia,  Carlo  Buonarigo,  n.  d.     66  p.     l^Y'^- 

Three  acts.  Oririnally  written  as  "Costantino"  by  Zeno  and  Pariati,  retouched 
under  the  above  title  by  Giovanni  Boldoni,  neither  of  whom  is  mentioned.  Impre- 
eario's  dedication,  argument,  scenario,  cast,  and  name  of  Giuseppe  Maria  Orlandini 
as  the  composer.  Schatz  7351 

Massimo  Puppieno.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimano  di  SS.  Gio.  e  Paolo.  Seconda  impres- 
sione  con  nuova  aggiunta  .  .  . 

Venetia,  Francesco  Nicolini,  1685.     6J!i.  f.     14"^. 

Three  acts.  Dedication  dated  Venice,  December  28,  1684,  and  sigied  by  the 
author,  Aurelio  Aureli,  argument,  and  scenario.  The  composer,  Carlo  Pallavicino, 
is  not  ment^ioned.  Schatz  7727 

The  master  of  the  opera.     Tr.  of  Sarro's  L'impresario. 

Mastino  della  Scala,  ballet.     See  Paer's  L'oro  fa  tutto. 

A  m.atch  for  a  widow :  or,  The  frolics  of  fancy.     A[ !]  A  comic  opera, 
in  three  acts.     As  performed  at  the  Theatre  Royal,  Dublin. 
London,  C.  DiUy,  1788.     vii,  [1],  61,  [2]  p.     20'"^. 

The  [2]  p.  contain  the  "Original  epilogue,"  "spoken  by  Mrs.  Melmoth,  in  1786." 
Cast  and  dedication  by  the  author,  Joseph  Atkinson  (not  mentioned),  to  Richard  Daly, 
the  patentee  and  manager  of  the  Theatre  Royal,  Dublin: 

'  'You  remember  that  it  was  originally  written  and  presented  to  you  in  the  winter 
of  1785,  as  an  after-piece^  acknowledged  to  be  suggested  from  a  little  French  drama  of 
one  act,  without  songs  (mtitled,  L'heureuse  erreur),  and  that  in  borrowing  the  idea  I 
totally  altered  and  augmented  the  dialogue,  incidents,  and  situation  of  tMt  vlot,  and 
for  the  first  time,  attempted  the  introduction  of  a  Yankee  character  on  the  European 
stage  .  .  .  you  earnestly  recommended  and  urged  me  instead  of  confining  it  to  an 
after  musical  piece,  to  extend  the  design  to  a  compleat  comic  opera,  by  the  assistance 
of  new  characters  and  an  underplot  .  .  . 

"In  the  course  of  the  week,  I  again  presented  you,  and  read  the  opera  in  its  present 
state,  with  the  additional  episode,  characters  and  songs  ...  It  was  then  .  .  .  trans- 
mitted to  Mr.  [Charles]  Dibdin  in  London,  who  embellished  it  with  his  harmony: 
thus  with  the  ornament  of  new  scenery  and  dresses,  and  the  then  musical  strength  of 
your  company,  you,  in  the  spring  of  1786,  gave  it  a  fair  trial  before  an  Iridi 
audience  ..." 

The  Yankee  character  introduced  is  that  of  Jonathen,  who,  in  the  course  of  the  play, 
sings  a  "Song  (air,  Yankee  tune  [which  is  not  mentioned]):  'He  found  me  in  a  country 
now  famous  in  story, '  "  and  ' '  Song  (tune,  Yankee  doodle) :  '  For  when  I  dwelt  in  Boston 
bay  / 1  liv'd  in  peace  and  plenty.'  "  Longe  110 

II  matematico,  ballet.     See  Pampani's  Demofoonte. 

La  m.atinee  des  boulevards,  ambigu-comique.  Premiere  partie. — 
La  soiree  des  boulevards,  .  .  .  Seconde  partie — La  nuit  des  boule- 
vards .  .  .  Troisieme  partie — ^Le  bal  des  boulevards  .  .  .  qua- 
tri^me  partie. 

Paris,  Cailleau,  n.  d.     122  p.     21'='^. 

Casts.  Schatz  11498 

La  matinee  et  la  veillee  viUageoisie,  ou  Le  sabot  perdu,  diver- 
tissement en  deux  actes  et  en  vaudevilles,  par  MM.  de  riis  &  Barr6; 
represente  pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires 
du  roi,  le  mardi  27  mars  1781. 

Paris,  Vente,  1784.     82  p.     W"". 

Cast.    Arranger  of  the  music  not  recorded  by  Schatz.  Schatz  11499 


OPERA   LIBRETTOS  739 

I  matrimoni  in  ballo.  Farsetta  per  musica  di  Pasquale  Mililotti 
da  rappresentarsi  nel  Teatro  Nuovo  nel  carnevale  di  quest'  anno  1776. 

n.  i.,  n.  d.     p.  [29]-51.     14\'^. 

A  detached  copy  of  Cimarosa's  operatic  farce,  played  at  the  end  of  his  "I 
sdegni  per  amore"  (Schatz  1993).  Schatz  1984 

I  matrimoni  in  cantina.     A.  T.  of  Neri  Bondi's  I  viaggiatori. 

I  matrimoni  in  maschera.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Teatro  Tron  di  S.  Cassano  nell'  autunno  dell'  anno 
1765  .  .  . 

Venezia,  Modesto  Fenzo,  1765.    69  p.     15'''^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Ruttini  (Giovanni  Marco  Rutini)  as  the  composer.  Schatz  9192 

—  H  matrimonio  in  maschera.  Dramma  giocoso  per  musica. 
Da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia.  Dresda, 
nel  carnevale  dell'  1767. 

n.  i.,  n.  d.     1^9  p.     W"^. 

Three  acts.  Cast'  scenario,  and  name  of  Giovanni  [Marco]  Butini  as  the  com- 
poser. German  title-page,  "Die  eheverbindung  in  der  maske,"  and  text  face  Italian, 
which  is  with  very  few  modifications  the  same  as  in  the  Venice  (1765)  version. 

Schatz  9187 

—  II  tutore  burlato  o  sia  I  matrimonii  in  maschera.  Dramma 
giocoso  per  musica  da  rappresentarsi  nel  Regio  Teatro  Danese — Den 
bedragne  formynder  eller  De  under  masken  sluttede  giftermaale  .  .  . 

Ki0henha'im,  L,  N.  Svare,  1768.    125  p.    17^"^. 

Three  acts.    Cast  and  name  of  Ruttini  [Giovanni  Marco  Rutini]  as  the  composer. 
First  performed  1768,  as  indicated.  Schatz  9188 

I  matrimonj  per  fanatisimo  [ !]  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  terza 
opera  di  quest'  anno  1788  .  .  . 

Napoli,  n.  pull.,  1788.     60  p.     15'^'^. 

Two  acts.  Impresario's  dedication  dated  Naples,  Nov.  6,  1788,  cast,  and  name  of 
Pasquale  Anfossi  as  composer,  but  not  of  librettist,  who  is  unknown  to  Schatz. 
On  p .  5-13,  a  detailed  description  with  argument  and  cast  of ' '  Astarbea  ossia  Pimmalione 
vendicato,  ballo  tragico  in  cinque  atti,  inventato,  e  composto  dal  Sig.  Giambattista 
Giannini  ...    La  musica  h  tutta  nuova  del  Signor  D.  Pietro  Dutillieu." 

Schatz  259 

I  matrimonii  per  inganno.     Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione. 
Nell'  inverno  ai  questo  anno  1779. 
Napoli,  n.publ.,  1779.     64  p.     16*^. 

Three  acts.    Cast  and  name  of  the  composer,  Giuseppe  Maria  Curcio  ("Curci ") 

Schatz  2302 

I  matrimonj  per  inganno,  ballet.     See  Nicolini's  Gli  Sciti. 

I  matrimonj  per  magia.     Commedia  per  musica  da  rappresentarsi 
nel  Teatro  de'  Fiorentini  per  quart'  opera  del  corrente  anno  1797. 
Napoli,  n.  puU.,  1797.    24  p.     ISY"^- 

One  act.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of  the 
composer,  Valentino  Pioravanti. 

First  performed  at  Naples,  Teatro  di  Fondo,  1794.  Schatz  3135 


740  LIBRARY   OF   CONGRESS 

Li  matrimonj  per  sorpresa.  Farsa  per  musica  a  5.  voci  da  rap- 
presentarsi  nel  Teatro  Valle  degl'  illustrissimi  Signori  Capranica  il 
camevale  dell'  anno  1788  .  .  . 

Roma,  Gioacchino  PucdneUi,  n.  d.     58  'p.     15^. 

Two  acts.  Author  not  mentioned  and  not  known  to  Schatz.  Dedication,  cast 
and  name  of  Luigi  Platone  as  composer.  ML50.2.M46P4 

II  matrimonio  cinese,  ballet.     See  Anfossi's  Gengis-Kan. 

II  matrimonio  de'  Groelandesi,  ballet.     See  Rispoli's  Nitteti. 

II  matrimonio  de'  Groenlandesi,  ballet.  See  Rossetti's  Olim- 
piade. 

II  matrimonio  di  Figaro.     A.  T.  of  Portugal's  La  pazza  giornata. 

H  matrimonio  improwiso.  Conimedia  con  musica  d'un  atto  solo 
ridotta  da  Giuseppe  Foppa.  Da  rappresentarsi  nel  nobilissimo  Teatro 
Giustiniani  in  San  Moisd  il  carnovale  dell'  anno  1794. 

n.  i.,  n.  d.     24  p.     18^"^. 

Cast  and  name  of  Ferdinando  P6  (Paer)  as  the  composer.  Schatz  7563 

—  II  matrimonio  improvise  o  I  due  sordi,  dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  della  molto  He.  cittk  di  Barcel- 
lona  I'anno  1798. 

Barcellona,  Francesco  Generas,  n.  d.     54  p.     14^""' 
Two  acts.    Cast  and  name  of  Per  (Paer)  as  the  composer.    Foppa,  the  author,  is 
not  mentioned.  Schatz  7564 

II  matrimonio  inaspettato,  ballet.  See  Valentini's  Le  sorelle 
rivali. 

II  matrimonio  in  commedia.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  grande  alia  Scala  di  Milano,  la  primavera 
deir  anno  1782  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     4  P-  ^-j  ^^  )U]  V-     15^*^. 

The  additional  p.  contains  a  substitute  ari^,  ("A  forze  di  mortello")  for  I,  7. 
Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned  and  whose  much  altered 
"Le  nozze  in  commedia"  this  is.  Dedication,  cast,  scenario,  and  name  of  Luigi 
Caruso  as  the  composer.  Gaspero  Angiolini  is  mentioned  as  the  author  and  com- 
poser of  the  following  ballets:  "I  geni  riuniti,"  "II  Solimano  Secondo,"  "Ildiavolo 
a  quattro,  ossia  La  doppia  metamorfosi,"  and  "La  Lauretta.''  These  are  called 
"Balli  da  rappresentarsi  altemativamente." 

First  performed,  as  indicated,  April  7,  1782;  at  Rome,  carnival  1782. 

Schatz  1646 

—  Li  sposi  in  commedia.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  nobile  Teatro  di  S.  Samuele  il  carnovale  dell'  anno  1786. 

Venezia,  Modesto  Fenzo,  1786.    48,  I4  p.     17^'"^. 

Two  acts.  Altered  version  of  Palomba's  "II  matrimonio  in  commedia."  Cast, 
scenario,  and  name  of  Francesco  Bianchi  as  composer,  but  replaced  by  that  of  Luigi 
Caruso  on  a  printed  slip  of  paper  pasted  over  Bianchi's  name.  The  additional  14  p. 
contain  argument,  cast,  and  detailed  description  of  "Ballo  primo.  Rossana.  Ballo 
tragico  in  cinque  atti  da  rappresentarsi  nel  Nobile  Teatro  di  San  Samuele  il  carnovale 
deU'  anno  1786.  Condotto,  e  diretto  dal  Signer  Eusebio  Luzzi."  The  composer  of 
the  ballet  music  is  not  mentioned.  Schatz  1647 


OPERA   LIBRETTOS  741 

II  matrimonio  in  contrasto.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell'  estk  del 
corrente  anno  1776. 

Nayoli,  n.  puhl,  1776.    69  p.     15^. 

Three  acts.  Argument  cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the 
composer.  Schatz  4252 

H  matrimonio  in  maschera.  L.  T.  of  G.  M.  Rutini's  I  matrimoni 
in  maschera. 

H  matrimonio  inaspettato.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Teatro  di  Camenoi-Ostroff.  di  S.  A.  I.  Monsignor  il 
gran  duca — Le  mariage  imprevu  .  .  . 

n.  i.,  n.  d.     93  p.     18^"^. 

One  act.    Based  on  "  II  marchese  villano  "  by  Pietro  Chiari,  who  is  not  mentioned. 

Argument  and  name  of  Paisiello  as  composer.    French  text  faces  Italian. 

First  performed  at  St.  Petersburg,  1779,  as  indicated.  Schatz  7636 

—  II  marchese  di  Tulipano  o  sia  H  matrimonio  inespetato  [ !] 
Farzeta  in  musica,  per  representarci  nel  Theatro  della  rua  do  Condes, 
nel  anno  di  1790  .  .  . 

Lishona,  Sijnao  Thaddeo  Ferreira,  1790.     91  p.     15^^. 

Two  acts.  By  Chiari,  who  is  not  mentioned.  Dedication,  cast,  scenario,  and 
name  of  Paisiello  as  the  composer.  Portuguese  title  page,  "O  marquez  de  Tulipano, 
ou  O  casamento  inesperado,"  and  text  face  Italian.  Schatz  7688 

—  Das  witzige  landmaedchen,  oder  Der  geadelte  landmann.  Eine 
komische  oper  in  zwey  aufzuegen.  Au%efuehrt  auf  der  schau- 
buehne  der  Kaiserl.  freyen  reichsstadt  Nuernberg., 

Nuernberg,  n.  puhl.,  1787.     5 4  p-     IS^'^. 

With  name  of  Paisiello  as  the  composer. 

First  performed  1787,  as  indicated.  Schatz  7638 

B  matrimonio  non  §  per  i  vecchi.     A.  T.  of  Longarini's  La  donna' 
ne  sa  piil  del  diavolo. 

II  matrimonio  per  astuzia,  ballet.  See  Bianchi's  II  Chinese  in 
Italia. 

II  matrimonio  per  astuzia.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  nobihssimo  Teatro  di  S.  Benedetto  I'autunno  dell' 
anno  MDCCLXXI. 

Venezia,  Modesto  Fenzo,  n.  d.    56  p.     17*^^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Andrea  Luchesi  as  composer. 

First  performed  in  October  1771,  as  indicated.  Schatz  5740 

H  matrimonio  per  concorso.  Dramma  giocoso  per  musica  da 
rappresentarsi  in  Lisbona  nel  Teatro  della  rua  dos  Condes  nell' 
autunno  dell'  anno  1773. 

[Lishona],  Stamperia  reale,  n.  d.    84  p-  {vncl.  h.-t.)     16^'^^. 

Three  acts.  By  Gaetano  Martinelli,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Felice  Alessandri  as  composer.  The  libretto  mentions  as  "Ballo  secondo," 
"La  vedova  scaltra,"  based  onGoldoni's  comedy  of  this  title,  by  Giuseppe  Magni. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  during  carnival  of  1767. 

Schatz  148 


742  LIBRABY  OF   CONGRESS 

II  matrimonio  per  concorso,  ballet.  See  P.  Guglielmi's  L'im- 
presa  d'opera. 

II  matrimonio  per  concorso.     Dramma  giocoso  per  musica  da 

rappresentarsi  nel  Regio  Ducal  Teatro  di  Milano  nell   autunno  dell' 

anno  1768  ... 

Milano,  Giovanni  Montani,  n.  d.    A  V-^-i  ^^  P-     ^4*^- 
Three  acts.     Dedication,  cast,  and  names  of  Gaetano  Martinelli  as  the  author,  of 

Niccol6  Jommelli  as  the  composer. 

First  performed  at  Ludwigsburg,  Hoftheater,  November  4,  1766  (the  date  1744  is 

very  improbable).  Schatz  4864 

II  matrimonio  per  concorso,  ballet.  See  Pugnani's  Achille  in 
Sciro. 

II  matrimonio  per  concorso,  ballet.  See  Zingarelli's  Ifigenia  in 
Aulide. 

II  matrimonio  per  contrattempo.  Dramma  giocoso  per  musica 
da  rappresentarsi  in  Livorno  nel  Nuovo  Teatro  detto  dagli  Armeni  il 
came  vale  dell'  anno  1785  ... 

Livorno,  Antonio  Lami  e  comp.,  n.  d.     61  p.     l^Y^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  by  the 
impresario,  Giovanni  Albertini,  cast,  and  name  of  Angelo  Taxchi  as  the  composer. 
With  the  opera  were  performed,  composers  of  the  music  not  mentioned,  Giacomo 
Gentili's  ballets  "  Aci  e  Galatea  "  and  "II  tutore  in  scompiglio."         Schatz  10237 

II  matrimonio  per  forza,  intermezzo  per  musica,  da  rappresentarsi 
nel  Nuovo  Regio  Teatro  di  Potsdam  ... 
Potsdam,  C.  F.  Boss,  1748.     39  p.     16^^. 

Three  parts.  Cast.  German  title  page,  "Die  erzwungene  ehe,"  and  text  face 
Italian.    Author  and  composer  not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Venice,  Teatro  di  San  Cassiano,  fall  of  1729.         Schatz  11350 

'  II  matrimonio  per  gratitudine,  ballet.     See  Marinelli's  L'interesse 
gabba  tutti. 

II  matrimonio  per  industria.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  nobile  Teatro  di  Varese  I'autunno  dell'  anno 
1793  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     60  p.     17*^. 

Two  acts.  Dedication  by  the  author  (??),  Pietro  Astolfi,  cast,  and  name  of  Ferdi- 
nando  Rutini  as  the  composer.  With  the  opera  were  performed  Eusebio  Luzzi's 
ballets  "II  convitato  di  pietra"  and  "II  geloso  in  cimento,"  the  composers  of  the 
music  not  being  mentioned. 

First  performed  at  Florence  as  "II  matrimonio  per  industria  o  sia  II  servo  astuto," 
Teatro  via  della  Pergola,  fall  of  1792.  Schatz  9184 

II  matrimonio  per  inganno.     Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  nobile  magnifico  Teatro  delle  Grazie  di  Vicenza  nel 
corrente  mese  di  settembre  1780  .  .  . 
Vicenza,  n.  publ.,  n.  d.     55  p.     17^'^. 

Last  p.  numbered  incorrectly  41.  Two  acts.  By  Giovanni  Bertati.  Impresario's 
dedication,  cast,  and  name  of  Pasquale  Anfossi  as  composer,  but  not  of  librettist. 
Original  title  of  Bertati's  libretto:  "Le  Industrie  amorose. 

First  performed  at  Paris,  Acad^mie  royale  de  musique,  on  September  30,  1779, 
but  previously,  according  to  our  transcript  of  the  score  at  the  Paris  Conservatoire 
J^ational  at  the  Cocomero,  Florence,  spring  of  1779.  Schatz  244 


OPERA   LIBRETTOS  743 

H  matrimoiiio  per  inganno — Continued. 

—  II  matrimonio  per  inganno.     Dramma  giocoso  per  musica  da 

rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  S.  di  Brunsvic-Luneburg. 

Brunsvic,  n.  puhl,  1782.     135  p.     16^"^. 

Two  acts.  Name  of  Anfossi  ae  composer.  German  title-page,  "Die  heyrath 
durch  betrug,"  and  text  face  Italian.  Schatz  245 

II  matrimonio  per  inganno.  L.  T.  of  Galuppi's  II  marchese  vil- 
lano. 

II  matrimonio  per  scomessa  ossia  La  guerra  aperta.  Dramma 
giocoso  per  musica  di  Filippo  Casari  da  rappresentarsi  nel  nobile 
Teatro  di  San  Samuele  I'autunno  dell'  anno  1795. 

Venezia,  Casali,  1795.     64  p.     IS''"'. 

Cast  and  name  of  Delia  Maria  as  composer.  Schatz  2494 

H  matrimonio  segreto.  Dramma  per  musica  in  due  atti,  da  rap^ 
presentarsi  nel  Teatro  Elettorale, 

Dresda,  n.  pull.,  1792.     127  p.     15^"^. 

Two  acts .  With  name  of  the  composer,  Domenico  Cimarosa,  but  not  of  the  author, 
Giovanni  Bertati.  German  title-page,  "Die  heimlich  geschlossene  ehe,"  and  text 
face  Italian. 

First  performed  at  Dresden,  October  3,  1792;  at  Vienna,  Hoftheater  n.  d.  Burg, 
February  7,  1792.  Schatz  1948 

Matroco,  drame  burlesoue.  En  quatre  actes  et  en  vers.  M616e 
d'ariettes,  et  de  vaudevilles;  repr6sente  devant  Leurs  Majest^s,  par 
les  Com^diens  italiens  ordinaires  du  roi,  en  1777.  Et  a  Paris,  par  les 
m^mes  Com6diens  le  4  f^vrier  1778.  Les  paroles  sont  de  M.  Laujon 
...     La  musique  de  M.  Gretry. 

Paris,  Ruault,  1778.     42  p.     19<=^. 

Cast. 

According  to  Schatz,  the  opera  was  first  performed  at  Fontainebleau,  November  12, 
1777,  and  at  Paris,  Commie  italienne,  February  23,  1778.  ML  50.2.M465G7 

.  .  .  Die  matrosen,  ein  schauspiel  mit  gesang  in  zwey  aufzuegen. 
n.  i.,  n.  d.     [97]-160  p.     15'='^. 

Detached  copy.  Schatz  attributes  text  and  music  to  Ernst  Karl  Ludwig  Ysenburg 
von  Burl.  Schatz  1423 

First  performed  at  Neuwied,  Hoftheater,  1778. 

Matthatia,  der  eiferer  fuer  Gottes  ehre,  ein  singspiel  in  zween 
aufzuegen,  aufgefuehret  von  der  studirenden  jugend  des  katholischen 
schulhauses  zu  Augsburg  bey  St.  Salvator  den  4.  5,  und  6ten  herbst- 
monder  [Sept.]  1797. 

[Augshurg],  Joseph  Anton  Hueher,  n.  d.     [10]  p.     18"^. 

Cast  and  "Vorbericht,"  mentioning  Matthaus  Fischer  as  composer.  At  head  of 
title:  " Der  glueckliche  vater,  ein  buergerliches  schauspiel  .  .  .  und" 

Schatz  3223 

I  matti  gloriosi.  Intermezzo  giocoso  in  musica  da  rappresentarsi 
nel  nobil  Teatro  Tron  di  San  Cassiano  il  carnovale  delF  anno 
MDCCLXXXIII. 

Venezia,  Modesto  Fenzo,  1783.     40  p.     17""^. 

Two  acts.  Author  unknown  to  Schatz.  Cast,  scenario,  and  name  of  the  com- 
poser, Angelo  Gaj^td.  After  the  first  act  Gaspero  Burchi's  ballet  "I  divertimenti 
aei  Calabresi,"  after  the  second  Leopoldo  Campilli'e  ballet  "II  divertimento  de' 
Quaqueri  nella  China."    The  composers  of  the  muflic  are  not  mentioned. 

Schatz  3412 


744  LIBRABY  OF  CONGRESS 

Li  matti  per  amore.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  Grimani  di  S,  Samuel  I'autunno  dell'  anno  1754  .  .  . 

Venezia,  Modesto  Fenzo,  1754.     60  p.     15^. 

Three  acts.  Dedication,  cast,  scenarioj  and  name  of  Gioacchino  Cocchi  as  com- 
poser. The  libretto,  according  to  Schatz,  is  a  later  version  of  Gennaro  Antonio  Fede- 
rico's  "Amor  vuol  sofferenza.  Schatz  2035 

—  Li  matti  per  amore.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Regio  Theatro  di  Berlino  per  ordine  di  Sua  Maestk  prus- 
siana. 

Berlino,  Haude  e  Spener,  1764.    91,  [S]  p.     17^"^. 

Threeacts.  Cocchi  is  mentioned  as  the  composer.  German  title-page,  "Dienarren 
fiir  liebe,"  and  text  face  Italian.  The  first  ballet  of  the  three  performed  with  the 
opera  in  January,  1764,  was  called  "Le  bien  et  le  mal  tir6  des  contes  de  la  Fontaine." 

Schatz  2036 

B  m.atto  Don  Narciso.     L.  T.  of  Jommelli's  L'uccellatrice. 

H  Mauritio.  Drama  da  rappresentarsi  in  musica  nel  famoso  Teatro 
Vendramino  di  S.  Salvatore  I'anno  1687.  Ristampata  con  nuove 
aggiunte  ... 

Venetia,  Francesco  Nicolini,  1687.     69  p.  Unci,  front.).     14^"^- 

Three  acts.  By  Adriano  Morselli,  who  is  not  mentioned.  Impresario's  dedication 
dated  Venice,  December  25,  1686,  notice  to  the  reader  with  name  of  Domenico 
Gabrieli  as  composer,  argument,  and  scenario.  Schatz  3399 

—  II  Maurizio,  drama  da  rappresentarsi  in  musica  nel  Teatro  dell' 
illustriss.  Sign.  Co.  e  Cav.  Giuseppe  Secco  Svardo  .  .  . 

Bergamo,  lifrateUi  Rossi,  1689.     72  p.     13'"'^. 

Three  acts.  Dedication  by  Giacomo  Cipriotti,  dated  Bergamo,  January  12,  1689, 
"istoria,"  scenario.  Neither  the  author  is  mentioned,  nor  the  composer,  but  com- 
parison showed  that  this  is  Morselli's  text  as  composed  by  Gabrieli. 

ML  50.2.M47G2 

Le  m.auvais  plaisant  ou  Le  drole  de  corps,  opera-comique,  en  un 
acte,  par  M.  Vade,  represent 6  pour  la  premiere  fois  sur  le  Theatre  de 
rOpera-comique  de  la  Foire  S.  Laurent,  le  mercredi  17  aotit  1757. 
Paris,  Duchesne,  1757.     60,  [4]  p.     19^"^. 

On  the  [4]  p.  a  list  of  plays  published  since  1747. 

Cast.  Prose  and  en  vaudevilles.  Composer  imknown  to  me.  On  p.  57-60  the 
same  airs  as  below.  ML  50.2.M48 

—  Le  mauvais  plaisant,  ou  Le  drole  de  corps,  opera-comique.  En  un 
acte,  par  M.  Vad6.  Represents  pour  la  premiere  fois  sur  le  ThS^tre 
de  rOp6ra-comique  de  la  Foire  S.  Laurent  le  mercredi  17  aolit  1757. 

La  Haye,  Pierre  Gosse  junior,  1759.  63  p.  16*^^.  (Vade,  Oeuvres, 
La  Haye,  1759,  t.  iv.) 

One  act,  lai^ely  en  vaudevilles.  Cast.  On  p.  60-63,  the  airs  notis,  "Oui  oui,  vous 
le  pouvez,"  "Daign^s  done  m'apprendre,"  "Je  vous  aime:  prononcez  de  m^me." 

ML  49.A2V2 

—  Le  mauvais  plaisant,  ou  Le  drole  de  corps,  opera-comique  en  un 
acte,  rej^resente  pour  la  premiere  fois  sur  le  Theatre  de  I'OpSra- 
comique  de  la  Foire  S.  Laurent,  le  mercredi  17  aotit  1757. 

Paris,  la  veuve  Duchesne,  1766.     60  p.     19'^'^. 

On  p.  57-60,  the  "airs,"  "Oui,  oui,  vous  le  pouvez,"  "Daignez  done  m'apprendre." 

Schatz  11500 


OPERA   LIBRETTOS  745 

May-day:    or,  The  little  gipsy.     A  musical  farce  of  one  act.     To 
which  is  added  The  theatrical  candidates.     A  musical  prelude.     As 
they  are  both  performed  at  the  Theatre-Royal,  in  Drury-Lane. 
London,  T.  Becket,  1775.    I^  p.  I.,  Jfi 'p.     18^"^, 

One  act  each.  Caste.  "The  theatrical  candidates"  on  p.  [31]-40.  Both  pieces  by 
David  Garrick,  who  is  not  mentioned.  He  saye  of  "May-day,"  in  a  prefatory  note, 
that 

"it  was  merely  intended  to  introduce  the  Little  Gipsy  [Miss  Abrams]  to  the  public, 
whose  youth  and  total  inexperience  of  the  stage,  made  it  necessary  to  give  as  little 
(iialogue  to  her  character  as  possible,  her  success  depending  wholly  upon  her 
singing  ..." 

The  half  title  of  the  other  piece,  on  p.  [31],  reads:  "Upon  the  opening  and  altera- 
tions of  the  theatre,"  Drury-Lane  [Sept.  23,  1775],  where  "May-Day"  was  first 
performed  on  August  28,  1775  (Cumminge);  October  28  (Schatz).  "May  Day"  was 
composed  by  Thomas  Augustine  Ame,  "The  theatrical  candidates"  by  William 
Bates,  neither  of  whom  is  mentioned.  Longe  78 

—  May-day;  or  The  little  gipsy.  A  musical  farce,  of  one  act.  By 
David  Garrick,  Esq. 

\1S7\-157  p.  19'^'^.  {Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  vi,  Edinburgh,  1792.) 

Drury-Lane  cast.  Schatz  11753 

Mazet,  comedie  en  deux  actes  en  vers,  mS16es  d'ariettes,  par  Mr. 
Anseaume.  Representee  pour  la  premiere  fois  par  les  ComMiens 
italiens  ordinaires  du  roi,  le  jeudi  24  septembre  1761.  La  musique 
est  de  M.  Duny. 

BruxeUes,  Pierre  Pawpie,  1763.     47  p.     19*^™.    .  ML  50.2.M48D9 

—  Mazet,  comedie  en  deux  actes  et  en  vers,  m^lee  d'ariettes.  Par 
M.  Anseaume.  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  Roi,  le  jeudi  24  Septembre  mil  sept  soixante-un. 

Paris,  Par  la  compagnie  des  JUbraires,  1769.     J^3  p.     19'^^. 

The  composer,  Duni,  is  not  mentioned.  Schatz  2847 

—  Mazet,  comedie  en  deux  actes,  en  vers,  m^lee  d'ariettes,  par  Mr. 
Anseaume.     La  musique  est  de  Mr.  Duny. 

Paris,  la  veuve  Duchesne,  1771.    Jf3,  4  P- 

Cast.    The  last  4  p.  contain  the  ariette,  "Avec  un  Turc,  un  coraaire"  (I,  4). 

Schatz  11696 

Le  mbroglie  de  le  bajasse.  O.  T.  of  Paisiello's  La  serva  fatta 
padrona. 

Medea.  Ein  drama  mit  musicalischen  accompagnements,  vom  hrn. 
legations-secretair  Gotter.  Die  musik  ist  vom  hrn.  capelldlrektor 
Benda. 

Hamburg,  n.  publ.,  1776.     16  p.     W"^. 

One  act.  • 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  December  10,  1776;  at 
Leipzig,  Theater  beim  Rannstaedter  Thore,  May  1, 1775.  Schatz  774 

—  Medea.  Ein  musikalisches  drama  von  herm  Gotter.  Die 
musik  ist  von  herm  Georg  Benda. 

n.  i.,  n.  d.     [51]-7j!i.  p.     14^"^. 

Detached  copy  of  no.  Ill  of  "Melodramen,"  pub.  by  Joseph  Johann  Morgensaeuler, 
Pilsen  und  Klattau,  1791,  as  appears  from  our  copy  of  Benaa's  "Pygmalion." 

Schatz  774a 


746  LIBKABY   OF  CONGRESS 

Medea  e  Giasone.     Drama  per  musica  da  rappresentai-si  nel  Teatro 
di  Sant'  Angelo  nel  carnovale  dell'  anno  1726. 
Venezia,  Marino  Rossetti,  1726.     48  p.     W"^. 

In  three  acts,  by  Giovanni  Palazzi  (not  mentioned).  Argument,  cast,  and  name 
of  the  composer,  Giovanni  Francesco  Brusa. 

First  performed  December  26,  1726  (Schatz).  Schatz  1374 

Medea   e  Giasone — ^Med^e  et  Jason,   ballet.     See  Jommelli's  La 
Didone  abbandonata. 

^  Medea    in    Atene.     Drama    per    musica    ristampata    con    nuove 
aggiunte  per  il  Teatro  novissimo  in  S.  Angelo.   L'anno  MDCLXXVIII. 
Di  Aurelio  Aureli.     Opera  decima  ottava  .  .  . 
Venetia,  Francesco  Nicolini,  1678.     59  p.     l^""^. 

Prologue  and  three  acts.     Dedication  by  Francesco  Santorini,  dated  December  30, 
1677j  argument,  scenario.    Antonio  Zannettini,  the  composer^  is  not  mentioned. 
First  performed  at  Venice,  Teatro  di  S.  Mois^,  fall  of  1675.  Schatz  11144 

—  Teseo  in  Atene.     Drama  rappresentato  in  musica  nel  novissimo 
Teatro  Ducale  di  Parma  .  .  .     roesia  di  Aurelio  Aureli. 
Parma,  Stamperia  Ducale,  1688.    85  p.     16'^'^. 

Three  acts.  Dedication  by  Giuseppe  Calvi,  argument,  scenario,  and  Aureli's 
notice  to  the  reader,  in  which  he  says : 

' '  Fii  questo  drama  con  titolo  di  Medea  in  Atene  rappresentato  gi^  12  anni  in  Venetia 
[1675]  .  .  .  E  se  ben  variatodi  titolo,  noncangiapero  la  sua  e8senzaprimiera,benche 
con  aggiungervi  il  novo  personaggio  della  Vecchia  I'abbia  aricchito  d'alquante  nove 
ariette  poste  miralbilmente  in  musica  dallavirtii  del  Sig.  D.  Bernardo  Sabadini  .  .  . 
Vieni  ad  ascoltar  il  drama  se  brami  d'udire  una  delle  piii  armoniose,  e  bizarre  musiche, 
ch'abbia  giamai  composta  il  Sig.  Gio.  Antonio  Gianettini  [Zannettini]  .  .  ." 

This  version  of  "Medea  in  Atene  "  does  not  begin  with  the  prologue  of  1678,  or  even 
with  the  first  scene  in  that  edition.  It  begins  with  "  Vincesti  amico,  e  di  tua  spada," 
which  is  not  in  the  167§  version,  and  the  first  scene  in  this,  "E  svanita  dal  mio  core," 
is  now  the  third  scene.  There  are  many  other  minor  differences  of  a  similar  nature 
between  the  two  texts.  Schatz  11143 

Medea  riconosciuta.     L.  T.  of  Vinci's  Medo. 

Medea  und  Jason.     Tr.  T.  of  the  ballet  Med^e  et  Jason. 

Medea  und  Jason,  ballet.     See  Bach's  Temistocle. 

Le  medecin  de  ramour,  opera-comique.     En  un  acte;  par  M.  An- 
seaume,  mis  en  musique  par  M.  La  Ruette;  represente  pour  la  pre- 
miere fois  sur  le  Th6fi,tre  de  la  Foire  St.  Laiu'ent,  le  22  septembre 
1758  .  .  . 
Paris,  N.  B.  Duchesne,  1758.     64  p.     20""^. 

Cast  and  footnote  on  p.  2  that  scene  6  and  the  canevas  of  scenes  7  and  8  were  by 
Marcouville.  On  p.  60-64  the  airs  "Accourez,  gar^ons  joyeux"  (I,  8),  "C'est  bien 
dit  compare"  (I,  8),  "Le  mariage  oil  i'on  m'engage"  (I,  9),  "Vous  jaloux,  que  viens- 
je"  (I,  9),  "Deviez  vous  m'eclaircir"  (I,  9).  Of  the  twelve  "Ajiettes  not^es," 
which  one  might  expect,  none  is  gi\^n.  Schatz  5438 

Le  medecin  de  I'amour,  opera-comique  en  un  acte  en  vers,  remis 
en  musique  par  M.  Van  Maldere. 

Bruxelles,  J.  J.  Boucherie,  1766.     46,  U]  p.     W"^. 

Cast.    The  authors,  Anseaume  and  de  Marcouville,  are  not  mentioned. 

First  performed  at  Brussels,  Theatre  de  la  Monnaie,  1766.  Schatz  5867 


OPERA  LIBRETTOS  747 

Medee,  tragedie.  Enmusique.  Representee  par  rAcademie  royalle 
de  musique.     Suivant  la  copie  imprimee  a  Pans. 

Amsterdam,  Antoine  Schelte,  1695.     69  p.  (incl.  front.) .     W™. 

Prologue  and  five  acts.  Neither  the  author,  Thomas  Comeille,  is  mentioned,  nor 
the  composer.  Marc'  Antoine  Charpentier. 

First  performed,  as  indicated,  December  4,  1693.  ML  50.2.M5C2 

—  Medee,  tragedie  representee  par  TAcademie  royale  de  musique 
I'an  1694.  Les  paroles  de  M.  T.  Corneille,  &  la  musique  de  M?  Char- 
pentier.    XXXI.  opera. 

n.  i.,  n.  d.  front.,  3Jf.5-420  p.  1^'^'^.  (Recueil  general  des  opera, 
Paris,  1703,  t.  %v.) 

Detached  copy.     Five  acts  with  prologue.  Schatz  1801 

Second  copy.    ML  48. R4 

Medee,  tragedie  en  trois  actes,  en  vers,  paroles  de  Hoffmann,  musique 
de  Cherubini.     Represents  sur  le  Tnlatre  Feydeau,  le  23  vent6se 
[March  13]. 
Paris,  Euet,  an  if.  1797.    2  p.  I.,  48  p.    21^"^. 

Cast.  ML  50.2.M5C3 

Medee  et  Jason.     Tr.  T.  of  the  ballet  Medea  e  Giasone. 

Medee  et  Jason — Medea  und  Jason,  ballet.  See  Bernasconi's 
Demetrio. 

Medee  et  Jason,  tragedie  representee  par  I'Academie  royale  de 
musique  I'an  1713.  Les  paroles  de  M.  la  Rocque  &  la  musique  de 
M.  Salomon.     LXXXI.  opera. 

n.  i.,  n.  d.  pi.,  545-609,  [3]  p.  i^*^™-  {Recueil  general  des  opera, 
t.  X,  Paris,  1714.) 

Detached  copy.  Prologue  and  five  acts  with  cast.  Schatz  mentions  as  joint-author 
Simon  Joseph  de  Pellegrin.  His  reasons  do  not  appear.  Parfaict  attributes  the  text 
to  abb6  de  Pellegrin  "sous  le  nom  de  la  Rogue  and  he  is  also  mentioned  as  the 
author  in  the  Anecdotes  dramatiques.  It  is  safer  to  follow  the  libretto,  as  Antoine 
de  la  Roque  was  not  a  fictitious  person  but  a  well-known  litterateur. 

First  performed,  as  indicated,  April  24,  1713.  Schatz  9343 

Second  copy.    ML  48. R4 

—  Medee  et  Jason.  Represents  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi,  le  28  may  1727. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  1738,  t.  Hi, 
[2191-266  p.     16^"^. 

One  act.  Parody  of  the  opera  "Med^e  et  Jason"  by  Dominique,  Lelio  fils  and 
Romagnesi  {see  t.  I.)  The  airs  and  vaudeville  are  printed  at  the  end  in  the  "Table 
des  airs  "  (84  p.).  ML  48.P3 

II  medico  parigino  o  sia  L'amaloto  per  amore.     Dramma  ^ocoso 

?er  musica  da  rappresentarsi  nel  nobilissimo  Teatro  della  nobil  Donna 
ron  Veronese  in  San  Cassiano  il  carnovale  d^F  anno  1792. 
Venezia,  Modesto  Fenzo,  1791.     56  p.     17 Y"^. 

Two  acts.  Cast,  scenario,  and  name  of  Gennaro  Astaritta  as  composer,  but  not 
of  librettist.  According  to  Schatz  this  is  a  later  versioa  of  Giuseppe  Palomba's  text, 
"Le  nozze  in  commedia."  Schatz  374 


748  LIBKAEY   OF   CONGRESS 

Medo.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino,  nel  carnovale  del  1753  .  .  . 

Torino,  Pietro  GiiLseppe  Zappata  ejigliuolo,  175S.     If.  p.  I.,  56,  [1]  p. 

Three  acts.  Cast,  scenario,  and  name  of  composer,  Girolamo  Abos.  Libretto 
attributed  by  Schatz  to  Carlo  Innocenzio  Frugoni.  With  the  opera  were  performed 
three  ballets,  music  by  Amedeo  Rasetti  and  Rocco  Gioannetti.  Schatz  10 

Medo.  Dramma  per  musica  di  G^mante  Eginetico  Pastore  Arcade 
da  rappresentarsi  nel  Nuovo  Ducal  Teatro  di  Parma  la  primavera 
deir  anno  1728  ..  . 

Parma,  gVeredi  di  Paolo  Monti,  1728.    80  p.     l?*^. 

Three  acts.  By  Carlo  Innocenzio  Frugoni.  Dedication,  dedicatory  sonnet  by 
Frugoni  to  the  princess  Enrichetta  d'Eete,  argument,  scenario,  cast,  and  name  of 
Leonardo  Vinci  as  the  composer.  Schatz  10748 

—  Medea  riconosciuta.  Da  cantarsi  nel  Teatro  privilegiato  da 
S.  M.  C.  e  Cat.  in  Vienna  nell'  anno  MDCCXXXV.  Nel  mese  di 
decembre. — Die  wieder  erkannte  Medea  .  .  . 

Wien,  Johann  Peter  v.  Ghelen,  n.  d.     Ill  p.     16^'^. 

Three  acts  (though  not  so  designated)  and  two  intermezzi  with  "Macrina"  and 
"Carfoglio"  as  the  main  characters.  Argument.  German  text  faces  Italian,  which 
is  Frugoui's  "Medo,"  but  with  alterations.  F'or  instance,  "Tu  del  mio  regno  sei" 
has  been  dropped  from  I,  3,  and  ' '  Dal  tuo  gentil  sembiante  "  has  been  added  to  I,  4. 

The  composer,  Leonardo  Vinci,  is  not  mentioned.  Schatz  10753 

Medonte.     Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1778  alia  presenza  delle  Maesta  Loro. 
Torino,  Onorato  Berossi,  n.  d.    viii,  56  p.     15Y'^- 

Three  acts,  with  argument,  cast,  scenario,  and  name  of  composer,  Ferd.  Giuseppe 
Bertoni,  but  not  of  the  librettist,  Giovanni  de  Gamerra.  On  p.  53-56,  description  of 
the  ballet,  "La  liberazione  di  Lilla,"  in  four  acts,  by  Domenico  Ricciardi;  music  by 
Vittorio  Amedeo  Canavasso. 

First  performed,  as  indicated,  December  26,  1777.  Schatz  923 

Medonte,  ballet.     See  Cavi's  La  prepotenza  delusa. 

Medonte.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  30.  maggio  1779  festeggiandosi  il  glorioso  nome  di 
Ferdinando  IV  .  .  . 

Napoli,  Vincenzo  Flauto,  1779.     60  p.     W"^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Impresario's  dedi- 
cation, dated  May  30,  1779,  argument,  cast,  scenario,  and  name  of  Giacomo  Insan- 
gulne  as  the  composer.  With  the  opera  were  performed,  composers  of  the  music  not 
mentioned.  Carlo  Lepicq's  ballet,  "Orfeo  sul  Monte  Rodope,  and  Gaetano  Mariot- 
tini's  ballet  "L'incostanza  degli  amanti."  Schatz  4836 

Medonte,  ballet.     See  Salari's  L'amore  ranuningo. 

Medonte.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  30  maggio  1783  festeggiandosi  il  glorioso  nome  di 
Ferdinando  IV  .  .  . 

Napoli,  Vincenzo  Flauto,  1783.     71  p.     15'='^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Dedication,  with 
same  date  as  in  title,  argument,  scenario,  name  of  Giuseppe  Sarti  as  the  composer, 
and  note: 

"L'arie  segnate  di  asterisco  ['Sento  al  cor  la  dolce  fiamma'  (I,  2),  'Prendi  I'estremo 
addio'  (I,  6),  etc.]  sono  state  presentate  per  la  musica,  e  per  la  ppesia  da'  cantanti 


OPEBA  LIBRETTOS  749 

Medonte — Continu  ed . 

istessi.  I  due  irregolari  versi  di  carattere  corsivo  nel  rond6  ['Son  pur  fiere  le  mie 
pene,'  etc.]  non  si  son  corretti,  per  non  fame  perder  la  musica." 

On  p.  10-15,  argument,  cast,  description,  and  name  of  Mattia  Stabingher  as  the  com- 
poser of  the  music  ("tutta  nuova")  of  Gio.  Antonio  Cianfanelli's  "II  trionfo  di  Ales- 
sandro  o  sia  La  disfatta  di  Dario,  ballo  eroico  in  quattro  atti , ' '  and  on  p .  16-17 ,  argument 
and  name  of  Giovanni  Francesco  Giuliani  as  composer  of  the  music  ("tutta  nuova") 
of  Giuseppe  Trafieri's  "II  fido  amante,  ballo  pastorale." 

First  performed  at  Florence,  Teatro  della  Pergola,  September  13,  1777,  with  the 
title,  "Medonte,  rb  di  Epiro."  Schatz  9447 

Medonte,  re  d'Epiro.     O.  T.  of  libretto  of  Mortellari's  Arsace. 

Medonte  re  di  Epiro.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  11  came  vale  1790  ,  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     70  p.     W^^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Impresario's  dedi- 
cation, dated  Milan,  January  30,  1790,  argument,  cast,  scenario,  and  name  of  Antonio 
Pio  as  the  composer. 

With  the  opera  were  performed  Francesco  Clerico's  comic  ballet,  "II  convales- 
cente  innamorato,"  and  his  five-act  "La  cadutadi  Troja,  ballo tragico pan tomimo," 
of  which  a  description  with  prefatory  note  and  argument  appears  on  p.  [61]-70. 

The  composers  of  the  music  are  not  mentioned.  Schatz  8187 

Medonte  re  di  Epiro.     Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  S.  Benedetto  il  carnovale  deU'  anno  1778. 
Venezia,  Modesto  Fenzo,  1778.     60  p.     17'='^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Giuseppe  Radicchj.  On  p.  [251-34,  argument,  cast,  and  descrip- 
tion (without  name  of  the  composer  of  the  music)  of  Giuseppe  Canziani's  ' '  L'arrivo  di 
Venere  nell'  isola  di  Cipro,  ballo  eroico  pan  tomimo."  Schatz  8539 

Medonte,  re  di  Epiro.     O.  T.  of  Sarti's  Medonte. 

II  Medoro  d'Andrea  Salvadori.  Rappresentato  in  musica  nel  palazzo 
del  Serenissimo  G.  Duca  di  Toscana  in  Fiorenza.  Per  la  elezione  aU' 
imperio  della  Sacra  Cesarea  Maestk  dell'  imperatore  Ferdinand© 
Secondo  .  .  . 

Fiorenza,  Pietro  CecconceUi,  1623.     4  p.  I.,  46  p.     19\'^'^. 

Three  acts.  Introductory  poem,  argument,  and  dedication  to  Ferdinando  Gon- 
zaga,  duke  of  Mantova,  of  date  Florence,  January  1,  1623,  in  which  Salvadori  says: 

"II  Medoro  (Serenissimo  Signore)ricordevole  dell'  onore  al  quale  I'aveva  destinato 
V.  A.  air  ora  che  nel  feUcissimo  maritaggio  della  Sacra  Cesarea  Maest^  dell'  impera- 
trice  Sua  sorella,  ella  lo  volse  far  degno  d'esser  rappresentato  in  Mantova;  poiche  per 
la  eubita  partita  di  quella  Maest^  in  Germania,  egli  non  pot6  conseguire  cosi  segnalata 
^zia,  ei  contentava  piii  tosto  di  starsi  celato  appresso  il  suo  autore,  che  comparire 
in  luce  con  minor  ventura.  Ora  sentendo  io,  che^ssendo  stata  trascritta  ima  parte 
di  esso,  e  divulgata  in  vari  luoghi,  correva  non  solamente  risico  di  esser  rappresentato, 
ma  dato  ancora  alle  stampe  molto  diverso  da  quelle,  che  era  appreeso  di  md,  h6  giudi- 
cato  ben  fatto,  che  egli  con  publica  comparsa,  qualunque  egli  si  sia,  venga  h,  rasseg- 
narsi  k  V.  A.  per  Suo.  Ella  lo  vedr^  molto  vario  da  quello,  che  la  prima  volta  fu 
veduto  in  scena,  e  se  potrk  parer  povero  ne  miei  versi,  la  veste  della  musica,  onde 
I'h^  nuovamente  arrichito  il  Sig.  Marco  da  Gagllano,  lo  render^  appreeso  di  Lei,  e 
riguardevole,  e  grato  .  .  ." 

From  this  dedication  it  becomes  evident,  as  Solerti  correctly  remarks,  that  the 
performance  of  1622  at  Mantova,  recorded  by  Vogel,  did  not  take  place.  Vogel  {see 
nis  biography  of  Marco  da  Galliano)  did  not  know  this  edition  01  the  libretto  and 
based  his  remarks  on  letters  written  by  Marco  da  Gagliano  to  the  duchess  of  Mantova 
January  31  and  February  7,  1622,  to  the  effect  that  he  was  sending  her  the  desired 
transcript  of  his  score.  Before  Vogel  discovered  these  letters,  it  was  not  known  that 
Marco  aa  Gagliano  was  the  composer  of  "II  Medoro,"  first  performed  1619  for  the 
festivities  mentioned  in  the  title  of  the  opera  and  alluded  to  in  the  dedication  and 
more  specifically,  as  Solerti  has  found  from  contemporary  documents,  on  September 


750  LIBRABY  OF  CONGRESS 

II  Medoro — Continued. 

25, 1619.  (An  undated  libretto  for  these  performances  exists,  but  it  does  not  mention 
any  composer.)  From  this  document  may  be  gleaned  another  fact  not  known  to 
Vogel,  Wotquenne,  Schatz,  etc.,  namely,  that  Jacopo  Peri  composed  part  of  the 
original  music.  To  quote  the  paseus  in  Tinghi's  "Diario,"  as  excerpted  by  Solerti 
in  his  "Musica,  ballo  e  drammatica  all  a  Corte  Medicea  dal  1600  al  1637  " : 

"Etadi  25  detto  [settembre]  S.  A.  .  .  .  avendo  alii  passati  giorni  I'allegrezza  della 
creazione  del  nuovo  imperatore,  et  per  ci6  ordin6  si  facesse  una  festa  per  recitarsi  in 
guisa  di  comedia  cantata  in  musica,  et  sendo  detta  opera  all'  ordine  et  ordinate  in 
detto  di  si  recitasse  nel  palazzo  de'  Pitti  nella  sala  grande  de'  forestieri,  dove  era 
fatto  una  prospettiva  in  forma  di  selve  et  boschi  con  finte  finte  [sic],  la  quale  opera 
era  nominata  Lo  sposalizio  di  Medoro  et  Angelica,  recitata  et  cantata  tutta  in  musica; 
fatta  I'opera  da  Andrea  Salvadori,  poeta,  et  la  musica  fatta  parte  da  Messer  Marco  da 
GalliaxLO,  maestro  di  cappella,  et  da  Jacopo  Peri,  et  vi  cant6  molte  donne  et  castrati 
et  tutti  i  musici  di  S.  A.  in  diversi  abiti  ..." 

Which  parts  were  composed  by  Peri,  and  which  by  Marco  da  Gagliano  is  not 
known,  since  no  score  appears  to  be  extant,  or,  at  any  rate,  the  score  has  not  yet 
been  found.  Apparently  Peri's  share  was  not  large  and,  eo  to  say,  not  worth  men- 
tioning later  on,  even  if  Marco  da  Gagliano  retained  it  in  1622.  From  Marco  da 
Gagliano's  letters  to  the  duchess  of  Mantova  we  know  at  least  that,  at  tl\p  suggestion 
of  Salvadori,  he  changed  the  choruses  in  order  not  to  make  the  opera  "troppo  grave  " 
for  the  contemplated  revival  at  Mantova.  ML  48.M2F 

II  Medoro.  Drama  per  musica  di  Aurelio  Aureli  nel  Teatro  a  SS. 
Gio.  e  Paolo.     Favola  quarta  .  .  . 

Venetia,  Francesco  Nicolini,  1658.    front.,  80  p.     IS^"^^. 

Three  acts  and  prologue.  Dedication  by  the  impresario,  Francesco  Piva,  dated 
Venice,  January  11,  1658,  argument,  scenario,  and  notice  to  the  reader  "with  name  of 
Francesco  Luccio  as  composer.  Schatz  5744 

Medus,  roy  des  MMes,  tragedie  representee  par  I'Acad^mie  ro^^ale 
de  musique  I'an  1702.  Les  paroles  de  M.  de  la  Grange  &  la  musique 
de  M.  Bouvard.     LV.  opera. 

n.  i.,  n.  d.  front,  p.  34-5-390.  H'^^.  (Recueil  general  des  opera, 
Paris,  1703,  t  mi.) 

Detached  copy.    Prologue  and  five  acts. 

First  performed,  as  indicated,  July  23,  1702.  Schatz  1274 

Second  copy.     ML  48. R4 

Meduse.  Tragedie,  representee  par  TAcademie  royale  de  musique 
Tan  1697.  Les  paroles  sont  de  M.^oyer  &  la  musique  de  M.  Gervais. 
XXXX.  opera. 

n.  L,  n.  d.  front.,  p.  4i5-468.  (Recueil  general  des  opera,  t.  v,  Paris, 
1703.)    l^'^^. 

Detached  copy.    Five  acts  and  prologue. 

First  performed,  as  indicated,  January  13,  1697.  Schatz  3792 

•  Second  copy.    ML  48.R4 

Mehr  als  grosmuth !  Schauspiel  mit  gesang.  Aufgefiihrt  von  der 
Dobbelinschen  gesellschaft  in  Berlin  den  24  sten  Janner  1781. 

Berlin,  Arnold  Wever,  1782.    21^.  p.     17""^. 

One  act.  Prefatory  note.  Neither  composer,  Johann  AndrS,  nor  author  men- 
tioned in  the  libretto.    The  author  is  unknown  to  Schatz.  Schatz  189 

De  meid  meesteres.     A.  T.  of  Pergolesi's  Pandolfus  en  Zerbina. 

La  melancholique.    Entree  in  Mouret's  Les  Graces. 


OPERA  LIBRETTOS  751 

Meleagre,  tragedie  representee  par  rAcademie  royale  de  musique 
Tan  1709.  Les  paroles  de  M.  Jolly  &  la  musique  de  M.  Batistin. 
LXXIII.  opera. 

n.  i.,  n.  d.  pi.,  62  'p.  IJf.*^'^.  (Recueil  general  des  opera,  t.  x,  Paris, 
1714.) 

Detached  copy.  Prologue  and  five  acts.  In  his  "avertissement,"  Antoine  Fran- 
cois Jolly  enumerates  the  sometimes  radical  changes  made  by  him  in  his  text  since 
the  performances  of  the  piece.     For  instance,  he  says: 

"Pour  6tablir  done  les  caracteres  des  principaux  personnages,  &  leurs  differents 
inter^ts,  &  eur  tout  ceux  de  Plexippe,  qui  n'^toient  point  assez  marquez,  &  qui  est  le 
personnage  le  plus  essentiel  de  la  piece  puis  qu'il  en  fait  le  noeud  &  le  d^noiiment; 
]'ay  fait  un  premier  acte  avec  un  nouveau  divertissement. 

"Du  premier  acte  j' en  ay  compose  le  second  .  .  .  Le  troisifeme  acte  est  entifere- 
ment  chang6  au  divertissement  pr^e  qui  est  le  mSme  .  .  .  Dans  le  quatri^me  acte 
les  deux  premieres  scenes  sont  chang^es  ...  A  I'^gard  du  cinqui^me  acte,  la 
premiere  scene  est  beaucoup  plus  ^tendue  ..." 

He  concludes  by  saying: 

"Get  ouvrage  que  j'ose  appeller  nouveau,  puisqu'il  n'a  conserve  que  le  texte  & 
les  vers." 

Jean  Batistin  Stack's  score  was  printed  before  these  radical  alterations  took  place, 
and  a  comparison  between  the  score  and  the  revised  libretto  is  very  confusing. 

First  performed  May  24,  1709,  as  indicated.  Schatz  10124 

Second  copy.     ML  48  R4 

Meleagre.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  il  carnovale  dell'  anno  MDCCxVlII. 

Venezia,  Marino  Rossetti,  1718.     ^5  p.     15^"^. 

Three  acts.  Argument,  cast,  scenario.  Neither  the  author,  Pier  Antonio  Ber- 
nardoni,  is  mentioned,  nor  the  composer,  Tommaso  Albinoni.  Schatz  122 

II  Meleagro,  ballet.     See  Sarti's  Mitridate  a  Sinope. 

II  Meleagro.  Drama  pastorale  da  rappresentarsi  nel  Teatro  deU' 
111"?*  Accademia  .  .  . 

Brescia,  Gio.  Maria  Rizzardi,  1710.     52  p.     15*^^. 

Three  acts.  By  Pietro  Antonio  Bernardoni,  who  is  not  mentioned.  Dedication 
and  notice  to  the  reader  as  argument.  Marc'  Antonio  Ziaxd,  the  composer,  is  not 
mentioned. 

First  performed  at  Vienna,  Burgtheater,  July  26,  1706.  Schatz  11202 

Meleagro.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  camevale  dell'  anno  1798,  v,  s.,  correndo  I'anno  VI.  repub- 
blicano. 

Milano,  Gio.  Batista  Bianchi,  n.  d.    4^,  [7]  p.     W^*^^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Argument,  cast, 
(scenario,  and  name  of  Nicola  Antonio  Zingarelli  as  the  composer.  The  seven 
unnumb.  pages  contain  the  description  of  Filippo  Beretti's  "L'ltalia  rigenerata, 
ballo  eroico  pantomime  in  quattro  atti."  His  second  ballet  was  called  "Ilrecluta- 
mento  nel  villaggio . ' '    The  composers  of  the  music  are  not  mentioned . 

First  performed,  as  indicated,  in  January,  1798.  Schatz  11254 

Melide,  oder  Der  schiffer.    Tr.  of  Philidor's  M61ide  ou  Le  navigateur. 

Melide,  ou  Le  navigateur,  com^die  en  deux  actes  et  en  vers,  m^l^ 
d'ariettes,  la  musique  est  de  Mr.  Philidor. 

Paris,  Chez  les  Lihaires  [!]  associes,  1774.    ^^  V-     18^"^. 

By  Charles  Georges  Fenouillot  de  Falbaire  de  Quingey;  arranged  by  de  Relly 
(Schatz).    On  p.  6-9,  the  air  of  "Tu  ne  syais  pas  beauts." 

Date  of  first  performance  not  mentioned  by  Wotquenne,  but,  according  to  Schatz, 
the  opera  was  first  performed  at  Fontainebleau  Octobre  30, 1773,  as  "L6mire  et  M61ide, 
ou  Les  fausses  infid^lit^s."  Schatz  8033 


752  '  LIBBABY  OF  CONGBESS 

Melide,  ou  Le  navigateur — Continued. 

—  Melide  oder  Der  schiffer,  Ein  lustspiel  mit  gesang  in  zwey  auf- 
zuegen;  in  musik  gesetzt  von  A.  D.  Philidor,  una  fiir  die  Seylerische 
schaubuehne,  aus  dem  franzoesischen  uebersetzt,  von  Grossmann 
iind  Neefe. 

FrankfuH,  n.  puhl.,  1778.     45  p.     16^"^. 

On  p.  3-6,  a  preface  by  the  translators,  in  which  they  point  to  the  growing  favor 
of  "Operetten"  with  the  German  public,  comment  on  the  difficulty  of  translating 
French  librettos  into  German,  and  say: 

"Wenn  eich  der  reim  nicht  von  eelbst  darbot,  haben  wir  ihn  auch  nicht  angstlich 
gesucht,  und  ueberhaupt  mehr  frey  als  woertlich,  mehr  musikalisch  brauchbar,  als 
poetisch  schoen  uebereetzen  wollen . 

"Die  gedruckte  musik,  welche  wir  bald  zu  liefem  denken,  ist  ein  auszug  der  eing- 
stimmen,  den  man  zum  gebrauch  fuer  die  theater-direktoren,  fuer  den  klavier-akkom^ 

Sagnisten,  die  saenger  und  saengerinnen  beym  einlemen,  und  fuer  die  liebhaber,  die 
ieses  und  jenes  lied  zu  hause  nachsingen  wollen,  bequem  genug  finden  soil  ..." 

SCHATZ  8034 

—  Arien  und  gesaenge  aus  Melide,  oder  Der  schiffer,  eine  ernsthafte 
oper,  in  zwey  akten,  aus  dem  franzoesischen  uebersetzt,  mit  beybe- 
haltung  der  original-musik  des  herrn  Philidor,  von  Johann  Heinrich 
Faber.     Aufs  neue  verbessert  von  Christian  Gottfried  Thomas. 

Riga,  Gottloh  Christian  Froelich,  n.  d.     15  p.     16'^™'. 

First  performed  at  Riga,  Vietinghoff'sches  Theater  i.  d.  Konigestrasse,  16/27, 
November,  1786.  Schatz  8035 

Melidore  et  Phrosine,  drame  lyrique  en  trois  actes,  paroles  du 
citoyen  Arnault,  musique  du  citoyen  Mehul.     Repr^sente,  pour  la 

{)remiere  fois,  sur  le  Theatre  lyrique  de  la  rue  Favart,  le  17  Germinal, 
'an  second  de  la  R^publique  [April  6,  17941. 

Paris,  Maradan,  An  second  de  la  Republique  {1794\.  2  p.  I.,  52  p. 
21^"^. 

Cast.  Schatz  6277 

Melinda.  Favola  romanzesca  in  musica  di  Giovanni  Bertati  .  .  . 
da  rappresentarsi  nel  nobilissuno  Teatro  Venier  in  San  Benedetto 
I'autunno  dell'  anno  1798. 

Venezia,  Modesto  Fenzo,  1798.     64  p.     18'^'^. 

Two  acts.  Cast,  scenario,  and  name  of  Sebastiano  Nasolini  as  the  composer 
("musica  tutta  nuova").  On  p.  64  a  note  to  the  effect  that  the  score  contains  arias 
and  verses  not  to  be  found  in  the  libretto : 

"cio  accade  per  la  circostanza,  a  cui  per  il  meglio  si  h  creduto  di  doversi  adattare, 
onde  facilitare  il  compimento  della  musica,  dopo  che  il  libretto  medesimo  era  gi^ 
Btato  riveduto,  e  licenziato." 

On  p.  r33]-^0  argument,  cast,  and  description  of  Giovanni  Monticini's  "Abdu- 
ramel,  ballo  tragico  eroico  pantomimo  di  cinque  atti,"  music  ("tutta  nuova")  by 
Giuseppe  Nucci.  Schatz  7022 

Melinda  e  Tiburzio.     O.  T.  of  Orlandini's  La  donna  nobde. 

Melissa  schernita.  Intermezzo.  See  Orefici  and  Mancini's  L' 
Engelberta. 

La  melomanie,  com^die  en  vers  et  en  un  acte,  m616e  d'ariettes. 
Poeme  de  M.  *  *  *,  Musique  de  M.  S.  Champein.  NouveUe 
Edition. 

Toulon,  Mallard,  1787.     31  p.     20'=^. 

Cast.    Text  by  Grenier. 

First  performed  at  Versailles,  January  23,  1781;  at  Paris,  Th^tre  italien,  January 
29, 1781.  ML  50.2.M52C4 


OPEKA  LIBRETTOS  753 

Melpomene  et  Linus.  Entree  in  Quinault's  Les  amours  des 
Deesses. 

Das  menschliche  leben  wie  ein  traum.  A.  T.  of  Conradi's  Der 
koenigliche  printz  aus  Polilen,  Sigismundus. 

II  Meraspe.     A.  T.  of  Pallavicino's  II  tiranno  humiliato. 

II  mercato  d'Amacari  Danase,  ballet.  See  Boroni's  Le  orfane 
svizzere. 

n  mercato  di  Malmantile.     Dramma  di  tre  atti  in  versi. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  44f 
[123hl81  p.     18^^. 

For  first  composer  see  below.  PQ 

II  mercato  di  Malmantile.  Dramma  giocoso  per  musica  di  Polis- 
seno  Fegejo  [Carlo  Goldoni]  Pastor  Arcade  da  rappresentarsi  nel 
Teatro  Grimani  di  S.  Samuele  il  carnovale  delF  anno  1758. 

Venezia,  Modesto  Fenzo,  1758.     58  p.     l^'^^. 

Cast,  scenario,  and  name  of  Domenico  Fischietti  as  composer.  Schatz  3231 

—  II  mercato  di  Malmantile.  Dramma  giocoso  per  musica,  di 
Polisseno  Fegeio,  P.  A.  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E. 
di  Sassonia.     Dresda,  nel  carnevale  del  1766. 

n.  i.,  n.  d.     143  p.     15""^. 

Cast,  scenario,  name  of  the  translator,  H.  A.  Busius,  and  of  the  composer:  "La 
musica  6  del  celebre  maestro  S%nor  Domenico  Fischietti  di  Napoli,  e  dall'  istesso 
autore  in  molte  parti  rimodernata."  German  title-page,  "Der  jahrmarkt  zu 
Magemdorff,"  and  text  face  Italian.  Schatz  3232 

—  II  mercato  di  Malmantile,  dramma  giocoso  in  musica  da  rap- 
presentarsi nel  Teatro  Reale  di  Sua  Maesta  d'lnghilterra  etc  etc. 
Hannover  I'inverno  del  1770. 

n.  %.,  n.  d.,  107  p.     16^'^'^. 

Cast,  scenario,  and  name  of  Fischietti  as  the  composer.  German  title,  "Der  jahr- 
markt zu  Malmantile,"  and  text  face  Italian.  Considerably  altered  version.  For 
instance,  the  characters  "II  conte  della  Rocca,"  "La  marchesa  Giacinta,"  and 
"Cecca"  of  the  original  have  been  dropped  entirely.   •  Schatz  3238 

II  mercato  di  Malmantile.     Dramma  giocoso  per  musica  di  Polis- 
seno Fegejo,  Pastor  Arcade.     Da  rappresentarsi  nel  Teatro  Grimani 
di  S.  Samuele  il  carnovale  dell'  anno  1758, 
Venezia,  Modesto  Fenzo,  1758.    58  p.     i4i<=™. 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Giuseppe  Scarlatti  as  the 
composer. 

First  performed  at  Vienna,  Burgtheater,  1757.  Schatz  9550 

—  II  mercato  di  Monfregoso,  dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Reggio  Teatro  di  S.  Carlo  della  rrincipessa,  Testate 
deir  anno  1795. 

Lishona,  Simone  Taddeo  Ferreira,  1795.     I4I  P-     15'^'^. 

Two  acts.  Author  not  mentioned.  Cast,  scenario,  and  name  of  Nicola  Zinga* 
reUi  as  composer.  With  the  opera  was  performed,  composer  of  the  music  not  men- 
tioned, Pietro  Angiolini'e  ballet  "L'arrivo  opportune."  Portuguese  text  faces 
Italian.  -  ML  50.2.M55Z3 

72251"— VOL  1—14 48 


764  LIBRARY   OF   CONGRESS 

H  mercato  di  Monfregoso.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Teatro  alia  Scala  I'autunno  dell'  anno  1792  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     58,  [10]  p.     16 Y^. 

Two  acts.  Scenario,  cast,  name  of  Nicola  Zingarelli  as  composer,  dedication  by 
the  impresario  Gaetano  Maldonati  of  date  Milan,  September  22,  1792,  in  which  he 
Bays: 

"Per  desiderio  di  dare  un  maggiore  risalto  alle  rappresentazioni,  ed  un  migliore 
Boddisfacimento  al  pubblico  ...  ho  intrapreso  di  fare  scrivere  un'  opera  a  bella 
posta  per  questo  teatro  e  per  questa  compagnia,"  and  Awiso  which  reads: 

"Un  ben  noto  dramma  giocoso  del  celebre  Sig.  Goldoni  serve  per  fondamento  d6l 
libro  della  presente  opera.  Si  h  sequitato  piu  che  h  stato  possibile  I'originale,  e  coUa 
traccia  del  medesimo  si  sono  fatti  tutti  que  cambiameti  creduti  adattati  al  gusto  dell' 
opera  buffa  del  giomo  d 'oggi.  Si  h  mutato  nel  titolo  il  luogo  del  mercato  al  solo  oggetto, 
one  lo  spartito  di  questa  nuova  musica  non  potesse  confondersi  coll'  antico,  che  era 
intitolato  II  Mercato.  di  Malmantile." 

The  [10]  p.  contain  the  scene  "Saggia  mia  figlia  vieni"  with  sextet,  substituted 
for  scene  11,  8  "Via  venite  in  tribunale"  and  argument,  cast,  and  description  of 
Antonio  Pitrot's  four  act  "Adelasia  ballo  eroico  pantomimo."  Neither  of  this  nor  of 
his  comic  ballet  "Don  Chisciotte,  che  ander^  in  scena  dopo  alcuni  giorni "  is  the  com- 
poser mentioned.  ML  50.2.M55Z2 

II  mercato  di  Pozzuolo  ossia  11  speciale  ingannato,  ballet.  See 
Mayr's  Lodoiska. 

Mercato  fiammengo,  ballet.     See  Cherubini's  Ifigenia  in  Aulide. 

Mercurio,  e  Marte.     Tomeo  resale  fatto  nel  superbissimo  Teatro 
di  Parma  nelF  arrive  della  sereniss.  Margherita  Medici,  moglie  del 
sereniss.  duca  Odoardo  Farnese. 
Parma,  Seth.  &  Erasmo  Viotti,  1628.     US]  p.    21^'^'^. 

Schatz  attributes  the  libretto  to  Claudio  Achillini,  and  the  music  to  Giulio  Caccini, 
but  as  Caccini  died  in  December,  1618,  and  as  this  masque  was  first  performed  at  the 
inauguration  of  the  Teatro  Farnese,  December  21,  1628,  Caccini's  connection  is  more 
than  doubtful.  At  any  rate,  Ehrichs  does  not  mention  this  among  Giulio  Caccini's 
works.  Certainly  Schatz  found  nothing  to  support  his  claim  of  Caccini's  connection 
with  "Mercurio  e  Marte"  in  Ferrari's  "Spettacoli  ...  in  Parma,"  and  I  fail  to  see 
that  Ferrari's  gather  cursory  remarks  even  oblige  us  to  attribute  the  text  to  Achillini. 
Ferrari  mentions  neither  author  nor  composer.  Schatz  1448 

La  mere  em.barrassee,  opera-comique ;  repr6sent6  pour  la  pre- 
miere fois  sur  le  Theatre  de  la  Foire,  en  1734. 

Charles  Francois  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  2, 
[S27]-382  p.     17'"^.    . 

In  prose  and  vaudevilles.  Composer  not  recorded  by  Parfaict,  who  dates  first  per- 
formance June  26,  1734.  PQ  2019.P3 

La  mere  jalouse.     Piece  en  un  acte.     Representee  k  la  Foire  Saint 
Laurent  1732. 
Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  2  pi.,  [1231-167  p.     17^'^. 

By  Carolet,  who  is  not  mentioned.  Largely  en  vaudevilles.  The  airs,  selected  or 
composed  and  arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume 
in  the  "Table  des  airs." 

First  performed  September  19,  1732.  ML  48.L2X 

Meride.  Dramma  per  musica  da  rappresentarsi  nell'  apertura 
del  Nuovo  gran  Teatro  della  residenza  Palatina.  .  .  .  I'anno 
MDCCXLII.  La  poesia  e  del  Sig.  abbate  Giovan  Claudio  Pas- 
quini  ...  la  musica  6  del  Sig.  Carlo  Pietra  Grua  .  .  . 

Mannheim,  Stamperia  Maieriana,  [1T42].     5  p.  I.,  102,  [1]  p.     18Y™-. 

Three  acts.  Argument,  cast,  scenario.  Alessandro  Toeschi  is  mentioned  as  the 
composer  of  the  incidental  ballet  music.     On  the  last  unnumb.  p.,  a  notice  to  the 


OPERA  LIBRETTOS  755 

Meride — Continu  ed . 

reader,  asking  hie  indulgence  for  nuBprinte,  since  the  printer  did  not  know  "una  sola 

voce"  of  the  Italian  language. 

First  performed  January  17,  1742,  aa  indicated.  Schatz  8167 

Meride  e  Selinunte. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744:  i-  ^^^i  P-  [^4^1- 
438.     W"^. 

Five  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1721.  (First  per- 
formed at  Laxemburg,  Favorita,  August  28, 1721,  with  music  by  Giuseppe  Porsile.) 

ML  49.A2Z3 

—  Meride  e  Selinunte.  Pubblicati  per  la  prima  volta  in  Vienna 
1721. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  v,  p.  257- 
344.     21^"^. 

Five  acts  and  licenza.     Argument.     No  composer  as  mentioned.       ML  49.A2Z4 

Meride  e  Selinunte.     Dramma  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S?  Gio.  Grisostomo  nel  came  vale 
1744  .  .  . 
[Venezia],  n.  puhl.,  n.  d.     1  p.  I.,  56  p.     15"^. 

Three  acta.  By  Apostolo  Zeno.  With  argument,  scenario,  cast,  and  name  of  the 
composer,  Pietro  Chiaxini,  but  not  of  the  author.  Schatz  1851 

Meride  e  Selinunte.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  a  S.  Gio.  Grisostomo.  Nel  camovale 
delF  anno  1726. 

Venezia,  Marino  Rossetti,  1726.     58  p.     i^""*. 

Three  acts.  Bv  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  scenario,  cast, 
and  name  of  Nicole  Antonio  Porpora  as  the  composer.  Schatz  8372 

II  merito  riconosciuto.     See  M.  Cm-zio. 

Merlin  in  love :  or,  Youth  against  magic.  A  pantomime  opera.  In 
five  acts. 

[319]-342  p.  21'^'^.  {Aaron  EiU,  Dramatic  works,  London,  T. 
Lownds,  1760,  vol.  I.) 

No  composer  or  performance  recorded  by  Clarence.  Longe  325 

Merope. 

Apostolo  Zeno,  Poesie  drammaticTie,  Venezia,  1744}  i-  '^,  P-  81-171, 

Three  acts.  Areument.  No  composer  is  mentioned.  In  the  "Catalogo"  at  end 
of  t.  X,  date  and  place  of  first  ed.  are  given  as  Venice,  1712.     {See  below.) 

ML  49.A2Z3 

—  Merope.     Pubblicata  per  la  prima  volta  in  Venezia  1712. 
Apostolo  Zeno,  Poesie  drammaticlie,  Orleans,  1785-86,  t.  iv,  p.  95-184. 

21  cm 

Three  acts.    Argument.     No  compoeer  is  mentioned.  ML  49.A2Z4 


756  LIBBARY   OF   CONGRESS 

Merope.     Drama  per  musica  da  rappresentarsi  nella  Gran  Sala  del 
Reggio  Palazzo  il  di  1.  ottobre  1716.     In  cui  si  festeggiano  gl'anni  di 
S.  M.  Ces.  6  Cat.  Carlo  VI.  imperatore  regnante  .  .  . 
Naf.,  MicheleLuigi  Muzio,  1716.     6  p.  I.,  55  p.     13^'^^. 

Three  acts  and  prologue.  Aigument,  cast,  scenario.  Dedication,  dated  Naples, 
October  1,  1716,  is  signed  by  Nicola  Serine,  whom  Schatz  incorrectly  records  as  the 
author,  since  this  is  clearly  Apostolo  2ieno'B  "Merope."  The  composer  is  not  men- 
tioned, and  is  unknown  to  Schatz.  ML  50.2.M6 

La  Merope.  Dramma  per  musica  da  rappresentarsi  in  Verona  nel 
nuovo  Teatro  dell'  Accademia  Filarmonica  nel  camovale  dell'  anno 
1763  .  .  . 

Verona,  Dionisio  Ramanzini,  1768.     48  p.     18*^^. 

Three  acts.  By  Apoetolo  Zeno,  but  with  very  many  alterations.  For  instance. 
"Vane  alia  ingrata,  e  digli"  (I,  4)  is  not  by  Zeno  at  all,  and  "Sprezza  il  furor  del 
vento  "  (I,  5)  is  from  Metastasio's  "Adriano  in  Siria."  Also,  Zeno's  character,  Licisco, 
is  missing  entirely. 

Francesco  Puttini's  dedication  ("per  la  prima  volta  comparendo  sopra  le  scene  del 
cospicuo  Filarmonico  teatro  il  presente  dramma"),  argument,  cast,  scenario,  and 
note:  "La  musica  di  diversi  celebri  autori."  ML  50.2.M62 

Merope.     An  opera.     As  perform'd  at  the  Royal  Theatre  in  the 
Hay-market. 
London,  J.  ChricMey,  1736.    69  p.     17'"^. 

Three  acts.  By  Apostolo  Zeno  (not  mentioned).  Dedication,  argument,  cast,  but 
without  the  name  of  the  composer,  Riccardo  Broschi.     English  text  faces  the  Italian. 

First  performed,  as  indicated,  January  8/19,  1737;  at  Turin,  Regio  Teatro,  carne- 
vale,  1732.  Schatz  1341 

Merope.     Dramma  per  musica  da  rappresentarsi  nel  grande  Real 

Teatro  di  S.  Carlo  net  di  20.  gennaro  1748  .  .  . 

Napoli,  Domenico  Langiano,  1748.     6  p.  I.,  52  p.     14'''^> 

Three  acts.     By  Apostolo  Zeno.     Impresario's  dedication,  dated  Naples,  January 

20,  1748,  argument,  cast,  scenario,  and  name  of  the  composer,  Gioacchino  Cocchi, 

but  not  of  the  author.  Schatz  2049 

Merope.  Drama  da  rappresentarsi  per  musica  nel  famoso  Teatro 
Tron  di  San  Cassano  il  carnevale  dell'  anno  1711  .  .  . 

Venezia,  Marino  Rossetti,  1711.     72  p.     14^"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Dedication,  argument 
cast,  scenario,  and  name  of  Carlo  Francesco  Gasparini  as  the  composer. 

Schatz  3573 

Merope.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniani  di  S.  Mois6  il  camovale  dell'  anno  1757. 
Venezia,  Modesto  Fenzo,  1757.     58  p.     15""^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Cast  and  name  of  Florian 
Leopold  Gassmann  as  the  composer.  Schatz  3619 

Merope.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  San  Gio.  Grisostomo.  Nel  camovale  dell'  anno 
MDCCXXXIV  ... 

Venezia,  Marino  Rossetti,  1734-     71  p.     15'='^. 

Three  acts.  By  Zeno,  who  is  not  mentioned.  Dedication,  argument,  cast,  scena- 
rio, and  name  of  Geminiano  Giacomelli  as  the  composer.  Schatz  3807 


OPERA  LIBRETTOS  757 

Merope.  Tragedia  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Beriino  per  il  felicissimo  giorno  natalizio  della  Sacra  Real  Maest^ 
di  Sofia  Dorotea,  regina  madre  .  .  . 

Beriino,  Haude  e  Spener,  1756.     123,  [2]  p.     16^'^. 

Three  acts.  Giampietro  Tagliazucchi  is  mentioned  as  the  author  and  Carl  Hein- 
rich  Graun  as  the  composer.  The  text,  however,  is  merely  the  Italian  version  of  a 
French  text  by  Frederick  the  Great,  based  on  Voltaire.  German  title-page  and 
text  (by  Grugnanelli,  according  to  Mennicke)  face  Italian. 

First  performed,  as  indicated,  March  27,  1756.  Schatz  4105 

Merope.     Drama  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro 
di  S.  Benedetto  il  carnovale  dell'  anno  MDCCLXXIII, 
Venezia,  Modesto  Fenzo,  1773.     2  p.l,  55  p.     17^"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Giacomo  Insang^uine,  called  Monopoli. 

First  performed,  as  indicated,  December  26,  1772.  Schatz  4834 

Merope.     Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S?  Gio.  Grisostomo  il  carnovale  1742  .  .  . 
[Venezia],  n.  publ.,  n.  d.     71  p.     15*^^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Niccol6  Jommelli  as  the  composer. 

First  performed,  as  indicated,  December  26,  1741.  Schatz  4865 

—  Merope,    ein    musicalisches    schauspiel.     Vorgestellet    auf    der 
Kaiserl.  Koeniglichen  privilegirten  schaubuehne  in  Wien,  1749. 
Wien,  Joh.  Peter  van  Ghelen,  n.  d.     62,  [1]  p.     15'^^. 

Three  acts.  Neither  J.  L.  van  Ghelen,  the  translator,  nor  Jommelli,  the  com- 
poser, is  mentioned.  Cast,  argument,  scenario.  Second  version  of  the  "Merope"  of 
1741.  Schatz  4866 

Merope.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno  1796. 
Venezia,  Modesto  Fenzo,  1796.     45  p.     17 Y"^. 

Three  acts.  By  Mattia  Botturini,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Sebastiano  Nasolim  as  the  composer. 

First  performed,  as  indicated,  January  21,  1796.  Schatz  7005 

La  Merope.     Dramma  per  musica  da  rappresentarsi  in  Bologna  nel 
Teatro  Formaliari  1'  autunno  dell'  anno  MDCXDXVII  .  .  . 
Bologna,  li  Rossi  e  compagni,  n.  d.     77,  [1]  p.     16*^^. 

Three  acts.  Apostclo  Zeno  is  mentioned  as  author,  Giuseppe  Maria  Orlandini  as 
the  composer.  Impresario's  dedication  dated  Bologna,  October  16,  1717,  cast,  argu- 
ment, and  scenario. 

First  performed,  according  to  Schatz,  on  October  24,  171V .  Schatz  7348 

Merope.     Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nelr  autunno  dell'  anno  MDCGL. 
Venezia,  In  merceria,  n.  d.     66  p.     15'^'^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  scenario,  cast, 
and  name  of  Davide  Perez  as  the  composer.  Schatz  7874 

La  Merope.     Dramma  per  musica  da  rappresentarsi  nel  Regio-ducal 
Teatro  di  Milano  per  il  carnovale  dell'  anno  1776  .  .  . 
Milano,  Giovanni  Montani,  n.  d.     5  p.  I.,  Jfi  p.     14V^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  and  name  of  "Traeta" 
(Tommaso  Traetta)  as  composer,  but  not  of  librettist,  Apostolo  Zeno.  The  ballets 
were  invented  by  Noverre.  In  the  dedication  the  opera  is  called  the  "secondo 
spettacolo  del  corrente  carnovale."  Schatz  10412 


758  LIBBABY  OF  CONGBESS 

The  meny  beggars.     A.  T.  of  The  jovial  crew,  1767. 

The  merry  cobler:  or,  The  second  part  of  The  devil  to  pay.     A 
farcical  opera  of  one  act.     As  it  is  perform'd  at  the  Theatre-Koyal  in 
Drury-Lane,  by  His  Majesty's  servants.     By  Mr.  Coffey,  author  of 
the  first  part  .  .  . 
London,  J.  Watts,  1735.     4  p.  l,  32  p.     21''^. 

Cast,  table  of  the  17  songs,  aud  dedication  to  Lady  Walpole,  in  which  Charles 
Coffey  says: 

"  Tis  true  it  wants  many  imbellishments  of  the  former,  and  is  entirely  unassisted 
by  the  force  of  magick,  which  might  probably  render  it  more  diverting,  as  affording 
to  poet  an  unbounded  liberty;  but  as  all  spells  and  charms  are  supernatural  and 
unreasonable,  'tis  presumed,  that  the  native  simplicity  of  this,  and  its  great  affinity 
to  true  nature,  will  entitle  it  to  bear  some  proportion  of  merit  to  its  parent,  that  met 
with  so  much  success  before  it:  P^or  the  nearer  any  dramatick  piece  comes  up  to 
nature,  the  more  it  shou'd  undoubtedly  please." 

Ballad  opera,  the  airs  of  which  are  prmted  in  the  text  with  their  titles. 

First  performed,  as  indicated,  May  6,  1735.  ML  50.5.M3 

Second  copy.    Longe  32 

Airs,  duetts,  and  chorusses,  in  the  operatical  pantomime  of  Merry 
Sherwood  or  Harlequin  forrester.     Now  performing  at  the  Theatre- 
Royal,  Co  vent-Garden.     Third  edition. 
London,  T.  N.  Longman,  1795.     20  p.     21'^'^. 

Cast.  Neither  authors,  M.  Lonsdale  and  John  O'Keefe,  metnioned,  nor  the  com- 
poser, William  Reeve. 

First  performed  December  21,  1795.  Longe  234 

Mesenzio  re  d'Etruria.     Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  via  della  Pergola  nell'  autunno  del  MDCCLXXXII .  .  . 
Firenze,  Giovanni  Risaliti,  1782.     47  p.     Id'^^. 

Three  acts.  By  Ferdinando  Casori.  Cast  and  name  of  the  composer,  Cherubini 
("musica  .  .  .  tutta  nuova").  The  author  is  not  mentioned.  On  p.  4-8  ailment 
and  description  of  Antonio  Muzzarelli's  ballet  "Adelasia  Riconosciuta."  The  com- 
poser of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  September  8,  1782.  Schatz  1846 

Messallna.  Drama  per  musica  da  rappresentarsi  nel'  Teatro  Ven- 
dramino  di  San  Salvatore  1'  anno  MDCLXXX  d(;l  dottpr  Piccioli. 
Ristampato  con  nuove  aggiunte  .  .  . 

Venetia,  Francesco  Nicolini,  1680.     72  p.     14-"'^. 

Three  acts.  Author's  dedication  dated  Venice,  February  8,  1679,  argument, 
notice  to  the  reader,  and  scenario.  The  composer,  Carlo  Pallavicino,  is  not  men- 
tioned. ScHATz  7728 

Die  messe  zu  Venedig.     Tr.  of  Salieri's  La  fiera  di  Venezia. 

Le  metamorfosi  odiamorose  in  birba  trionfale  nelle  gare  delle 
terre  amanti.     Dramma  per  musica  di  Gonanto  Rinoi,  tra  gr  Accade- 
mici  di  Campalto  Infelicio  Scordato.     Da  rappresentarsi  nel  famoso 
Teatro  Grimani  in  San  Samuel  il  carnovale  1732  ... 
Venezia,  Alvise  Valvasense,  1732.     36  p.     14^'". 

Three  acts.  By  Antonio  Rigo  [anagram  as  in  title].  Dedication,  ailment,  cast, 
scenario,  name  of  Salvatore  Apolloni  as  composer,  and  notice  to  the  reader  in  which 
the  author  calls  this  his  second  "parte  bamboleggiante  in  fasce,"  written  "in  trh 
sole  ore."  Schatz  301 


OPERA  LIBRETTOS  759 

The  metamorphoses.     A  comic  opera.     In  two  acts.     As  it  is  per- 
formed at  the  Theatre-Royal  in  the  Hay-Market.     The  music  by  Mr. 
Dibdin. 
London,  T.  Lovmdes,  1776.    2  p.  Z.,  36  p.     20"^. 

Cast  and  prefatory  note  by  Charles  Dibdin  to  the  effect  that  about  one  third  of 
the  piece  is  borrowed  fronuMolifere's  Sidlien  and  George  Dandin.     Dibdin  says: 

"I  have  repeatedly  assured  the  public,  that  they  shall  be  faithfully  acquainted 
from  whence  I  borrow  any  materials  to  work  up  my  dramatic  trifles." 

First  performed  August  26,  1776  (Oulton  and  Schatz);  August  26,  1775  (Genest, 
with  reason  why  1776  is  impossible).  Longe  214 

Second  copy.    Longe  244 

Matilda  ritrovf  ta.     L.  T.  of  Anfossi's  L'incognita  perseguitata. 

La  meuniere  de  Qentilly,  com^die  en  un  acte,  mesl^e  d'ariettes; 

gar  M.   Le  Monnier.     Repr^ent^e  pour  la  premiere  fois  par  les 
om^diens  italiens,  le  jeudi  13  octobre  1768. 
Paris,  Vente,  1768.     75  p.     i^"™. 

Cast.  The  composer,  Jean  Benjamin  de  La  Borde,  is  not  mentioned.  On  p. 
22-27,  40-42,  46-48,  73-74  the  same  airs  as  below  printed  in  the  text. 

ML  50.2.M63L2 

—  La  meuniere  de  Grentilly,  comedie.  En  un  acte,  melee  d'ariettes. 
Par  Monsieur  Le  Monier.  Representee  pour  la  premiere  fois  par  les 
Com6diens  italiens  ordinaires  du  roi,  le  jeudi  13  octobre  1768. 

Avignon,  Louis  dhambeau,  1768.     36  p.     19^'^. 
The  composer,  Jean  Benjamin  de  La  Borde,  is  not  mentioned. 

ML  50.2.M63L22 

—  La  meuniere  de  Gentilly,  comedie  en  un  acte,  mesl^e  d'ariettes; 
par  M.  Le  Monnier.  Representee  pom*  la  premiere  fois  par  les  Com^- 
oiens  italiens,  le  jeudi  13  octobre  1768. 

Paris,  Vente,  1770.     54,  [1]  p.     18'^'^. 

The  add.  p.  contains  advertisement  of  F.  J.  Desseur,  Li^ge. 

The  composer,  Jean  Benjamin  de  La  Borde,  is  not  mentioned.  On  p.  16-20 
the  ariette  La  garde  d'lme  fiUe  "  (1,5),  on  p.  29-31  "Amour,  que  tu  me  fais  souffrir' 
(I,  7),  on  p.  34-36  "Quand  pour  nous  rendre  heureux"  (I,  8),  and  on  p.  52-54  the 
vaudeville  (I,  13)  "Nous  avons  dans  notre  jeune  age."  Schatz  5346 

—  La  meuniere  de  Gentilly,  comedie  en  un  acte,  m§iee  d'ariettes; 
par  M.  Le  Monnier.  Representee  pour  la  premiere  fois  par  les  Come- 
diens  italiens,  le  jeudi  13  octobre  1768. 

Paris,  Vente,  1779.     54  p.     17 Y"^. 

Cast.  On  p.  16-20  the  ariette  "La  garde  d'une  fille,"  29-31  "Amour,  que  tu  me 
fais  souffrir,"  p.  34-35  "Quand  pour  nous  rendre  iieureux,"  and  on  p.  32-33  the 
vaudeville  "Nous  avons  dans  notre  jeune  ^e."    Without  name  of  de  La  Borde. 

Schatz  11718 

—  Die  muellerinn,  ein  singspiel  in  einem  aufzuge  aus  dem  fran- 
zoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischenschriften,  1773.  99  p.,  10  p. 
{fold,  music).     16^"^. 

Cast.  La  Borde's  "La  meuniere  de  Gentilly"  translated  by  Johann  Heinrich 
Faber.  The  folded  music  contains  (voice  and  bass):  "Ach!  mein  kummervoUer 
stand"  (I,  l="Vainement  en  filant  mon  lin"),  "Stille  wasser  gruenden  schlecht" 
^I,  5="I1  n'est  pis  ctue  I'eau  qui  dort"),  and  "Spielten  wir  in  den  jungen  jahren" 
(I,13="Nou8  avons  aans  notre  jeune  age ").  Schatz  5347 

Der  meyerhof .     Tr.  of  Scolari's  La  cascina. 


760  LIBRARY   OF   CONGRESS 

Midas;  an  English  burletta.  As  it  is  performed,  at  the  Theatre- 
Royal,  in  Co  vent-Garden. 

London,  G.  Kearsly,  W.  Griffin,  J.  Coote,  T.  Lownds  and  W.  NicoU, 
1764.     4  p.  I,  66  p.     22'^'^. 

Ballad  opera.  Three  acts.  By  Kane  O'Hara,  who  is  not  mentioned.  He  is 
supposed  to  have  selected  and  adapted  the  tunes  used,  as  indicated  in  the  headings 
of  tne  Airs,  but  quite  a  few  of  the  Airs  were  to  be  sung  "To  its  own  tune."  These 
airs  apparently  composed  for  the  occasion  are:  (Act  I)  "To  happy  ignorance,"  "Be 
by  your  friends  advised,"  "Since  you  mean  to  hire";  (Act  II)  "Wondrous  timber"; 
(Act  III)  "If  in  the  courts  your  suit,"  "If  a  rival  thy  character  draw"  (headed 
Duetto  and  the  name  of  Henry  Carey's  has  been  added  in  pencil  as  the  composer), 
"Now  I'm  seated  "  and  others.  The  tunes  used  included  several  French  and  Italian. 
The  text  is  preceded  by  the  cast,  by  the  humorous  "Prologue"  as  a  plea  for  English 
drama  and  English  music  and  by  an  editorial  prefatory  note  which  reads  in  part: 

"The  editor  of  the  following  piece  thinks  proper  to  observe,  that  the  first  idea  of 
it  was  conceived,  and  the  plan  in  some  measure  executed  by  a  gentleman  in  Dublin, 
for  the  private  entertainment  of  some  persons  of  distinction  in  that  kingdom,  at  a 
time,  wnen  Italian  burlettas  were  blended  with  the  exhibitions  of  the  theatre,  and 
almost  triumphed  over  the  best  productions  in  our  language.  The  public  spirit  of 
those,  for  whom  it  was  originally  intended,  prevailed  upon  the  author  to  enlarge  his 
design.  Accordingly,  Midas  adventured  on  the  stage,  and  met  with  uncommon  suc- 
cess for  a  series  of  nights  .  .  .  The  public,  with  their  usual  candour,  will  consider 
the  particular  scope  of  this  piece,  and  will  decide  nothing  till  they  have  heard  the 
musick,  to  which  it  is  adapted."  ML  50.2.M65 

—  Midas :  An  English  burletta.  In  two  acts.  As  it  is  performed, 
at  the  Theatre  Royal  in  Covent-Garden.     The  third  edition. 

London,  W.  Griffin,  W.  NicoU,  [etc.],  1766.     32  p.     19<='^. 

Two  acts.  Cast.  By  Kane  O'Hara,  who  is  not  mentioned.  The  tunes  are  not 
indicated  in  this  edition. 

First  performed  at  Dublin,  Theatre  Royal,  1762,  and  at  London,  Covent  Garden, 
February  22,  1764.  Lonqe  46 

—  Midas,  a  burletta.     In  two  acts.     By  Kane  O'Hara,  Esq. 

[S4^]-S65  p.  19'^'^.  {Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  II,  Edinburgh,  1792.) 

Two  acts.    Covent-Garden  and  Edinburgh  (1782)  casts.  Schatz  11753B 

—  An  improved  edition  of  the  songs  in  the  burletta  of  Midas,  adapted 
to  the  times  .  .  . 

London,  John  Stockdale,  1789.     38,  [2]  p.    20'^'^. 

An  anonymous  political  satire  with  Pitt,  Sheridan,  the  Prince  of  Wales,  etc.,  aa 
characters.  The  last  (unnumb.)  page  contains  advertisement  of  Stockdale's  edition 
of  Shakespeare's  works.  Longe  195 

The  midnight  wanderers:  a  comic  opera.  In  two  acts.  Per- 
formed at  the  Theatre-Royal,  Covent-Garden.  Written  by  Mr. 
Pearce  .  .  . 

London,  T.  N.  Longman,  1793.    2  p.  I.,  45  p.    20^"'^. 

Cast  and  Advertisement  with  name  of  William  Shield  as  composer,  but  Longman  & 
Broderip's  vocal  score  says  "Composed  by  Paisiello,  Gretry,  and  Shield,"  and  the 
overture  is  headed  as  being  that  by  Naumann  "for  the  celebrated  opera  of 
Amphion." 

First  performed  February  25,  1793.  Longe  221 

Mietitori.  Commedia  per  musica  di  Saverio  Zini  da  rappresentarsi 
nel  nuovo  Teatro  de'  Fiorentini  per  second'  opera  di  questo  corrente 
anno  1781. 

Napoli,  n.  pull.,  1781.     60  p.     75'="». 

Three  acts.    Cast  and  name  of  Pietro  Guelielmi  as  the  composer. 

First  performed  at  Naples,  as  indicated,  October  20,  1781.  Schatz  4291 


OPEEA   LIBRETTOS  761 

n  mj^lior  d'ogni  amore  per  il  peggiore  d'ogni  odio.     Drama 
per  musica  da  rappresentarsi  nel  Teatro  Tron  di  S.  Casciano.     L'au- 
tunno  deir  anno  1703.     Di  Francesco  Silvani  .  .  . 
Venezia,  Gio.  Battista  Zuccato,  1703.     72  p.     15*^ 


tcm 


Three  acts.  Dedication  signed  by  the  author,  Francesco  Silvani,  and  dated 
Venice,  November  6,  1703,  argument,  notice  to  the  reader  with  name  of  Carlo  Fran- 
cesco Gasparini  as  the  composer,  cast,  and  scenario.  Schatz  3572 

Das  milchmaedchen  und  die  beiden  jaeger.  Tr.  of  Duni's  Les 
deux  chasseurs  et  la  laitiere. 

Das  milchmaedgeii  und  die  zween  jaeger.  Tr.  of  Duni's  Les 
deux  chasseurs  et  la  laitiere. 

Die  mildigkeit  des  Titus.     Tr.  of  Jommelli's  La  clemenza  di  Tito. 

The  Milesian,  a  comic  opera.  In  two  acts.  As  it  is  performed  at 
the  Theatre-Royal  in  Drury-Lane. 

London,  J,  Willie,  1777.     1  p.  l,  U  V-    ^^'"'• 

Cast.     Neither  the  author,  Isaac  Jackman,  is  mentioned,  nor  the  composer,  Thomas 
Carter. 
•     First  performed  March  20,  1777,  as  indicated.  Longe  86 

Le  milicien,  com6die  en  un  acte,  meslee  d'ariettes,  par  M.  Anseaume. 
La  musique  de  M.  Dun5^.  Representee  pour  la  premiere  fois  a  Ver- 
sailles devant  Leurs  Majestes,ie  29  Decembre  1762,  &  k  Paris  surle 
Theatre  de  la  Comedie  italienne  le  1  Janvier  1763. 

Bruxelles,  Pierre  Paupie,  1763.     48  p.     W^"^.  Schatz  2848 

—  Le  milicien,  comedie  en  un  acte,  mesl6e  d'ariettes,  par  M. 
Anseaume,  representee  pour  la  premiere  fois  a  Versailles  devant  Leurs 
Majestes,  le  29  decembre  1762,  &  k  Paris  sur  le  Theatre  de  la  Comedie 
italienne  le  1  Janvier  1763. 

Paris,  la  veuve  Duchesne,  177 4.     47  p.     19*^^. 

Duni,  the  composer,  is  not  mentioned.  Schatz  11697 

—  Der  militz  oder  Die  laecherliche  werbung,  ein  singspiel  in  einem 
aufzuge  aus  dem  franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1775.  84  p.,  7  p. 
(folded  dated  mu^c) .     W^^. 

German  version  by  Johann  Heinrich  Faber. 

The  musical  supplement  contains  the  arias  (voice  and  baas):  "1st  die  liebe  ver- 
gniigt"  ["Quand  I'amour  est  content"],  p.  1-3;  "Vogeln  landeln  und  spielen"  ["Ces 
oiseaux  de  passage"],  p.  4-7.  Schatz  2849 

First  performed  at  Frankfurt  a/M,  Theater  im  Junghof,  1772. 

II  militare  amante.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobil  Teatro  delle  Dame  il  carnevale  dell'  anno  1781  .  .  . 

Roma,  Pucdnelli,  n.  d.     72  p.     15^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  me.  Cast,  scenario,  prefa- 
tory note  and  name  of  Francesco  Piticchio  as  the  composer.  On  p.  36-41  cast,  argu- 
ment, description  (music  "tutta  nuova"  by  Mattia  Stabingher)  of  Domenico  Ricci- 
ardi's  "II  trionio  di  Aleesandro  o  sia  La  prigionia  di  Dario."  ML  50.2.M66P4 


762  LIBRABY  OF  CONGRESS 

II  mill  tare  bizzaro.  Drarama  ^iocoso  per  musica  in  due  atti  com- 
posto  da  Tommaso  Grandi  detto  il  pettinaro  comico.  Da  rappresen- 
tarsi  in  Venezia  nel  nqbile  Teatro  di  San  Samuele  il  carnovale  dell' 
anno  1778. 

Venezia,  Modesto  Fenzo,  1778.     62  p.     16^"^- 

Two  acts.  Cast,  scenario,  and  name  of  Giuseppe  Sarti  as  the  composer.  On 
p.  37  ailment  without  name  of  the  composer  of  the  music  of  Giuseppe  Fabiani'a 
I  prodigi  d'amore,  favola  pastorale,  ballo  pantomimo." 

First  performed,  as  indicated,  December  27,  1777.  Schatz  9448 

Der  militz  oder  Die  laecherliche  werbung.     Tr.  of  Duni's  Le  milicien. 

La  milorda.  Chelleta  per  museca,  da  rappresentarese  "k  lo  Triato 
nuovo  ncoppa  Toleto  nchisto  viemo  de  st'  anno  1728  .  .  . 

Napoli,  Agnolo  Vocola,  n.  d.     52  p.     l^Y^- 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, notice  to  the  reader,  cast,  and  name  of  Peppo  [Giuseppe]  de  Ma  jo  as  com- 
poser. Schatz  5863 

Mil  ton  und  Elmire,  ein  singspiel  in  einem  aufzuge.  Von  einem 
jungen  cavalier  verfertiget. 

Frankfurt  und  Leipzig,  Johann  Georg  Fleischer,  1775.    Jfi  p.     17'^'^. 

By  H.,  graf  von  Spaur. 

First  performed  with  music  by  Joseph  Michl  at  Frankfurt  a/M,  Schaiispielhaus  i. 
Junghofe,  1773.  Schatz  6486 

—  Milton  und  Elmire  eine  original-oper,  in  zween  auf  zuegen.  Auf- 
gefuehrt  von  der  Seipp  und  Bullaischen  gesellschaft  der  deutschen 
schauspieler  auf  dem  alLhiesigen  opernhause. 

Augsburg,  n.  pull.,  1780.     J^O  p.     17^"^. 

The  same  text  as  above,  but  retouched  by  Wilhehn  Friedrich  Hermann  Rein- 
wald  (Schatz).    Michl  is  not  mentioned. 

First  performed  at  Meiningen,  Hoftheater,  1776.  Schatz  6487 

—  Arien  aus  Milton  und  Elmire,  eine  original-oper  in  zwei  auf- 
zuegen  aufgefuehrt  von  der  Rossnerischen  gesellschaft  deutscher 
schauspieler.  Die  musik  ist  von  dem  beruehmten  herm  Michel  in 
Muencnen. 

n.i.,1782.      16  p.      16i<^.  Schatz  6487a 

Milziade.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  k  SS.  Gio.  e  Paulo  il  camevale  dell  anno  MDCXCIX. 
Del  dottor  Lotto  Lotti  .  .  . 

Venetia,  Girolamo  Albrizzi,  1699.     60  p.     14'^^. 

Three  acts.  Author's  dedication  dated  Venice,  February  24,  1699,  argument, 
scenario,  and  notice  to  the  reader  with  the  name  of  Giovanni  Maria  Ruggeri  as  the 
composer.  Schatz  9140 

Minervens  ankunft  bey  den  Musen.  Ein  analogisches  singspiel 
von  F.  G.  V.  Nessehode.  Die  musik  ist  von  herrn  raul  Kirzmger, 
Aufgefuehrt  auf  dem  fuerstlich  Taxischen  Theater  in  Eegensburg. 
1780. 

[Regenshurg],  Im  Montagischen  huchladen,  n.  d.     23  p.     16'^^. 

Schatz  5340 

De  minnaer  standbeeld.     Tr.  of  Dalayrac's  L'amant  statue. 


OPERA  LIBRETTOS  763 

MirLona  oder  Die  Angelsachsen.     Ein  tragisches  melodrama  in  vier 
akten.     Die  musik  vom  herrn  kapellmeister  J.  A.  P.  Schulz. 
Hamburg,  Benjamin  Gottlob  Hoffmann,  1785.     190,  [1]  p. 

By  Heinrich  Wilhelm  von  Gerstenbei^  (not  naentioned)  whose  "  Erlaeuterungen 
und  anmerkimgen  "  on  p.  169-190.  Schatz  9724 

Minosse  re  di  Creta  o  sia  La  fuga  d'Ariamia  e  di  Fedra,  ballet. 
See  Martin  y  Soler's  In  amor  ci  vuol  destrezza. 

Intermedi  pMirena  e  Floro]  cantati  dalli  Signori  Livia  Constantini 
detta  Polacchina  e  Lucretio  Borsari  .  .  .  Traduction  des  intermedes 
italiens  en  franpois  .  .  . 

Dresde,   Jean  Riedel,    &    Jean   Conrad  Stossel,   1718.      Unpaged. 

The  three  intermezzi,  whose  title  appears  in  caption,  form  on  appendix  to  the 
libretto  of  Lotti's  opera  "Gl'  odi  delusi  dal  sangue,"  Dresda,  1718.  The  author  of 
the  intermezzi  is  unknown  and  the  composers,  Carlo  Francesco  Gaspaxini  and  Gio- 
vanni Battista  Bononcini,  are  not  mentioned. 

First  performed  at  Naples,  Teatro  di  S.  Bartolomeo,  1699.  Schatz  5707 

The  mirror;  or,  Harlequin  everywhere.     A  pantomimical  bm-letta, 
in  three  parts.     As  it  is  performed  at  the  Theatre-Royal  in  Co  vent- 
Garden. 
London,  G.  Kearsley,  1779.    2  p.  I.  (incl.  front),  39  p.    21^^"^. 

Cast.     The  author-composer,  Charles  Dibdin,  is  not  mentioned. 

First  performed,  as  indicated,  November  30,  1779.  Longe  102 

Mirsa,  ballet  en  action,  par  M.  Gardel.     Represents  sur  le  ThS^tre 
de  L' Academic  de  musique,  le  jeudi  8  novembre  1779. 
Paris,  chez  les  marchands  de  pieces  de  thedtre,  1779.     10,  [1]  p. 

20^"^. 

Three  acts.  Cast.  Act  by  act  synopsis  of  the  plot.  Composer  of  the  music  not 
recorded  by  Lajarte,  who  rectifies  the  error  that  the  plot  of  this  ballet  had  anything 
to  do  with  our  war  for  independence.  ML  52.2.M4 

Mirtil,  pastorale  en  musique,  om6e  de  ballets;  repr&entSe  par  les 
pensionnaires  dans  les  Plaisirs  du  roy. 

Dresden,  Joan  Conrad  Stossel,  1721.      Unpaged.     20^'^. 

One  act.    The  Avertissement  reads: 

"Les  vers  &  la  mueique  de  cette  petite  pastorale  ont  ^te  composez  en  moins  d'une 
semaine:  ainsi  on  peut  dire,  que  c'est  un  impromptu  de  poesie  &  de  musique.    La 

Sromptitude,  sur  tout,  du  maitre  de  musique,  n'est  pas  ordmaire;  car  quoyqu'il  y  ait 
ans  ce  divertissement,  plus  de  travail  que  dans  deux  actes  d'un  opera  frangois,  il  n'a 
employ^  que  quatre  jours  k  le  mettre  en  musique.  Et  voila  ce  que  fait  Ten  vie  d'ob^iir, 
&  de  plaire  ^  un  grand  roy,  ^  un  bon  maitre.  On  a  insert  dans  cette  petite  piece  tout 
ce  que  Ton  a  cru  de  plus  propre  k  exercer  le  talent  d'un  maitre  de  musique;  &  le  Sieur 
[Louis]  Andre  qui  a  ^t6  recu,  depuis  peu,  au  service  de  Sa  Majeste,  I'a  souhaitt^  ainsi, 
pour  avoir  occasion  de  faire  connoitre  son  genie.  Les  vers  sont  du  Sieur  Poisson.  La 
musique  est  du  Sietxr  Andr6.    Les  ballets  sont  du  Sieur  Debargues." 

First  performed,  as  indicated,  February  23,  1721.  ML  50.2.M67A5 

Mirzele.     See  Mondonville's  Les  projets  de  I'amour. 

II  misantropo  o  sia  II  peter  delle  donne,  ballet.  See  Cimarosa's 
Giunio  Bruto. 


764  LIBRARY  OF   CONGRESS 

Miss  Lucy  in  town.     A  sequel  to  The  virgin  unmasqued.     A  farce; 
with  songs.     As  it  is  acted  at  the  Theatre-Royal  in  Drury-Lane,  by 
His  Majesty's  servants. 
London,  A.  Millar,  1742.'    2  p.  I,  44  p.     20^"^. 

One  act.  Ballad  farce.  Caet  and  table  of  the  ei^ht  songs,  the  aire  of  which  are 
not  indicated.     By  Henry  Fielding,  who  is  not  mentioned. 

First  performed  May  5,  1742,  as  indicated.  ML  50.5. M4 

Der  misslungene  braut-wechsel  oder  Richardiis  I,  koenig  von 
England.     Tr.  of  Handel's  Riccardo  I  re  d'lnghilterra. 

Mistevojus.  [vignette]  In  einem  sing-spiele  auf  dem  Hambur- 
gischen  Schau-platze  vorgestellet  im  jahr  1726. 

[Hamhurg],  Stromerische  scJirifften,  n.  d.      Unpaged.     19*^^. 

Five  acts.  Cast,  scenario,  and  "avertiesement,  which  reads,  in  part: 
*' Wenn  der  herr  verfasser  dieser  opera  gegenwaertig  und  nicht  in  einer  ruehmlichen 
bedienung  abweeend  waere,  wuerde  er  ohne  zweifel  in  einer  gelehrten  vorrede  den 
innhalt  der  gantzen  geschichte  auf  das  umstaendlichste  angezeigt  haben  ,  .  .  Man 
ist  in  allem  dem  hn.  verfasser  nachgegangen,  ohne  dass  man  hie  und  da  einige  italiaen- 
ische  arien  eingeschoben  und  im  5ten  acte  die  mit  astericis  bezeichnete  worte,  zur 
introduction  des  noch  nie  in  solcher  voUkommenheit  gesehenen  prospects  der  Stadt 
Hamburg,  von  J.  P.  P.  [Johann  Philipp  Praetorius]  inserirt  worden  .  .  .  Die  vor- 
treffliche  music  ausser  etlichen  wenigen  arien,  ist  von  .  .  .  Reinhard  Kaeyser 
[Keiser].     Die  poesie  ist  von  dem  herm  [Johann  Samuel]  Miiller  ..." 

He  based  it  on  Zeno  and  Pariati's  "Antioco."  Schatz  5103 

Mit  dem  glockenschlag :    zwoelf!  ernsthafte    operette  in  drey 
akten  .  .  . 
Anspach,  Haueisen,  1781.     80  p.     16^"^. 

Neither  the  author,  freiherr  Soden  von  Saesanfart,  nor  the  composer,  Nicolaus 
Muhle,  is  mentioned.  Schatz  6871 

Mithridates.     Tr.  of  Graun's  Mitridate. 

Mitridate. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744j  i-  ^;  V-  [95]-196.  p. 

Four  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo,"  at  end  of  t.  x,  date  and  place  of  ftret  ed.  are  given  as  Vienna,  1728.  {See 
below.)  ML  49.A2Z3 

—  Mitridate.     Pubblicato  per  la  prima  volta  in  Vienna  1728. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  vii,  p.  153— 
248.    21'='". 

Five  acts  and  licenza.    Argument.     No  composer  is  mentioned.       ML  49.A2Z4 

Mitridate.  Dramma  per  musica,  da  rappresentarsi  nella  Cesarea 
corte  per  il  nome  gloriosissimo  della  Sac.  Ces.  e  Catt.  Real  Maestk 
Carlo  VI  .  .  .  Uanno  MDCCXXVIII.  La  poesia  h  del  Sig. 
Apostolo  Zeno  ...     La  musica  e  del  Sig.  Antonio  Caldara  .  .  . 

Vienna  d' Austria,  Gio.Pietro  van  Ghelen,n.d.     4P-^-,  ^^  P-     16^'="*. 

Five  acts,  with  licenza.  Ar^ment  and  scenario.  Niccola  Matteis  is  mentioned  aa 
the  composer  of  the  ballet  music. 

First  performed,  as  indicated,  November  4,  1728.  Schatz  1494 


OPERA   LIBRETTOS  765 

Mitridate.  Dramma  per  miisica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  camevale  dell'  anno 
MDCCXXX  ... 

Venezia,  Carlo  Buonarigo,  n.  d.     72  p.     14V^- 

Five  acts.  By  Apostolo  Zeno,  with  indicated  alterations  "di  pochissime  arie." 
Impresario's  dedication,  notice  to  the  reader,  cast,  scenario,  argument,  and  name  of 
Giovanni  Antonio  Giai  as  the  composer.  Schatz  3815 

Mitridate.  Tragedia  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Berlino  .  .  . 

Berlino,  Haude  e  Spener,  1750.     95  p.     17^'^. 

Three  acts.  Leopold©  de  Villati  is  mentioned  as  the  author,  and  Carl  Heinrich 
Graun  as  the  composer.  Argument  and  scenario.  German  title  page,  "Mithridates," 
and  text  face  Italian. 

First  performed,  afl  indicated,  Friday,  January  1,  1751  (Schatz);  December,  1750 
(Mennicke).  Schatz  4106 

—  Mitridate.  Opera.  Representee  devant  Sa  Majeste  a  Berlin, 
le  1  Janvier  1751. 

Berlin,  Ediennede  Bourdeaux,  1751.     30  p.     W^"^. 

Three  acts.    Argument,  scenario,  and  names  of  Villati  and  Graun.     Schatz  4107 

Mitridate.  Drama  per  musica  di  Filippo  Vanstrjrp  da  recitarsi 
nella  Sala  degl'  illustrissimi  Signori  Capranica  nel  camevale  dell' 
anno  1730  .  .  . 

Roma,  Antonio  de'  Rossi,  n.  d.     72  p.     W^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of 
Nicole  Antonio  Porpora  as  the  composer.  Schatz  8373 

Mitridate  a  Sinope.  Dramma  per  musica  da  rappresentarsi  in 
Firenze  nel  Regio  Teatro  degl'  Intrepidi  detto  della  ralla  a  corda 
dai  fondamenti  eretto,  ed  aperto  per  la  prima  volta  nell'  autunno  del 
1779  ... 

[Firenze],  Anton  Giusep.  Pagani,  n.  d.     6  p.  I.,  50  p.     IS^'^. 

Three  acts.  Dedication,  argument,  cast,  and  name  of  Giuseppe  Sarti  as  composer. 
The  author  is  not  mentioned,  and  is  unknown  to  Schatz.  At  end,  no  substitute  arias 
in  this,  the  obviously  first  edition  of  the  next  entry,  and,  like  this,  giving  details  about 
the  ballet,  "II  Meleagro."  ML  48. A5    v.  30 

—  Mitridate  a  Sinope.  Dramma  per  musica  da  rappresentarsi  in 
Firenze  nel  Regio  Teatro  degl'  Intrepidi  detto  della  Paila  a  corda  dai 
fondamenti  eretto,  ed  aperto  per  la  prima  volta  nell'  autunno  del 
1779  ... 

[Firenze],  Anton.  Giusep.  Pagani,  n.  d.     7  p.  I.  (incl.  front.) ,  52  p. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Dedication,  argu- 
ment, cast,  name  of  Giuseppe  Sarti  as  composer,  and  prologue-poem.  On  p.  51-^2, 
the  substitute  arias,  "Lasciami  in  abbandono"  (I,  5),  "Se  oppresso  I'indegno"  (I,  6), 
and  "In  un  mar  di  tante  pene"  (III,  7).  On  p.  1.  4-5,  argument  and  name  of  Luigi 
Marescalchi  as  composer  of  the  music  ("sara  tutta  nuova")  of  Onorato  Vigan6's  ballet, 
"11  Meleagro."  Schatz  9449 

II  Mitridate  Eupatore.  Tragedia  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  I'anno  1707  .  .  . 

Veneda,  Marino  Rossetti,  1707.     84  p.     HY'^- 

Five  acts.  Dedication  by  the  author,  conte  Girolamo  Frigimelica  Roberti,  argu- 
ment, cast,  scenario,  notice  to  the  reader,  and  name  of  Alessandro  Scarlatti  as  the 
composer.  Schatz  9524 


766  LIBRARY   OF   CONGRESS 

Mitridate  in  Sebastia.  Dramma  per  musica  da  rappresentarsi  in 
Firenze  nel  camevale  del  1704. 

Firenze,  Vincenzio  Vangelisti,  n.  d.     70  p.     15^. 

Three  acts.  Argument,  cast,  and  scenario.  Neither  the  author,  Giacomo  Maggi, 
Is  mentioned,  nor  tlie  composer,  Giuseppe  Antonio  Vincenzo  Aldrovandini. 

First  performed  at  Genoa,  fall  of  1701,  at  the  Teatro  del  Falcone.        Schatz  139 

Mitridate  re  di  Ponto,  dramma  per  musica  da  rappresentarsi  nel 
Regie  Teatro  di  Torino  nel  carnovale  del  1767.  Alia  presenza  di 
S.  S.  R.  M. 

Torino,  Onorato  Derossi,  n.  d.     viii,  63,  [1]  p.     W^. 

Three  acts.  At^ment,  cast,  scenario,  and  names  of  the  author,  Vittorio  Amedeo 
Cigna-Santi,  and  of  the  composer,  Quirico  Gasparini.  Schatz  3604 

Mitridate  re  di  Ponto  vincitor  di  se  stesso.     Drama  da  cantarsi 
nel  celebre  Teatro  Grimani  in  S.  Gio.  Grisostomo.     Nel  camoval^ 
MDCCXXIII  di  Merindo  Fesanio  Past.  Arc. 
Venezia,  Marino  Rossetti,  1723.    63  p.     16^"^. 

Three  acts.  By  Benedetto  Pasqualigo.  Argument,  cast,  scenario,  and  name  of 
the  composer,  Giovanni  Maria  Capello.  Schatz  1592 

Le  Mitron  et  la  Mitronne,  on  Les  amours  de  Gonesse,  comedie  en 
nn  acte,  mesl6e  d'ariettes,  par  Mrs.     *     *     *     Representee  pour  la 
premiere  fois,  par  les  Com6diens  italiens  ordinaires  du  roi,  le  8  mai 
1765. 
Paris,  Duchesne,  1765.     30  p.     W""^. 

Neither  the  author  (unknown  to  Schatz)  is  mentioned,  nor  the  composer,  Jean  Ben- 
jamin de  La  Borde.  Schatz  5349 

The  mock  doctor :  or,  The  dumb  lady  cur'd.     A  comedy  done  from 
Moliere.     As  it  is  acted  at  the  Theatre  Royal  in  Drury-Lane,  by  His 
Majesty's  servants.     With  the  musick  prefix'd  to  each  song.     The 
fourth  edition,  with  additional  songs  ana  alterations. 
London,  J.  Watts,  1753.     3  p.  I,  33,  [1]  p.     20'^^. 

One  act  and  epilogue.  Ballad  opera,  in  which  airs  v  ("O  cursed  power  of  gold"), 
vii  ("Thus,  lovely  patient"),  and  viii  ("If  you  hope  by  your  skill")  were  "set  by  Mr. 
Seedo."  Cast,  dedication,  and  preface,  in  which  Henry  Fielding  (not  mentioned) 
says: 

"Le  Medidn  malgri  lui  of  Molifere  hath  been  always  esteemed  in  France  the  best  of 
that  author's  humorous  pieces  .  .  .  The  English  theatre  owes  this  farce  to  an  accident 
not  unlike  that  which  gave  it  to  the  French.  And  I  wish  I  had  been  as  able  to  preserve 
the  spirit  of  Moliere,  as  I  have,  in  translating  it,  fallen  short  even  of  that  very  little 
time  ne  allowed  himself  in  writing  it  .  .  . 

"One  pleasure  I  enjoy  from  the  success  of  this  piece,  is  a  prospect  of  transplanting 
successfully  some  others  of  Molifere  of  great  value.  How  I  have  done  this,  any  English 
reader  may  be  satisfy'd  by  examining  an  exact  literal  translation  of  the  Medecin  malgri 
lui,  which  is  the  second  in  the  second  volume  of  Select  comedies  of  Moliere,  just  pub- 
lished by  John  Watts." 

The  preface  is  followed  by  cast  and  table  of  the  nine  songs. 

First  performed  at  Drury-Lane,  September  8,  1732.  ML  50.5.M58 

—  The  mock  doctor:,  or,  The  dumb  lady  cur'd.  A  comedy.  Done 
from  Moliere.  As  it  is  acted  at  the  Theatre-Royal  in  Drury-Lane. 
By  His  Majesty's  servants.  With  the  musick  prefix'd  to  each  song. 
A  new  ed.     With  additional  songs  and  alterations. 

London,  A.  MiUar,  1761.     3  p.  I.,  31,  [1]  p.     19^"^. 

Oonteats  appear  to  be  practically  identical  with  the  1753  ed.  MD  50.5.M6 


OPERA   LIBRETTOS  767 

The  mock  doctor — Continued. 

—  The  mock  doctor  or,  The  dumb  lady  cur'd.     In  two  acts.     By 

Henry  Fielding,  Esq. 

[135\-161  p.  19'^'^.  {Collection  of  tke  most  esteemed  farces  and 
entertainments,  t.  I,  Edinburgh,  1792.) 

Original  Drury-Lane  and  Edinburgh  casts.  Ballad  opera.  The  airs,  "O  cursed 
power  of  gold  "  and  "If  you  hope  by  your  skill,"  were  "set  by  Mr.  Seedo." 

ScHATz  11753A 

The  mock  governor.     A.  T.  of  Sancho  at  court. 

The  miock  lawyer.  As  it  is  acted  at  the  Theatre  Royal  in  Covent 
Garden.  Written  by  Mr.  Phillips  ...  To  which  is  added,  the 
musick  engraved  on  copper  plates. 

London,  T.  Astley,  n.  d.     2  p.  I.,  32  p.,  8  p.  {music).     16'^'^. 

One  act.  Cast.  Ballad  opera,  the  airs  of  the  20  songs  being  indicated  in  the  text 
by  title,  and  the  airs  engraved  in  supplement  without  titles. 

First  performed  at  Covent  Garden,  London,  April  27,  1733.  Longe  73 

The   m.ock-tempest :    or,   The   enchanted   castle.     Acted   at   tKe 
Theatre  Royal.     Written  by  T.  Duffett  .  .  . 
London,  William  Cademan,  1675.    3  p.  I.,  56  p.     20^'^. 

Five  acts  with  introduction,  prologue,  and  epilogue.  Freely  interspersed  with 
Bongs,  etc.    Written  as  a  parody  of  Dryden's  "Tempest."  Longe  194 

La  moda.     Dramma  giocoso  per  musica.     Da  rappresentarsi  nel 
Teatro  Giustiniani  di  San  Moise.     11  carnovale  dell'  anno  1754. 
Venezia,  Modesto  Fenzo,  175^.     48  p.     15*^^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Ferdlnando  Giuseppe  Ber- 
toni  as  composer.    The  librettist,  Domenico  Benedetti,  is  not  mentioned. 

SCHATZ  922 

La  moda.  Dramma  giocoso  per  musica  di  Pietro  Cipretti  A.  P. 
Fiorentino,  Accademico  Appatista  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  Moisd  il  carnovale  deU'  anno  MDCCLXIX. 

Venezia,  Modesto  Fenzo,  1769.     59  p.     15""^. 

Three  acta.    Cast,  scenario,  and  name  of  the  composer,  Antonio  Boroni. 

ScHATZ  1249 

Die  m.ode,  oder  Die  haeuslichen  zwistigkeitep,  ein  lustiges  singspiel, 
aufgefuehret  auf  den  privile^irten  schaubuehnen  der  Kaiserl.  koenigl. 
haupt-  und  residenzstadt  Wien  im  jahre  1771. 

Wien,  Gedruckt  mit  von  GhelenscJien  schriften.     59  p.     17'^™. 

Three  acts.  Scenario  and  note:  "Die  musik  ist  von  verschiedenen  meistem, 
vorzueglich  aber  von  herm  Anton  Salini"  [!  instead  of  Salieri].  The  original  Italian 
text,  "La  moda,  ossia  I  scompigli  domestici,"  is  by  Pietro  Cipretti,  who  is  not  men- 
tioned. ScHATz  9337 

Modem  fine  lady.     A.  T.  of  The  female  rake. 

Modem  gallantry.     A.  T.  of  The  humours  of  the  court. 

Modern  honour;  or,  The  barber  duellist.  A  comic  opera  in  two 
acts.  As  it  is  now  performing  with  great  applause,  at  the  Theatre 
Royal,  in  Smock- Alley,  Dublin.     Written  by  a  gentleman  of  that  city. 

London,  J.  Williams,  1776.     iv,  [3],  10-33,  [1]  p.    21'"^. 

Prologue,  cast,  dedication  dated  Dublin,  November  23,  1775,  and  prefatory  note, 
in  which  this  is  called  a  "first  attempt."    Composer  not  recorded  by  Schatz. 

LONOE  251 


768  LIBRARY   OF   CONGRESS 

La  modista  ossia  La  scufiiaja.  L.  T.  of  Paisiello's  La  modista  rag- 
giratrice. 

La  modista  raggia trice.     Commedia  per  mucia  da  rappresentarsi 
nel  Teatro  de'  Fiorentini  per  terz'  opera  di  quest'  anno  1787. 
Na'poli,  n.  puhl,  1787.     59  p.     16^"^. 

Three  acte.  By  Giambattista  Lorenzi,  who  is  not  mentioned.  Cast  and  name  of 
PEiisiello  aa  the  composer.  Schatz  7642 

—  La  modista  ossia  La  scufFiaja,  dramma  giocoso  per  musica.  Da 
rappresentarsi  il  carnovale  del  1790  nel  Teatro  del  nob.  Signor  Filippo 
de  Bandeu  in  Gorizia  .  .  . 

Gorizia,  Valerio  de'  Voter j  ejigli,  n.  d.     2  p.  I.,  53  p^     17'^^. 

A  condensation  of  Lorenzi 's  text  by  suppressing  the  two  scenes  of  the  original 
third  act  and  by  substituting  as  scene  xiii  of  the  second  act  "Incomincio  a  sperar" 
and  as  scene  xiv  (the  last)  "N^  Cicotto?  dove  andiamo,"  both  of  which  are  not  in 
the  original.  Cast  and  impresario's  dedication  dated  Gorizia,  January  29,  1790. 
Paisiello  is  not  mentioned.  Schatz  7643 

Les  m.oeurs  du  bon  vieux  temps.  A.  T.  of  Gr^try's  Aucassin  et 
Nicolette. 

La  moglie  bizzarra.     L.  T.  of  Galuppi's  L'amante  di  tutte. 

La  moglie  capricciosa.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  pull,  1786.     159  p.     15^"^. 

Two  acts.  By  Filippo  Li\'igni.  Giuseppe  Gazzaniga  is  mentioned  as  the  com- 
poser.    German  title  page,  "Die  eigensinnige  ehefrau,"  and  text  face  Italian. 

First  performed,  as  indicated,  March  18,  1786;  at  Venice,  Teatro  di  S.  Mois^,  fall 
of  1785.  Schatz  3672 

—  La  moglie  capricciosa.  Intermezzo  a  sei  voci  da  rappresentarsi 
in  Firenze  nel  K.  Teatro  degl'  Infuocati  posto  in  via  del  Cocomero  nel 
carnevale  dell'  anno  1792  .  .  . 

Firenze,  Ant.  Gius.  Pagani  e  comp.,  1791.     55  p.     16 Y'^ • 
Two  acta.     Cast  and  name  of  Giuseppe  Gazzaniga  as  composer.     Livigni  is  not 
mentioned.  ML  48. A5    v.24 

—  La  m.oglie  capricciosa.  Opera  buffa  in  musica  da  rappresen- 
tarsi nel  Teatro  dei  nobili  Signori  fratelli  Prini  di  Pisa  nel  carnevale 
dell'  anno  1795. 

Pisa,  Francesco  Pieraccini,  1795.     16^^. 
Incomplete.    Lacks  the  pages  after  p.  32. 

Two  acts.  By  Filippo  Livigni,  who  is  not  mentioned.  Cast  and  name  of  Giuseppe 
Gazzaniga  as  the  composer.  Schatz  3671 

—  A  mulher  caprichosa.  Drama  jocoso  em  musica  para  se  repre- 
sentar  no  Theatro  da  rua  dos  Condes  no  estio  do  anno  de  1791. 

Lishoa,  Simao-Thaddeo  Ferreira,  1791.     179  p.     14^"^. 

Two  acts.  ■  By  Filippo  Livigni,  who  is  not  mentioned.  Portuguese  text  faces 
Italian.     Cast  and  name  of  Giuseppe  Gazzaniga  as  the  composer.        Schatz  3678 

La  m.oglie  di  spirito.     A.  T.  of  the  ballet  D  marito  umiliato. 


OPERA   LIBRETTOS  769 

La   moglie   nemica.     Drama   per   musica   da   rappresentarsi   nel 

Teatro   Vendramino   di  S.  Salvatore,  V  anno    1694.     Di  Francesco 

Silvani  .  .  . 

Venetia,  Nicolini,  1694.    front.,  64  p.     HY"^.  ^ 

Three  acts.    Author's  dedication  dated  Venice,  January  10,  1694,  argument,  and 

Bcenario.    The  compoeer,  Marc'  Antonio  Ziani,  is  not  mentioned.      Schatz  11203 

La  moglie  padrona.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi ne'  Teatri  privilegiati  di  Vienna.     L'anno  1768. 
Vienna,  Ghelen,  n.  d.     88  p.     16*^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Scenario  and  name 
of  Giuseppe  Scarlatti  as  the  composer.  Schatz  9559 

La  moglie  virtuosa,  ballet.     See  Cristiani's  La  cittk  nuova. 

La  mogliere  fedele.  Commeddea  pe  mmuseca  da  rappresentarese  a 
lo  Teatro  Nuovo  ncoppa  Monte  Cravaneo  nchist'  autunno  dell'  anno 
corrente  1731  .  .  . 

Napole,  A  spese  de  li  impressarie,  1731.    60  p.     Id*^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, argument,  cast,  and  note  to  the  effect  that  the  music  is  by  Leonardo  Vinci, 
except  all  the  recitatives  and  certain  indicated  arias,  which  were  by  Giuseppe  Sel- 
lltti.  These  arias  are  "Quanta  furie  scatenate"  (1, 10),  "Non  serve  cchiu  a  penzare" 
(II,  13),  "E'no  Bcuoglio  chisto  core  "  (III,  10).    At  the  end  of  the  libretto  is  this  note: 

"  Neir  atto  primo  Sc.  xii  noagno  de  I'area  *  Fr^  le  sciure, '  etc.  se  p6  dicere  la  seguente 
aria  posta  mmuseca  da  lo  Sio  Angelo  Antonio  Trojano,  'Se  chisto  affrittocore'  .  .  . 
Pulh  che  ritrovi  in  qualche  margine,  h  il  Sig.  Pietro  Pulli  famosiseimo  eonatore  di 
arceliuti  e  contrapontisto." 

This  remark  applies  to  the  arias  "Povera  pecorella"  (I,  6),  "So  n'astritto  reec^- 
nuolo"  (I,  17),  "Chi  cade  dint'  all'  acqua"  (II,  2),  "Non  si  stracqus  turco  cano"  (II, 
15),  "Me  conzola  no  penziero"  (III,  2),  "Che  d'fe  chesto?  che  m'e  dato?"  (Ill,  4). 
Even  therewith  the  pasticcio  character  of  the  opera  is  not  exhausted  because  the 
aria  "E  n'ancunia  sto  core"  has  in  margin  Leonardo  Leo's  name.       Schatz  10755 

Der  mohr.     Tr.  of  Salieri's  II  moro. 

Les  m.oissoiiiieurs,  comedie  en  trois  actes,  melee  d'ariettes.  Repre- 
sentee pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du 
roi,  le  27  Janvier  1768.     Par  M.  Favart.     La  musique  est  de  M.  Duni. 

Paris,  la  veuve  Duchesne,  1768.     61  p.     19*^. 

With  Favart' 8  dedication  and  "Avertissement."  No  cast  and  no  muMc  printed 
in  the  text.  Schatz  2850 

—  Les  moissonneurs,  comedie  en  trois  actes  et  en  vers,  mesl^e 
d'ariettes  ,  .  .  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  27  Janvier  1768.  Par  M.  Favart.  La 
musique  est  de  M.  Duni. 

Paris,  la  veuve  Duchesne,  1768.  91,  [4]  p.  3  pi.  W"*.  (Theatre 
de  M.  Favart,  Paris,  Duchesne,  1763-77,  t.  x.) 

Cast.  On  p.  89-90  the  "Vaudeville.  Rustant  et  Nicole"  ("Des  biens  que  votre 
main").  The  [4]  p.  "Catalogue  g^n^ral  dts  theatres"  and  a  list  of  "Pieces  a  ariettes 
et  vaudevilles"  arranged  by  title.  Text  preceded  by  same  dedication  and  aver- 
tissement.   Font  claims  that  Voisemon  retouched  the  text.  ML  49.A2F1 

—  Die  schnitter.  Ein  schauspiel  in  drey  aufzuegen  mit  arietten 
aus  dem  franzoesischen  des  lu-n.  Favart  uebersetzt  von  Johann 
Heinrich  Faber  .  .  . 

Frankfurt  am  Mayn,  Johann  Georg  Esslinger,  n.  d.     88  p.     17 '^^. 

72251°— VOL  1—14 49 


770  LIBRARY  OF   CONGRESS 

Les  moissonneurs — Continued. 

The  text  ie  preceded  by  Faber's  rebuttal  (dated  Mayence,  Majr  20,  1769)  of  a 
violent  criticism  of  his  tragedy  "Inkle  und  Yariko"  and  a  "Vorbericht,"  in  which 
he  expresses  in  vigorous  terms  his  contempt  for  critics  in  general  and  a  certain  Schmidt 
in  particular.  This  edition  of  Faber's  translation  evidently  was  issued  previous  to 
its  first  performance  in  1771,  noted  below.  ML  50.2.M75D94 

—  Die  schnitter,  ein  singspiel  in  drey  aufzuegen  aus  dem  franzoe- 
sischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreadschen  schriften,  1772.  110  p.,  8 
p.  {folded  dated  music).     16^^. 

German  version  by  Johann  Heinrich  Faber  (not  mentioned).     With  cast. 

The  musical  supplement  contains  the  arias  (voice  and  bass):  "O!  wie  schon  sind 
doch"  ["Que  Roueme  est  touchante "],  p.  1-3;  "O!  wie  erfreut  die  erndte-zeit"  [O 
le  bon  temps  que  la  moieeon],  p.  3-4;  "Ich  geh  gem  jeden  morgen"  ["Ma  d-marche 
est  l^gerel,  p.  4-7;  "Candom  soil  der  Himmel  schonen"  ["Mon  coeur  jouit  d'un  bien 
supreme  ],  p.  7-8.  Schatz  2851 

First  performed  at  Frankfurt  a/M,  Theater  im  Junghof,  1771. 

II  molaforbici.  Commedia  per  musica  di  Giuseppe  Palomba  da 
rappresentarsi  nel  Teatro  nuovo  sopra  Toledo  per  prim'  opera  di 
quest'  anno  1782. 

Napoli,  n.  publ.,  1782.    55  p.     15^'^'^. 

Three  acts.    Cast  and  name  of  Gaetano  Monti  as  the  composer.       Schatz  6602 

Os  moleiros.     Tr  of  Paer's  I  molinari. 

La  molinara.  Dramma  giocoso  per  musica  di  Filippo  Livigni  da 
rappresentarsi  nel  nobile  Teatro  di  San  Samuele  il  camovale  dell' 
anno  1778. 

Vmezia,  Modesto  Fenzo,  1778.     52  p.     17""^. 

Two  acts.  Cast,  scenario,  and  name  of  Domenico  Fischietti  as  composer.  Be- 
tween the  acts  was  performed  ' '  Amore  e  Peiche.  Ballo  eroico  "  by  Giuseppe  Fabiani, 
the  composer  of  the  music  not  being  mentioned.  Schatz  3233 

La  molinara.  O.  T.  of  Piccinni's  La  Molinarella  and  H  Cavaliere 
Ergasto. 

La  molinara  o  sia  L'amor  contrastato.  L.  T.  of  Paisiello's 
L'amor  contrastato. 

La  molinara  spiritosa.  Commedia  per  musica  di  Saverio  Zini  da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  second' 
opera  di  quest'  anno  1787  .  .  . 

Napoli,  n.  pull.,  1787.     48  p.     15^^. 

Two  acts.  Cast,  notice  to  the  public,  impresario's  dedication,  and  name  of  Gia- 
como  Tritto  as  the  composer.  With  the  opera  was  performed  Giambattista  Gian- 
nini's  ballet  "L'isola  de'  cannibali."    The  composer  of  the  music  not  mentioned. 

Schatz  10476 

La  molinarella.  Dramma  giocoso  per  musica  da  rappresentarsi  in 
Lisbona  nel  Teatro  della  rua  dos  Condes  nella  primavera  dell'  anno 
1773. 

{Lisbo7ia\,  Stamperia  Reale,  n.  d.    87  p.     16^'^. 

Three  acts.  The  author  is  not  mentioned  and  is  unknown  to  Schatz.  Argument, 
cast,  bcenario,  and  name  of  Niccol6  Piccinni  as  the  composer.  The  opera  became 
known  also  as  "II  cavaliere  Ergasto"  (Fedeli). 

As  "La  Molinara"  first  performed  at  Naples.  Teatro  Nuovo.  fall  of  1766. 

Schatz  8099 


OPERA   LIBRETTOS  771 

I  molinari.  Comraedia  con  fnusica  d'un  atto  solo  di  Giuseppe 
Foppa  da  rappresentarsi  nel  nobilissimo  Teatro  Giustiniani  in  San 
Mois^  il  camovale  deU'  anno  1794. 

Venezia,  Modesto  Fenzo,  1794.     38  f.     18'^'^. 

Cast  and  name  of  Ferdinando  P^r  (Paer)  as  the  compoeer.  Schatz  7515 

—  Os  xnoleiros :  comedia  com  musica  em  hum  so'  acto,  para  se 
representar  no  Keal  Theatro  de  S.  Carlos,  no  dia  4  de  Janeiro  de  1796. 
Em  beneficio  de  Domingos  Caporalini  .  .  .  Traduzida  do  italiano 
por  N.  N. 

Lishoa,  Simao  ThaMeo  Ferreira,  1795.     107  p.     IW^. 

Prefatory  note  and  name  of  Fernando  Per  (Paer)  as  the  composer.  The  author, 
Foppa,  is  not  mentioned.    Portuguese  text  faces  the  Italian.  Schatz  7558 

I  molinari  francesi,  ballet.     See  Monza's  Sesostri. 

Moii).us.     Intermede  in  Bourgeois'  Les  plaisirs  de  la  paix. 

Momus  exile.     See  Destouches  and  Lalande's  ballet  Les  Clemens. 

Momvs  turn'd  fabulist:   or,  Vulcan's  wedding.     An  opera:  after 
the  manner  of  the  Beggar's  opera.     As  it  is  perform'd  at  the  Theatre- 
Royal  in  Lincolns-Inn  Fields.     With  the  musick  prefix'd  to  each 
song. 
London,  J.  Watts,  1729.     4  p.  I.,  70  p.     18^^^. 

Three  acts  and  introduction.  The  p.  1.  contain  half-title,  publisher's  list,  with  date 
Nov.  12,  1729,  title  page,  publisher's  list,  dated  October  28,  1729,  cast,  and 
"Introduction,"  in  which  the  gentleman  says: 

"Sir,  I  was  my  self  an  eye-witness  of  it,  being  in  France  when  this  piece  first 
appear'd  on  the  stage  and  saw  it  represented  several  nights  with  a  considerable  share 
01  pleasure,  which  put  me  upon  rendering  it  into  English.  In  this  performance  I  have 
taken  the  liberty  of  turning  the  fables  which  were  spoke  in  France,  into  ballads  to  be 
Btmg,  and  have  heighten'd  several  of  the  scenes  by  the  addition  of  other  ballads,  suit- 
able to  the  present  taste  of  the  town.  In  short,  I  have  made  that  an  English  opera, 
which  was  but  a  French  farce." 

By  Ebenezer  Forrest,  after  a  farce  by  Fuzelier  and  Le  Grand.  The  42  airs  are 
printed  in  the  text,  with  their  titles. 

First  performed,  ae  indicated,  December  3, 1729.  ML  50.5.M63 

Second  copy.    Longe  50 

Le  monde  renverse.  Pi^ce  d'un  acte.  Par  Mrs.  le  S  *  *.  & 
D'Or  *  *.  Sur  le  plan  de  M.  de  la  F.  Representee  a  la  Foire  de 
Saint  Laurent  1718. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  Hi,  pi.,  [201}-267  p.     17'^'^. 

By  Le  Sage  and  d'Omeval.  Lai^ely  en  vatuievilles.  The  airs,  selected  or  composed 
and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  theatre,  are  pnnted 
at  the  end  of  the  volume  in  the  "Table  des  airs.  ML  48.L2III 

Das    monden-reich.     Eine   operette  von  drey  handlungen.     Die 
musik  ist  von  herrn  Frischmuth. 
n.  i.,  n.  d.    [40]  p.    ^^i^™. 

Author  unknown  to  Schatz. 

First  performed  at  Berlin  (Doebbelin),  Theater  Monbijou,  1769.         Schatz  3373 

Das  mondenreich.     Tr.  of  Piccinni's  II  regno  deUa  luna. 


772  UBJBABY  OF   GONGBESS 

II  mondo  al  rovescio,  o  sia  Le  donne  che  comandono. 

[l}-52  p.  16^"^.  (Carlo  Goldoni,  Opere  drammatiche  giocose,  t.  I, 
Torino,  1757.) 

Three  acta.  .  First  composed  by  G&luppi.     {See  below.)  ML  49.A2G6 

—  II  mondo  alia  roversa,  o  sia  Le  donne  che  comandano.  Dramma 
di  tre  atti  per  musica.  Rappresentato  per  la  prima  volta  in  Venezia 
ranno  MDCCL. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  J/.!, 
[61}-114  p-     18'"".  PQ 

II  mondo  alia  roversa  o  sia  Le  donne  che  comandono.    Dramma 

fiocoso  per  musica  da  rappresentarsi  nel  Teatro  Nuovo  di  S.  Samuele. 
I  camovale  dell'  anno  1753. 
Venezia,  Modesto  Fenzo,  1753.    48  p.     16^"^. 

Three  acta.  By  Goldoni,  who  is  not  mentioned.  Impresario's  dedication,  dated 
February  17,  1753,  cast,  scenario,  but  not  the  name  of  the  composer,  Baldaesare 
Galuppi.  The  opera  became  known  later  on  also  under  the  title,  "II  regno  delle 
donne. 

First  performed  at  Venice,  Teatro  di  S.  Cassiano,  fall,  1750.  Schatz  3459 

—  II  mondo  alia  roverscia.  Dramma  giocoso  per  musica.  Di 
Polisseno  Fegeio  P.  A.  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E. 
di  Sassonia.     Dresda,  I'anno  del  1768. 

71.  %.,  n.  d.     135  p.     15^^"'. 

Three  acts.    Cast,  scenario,  and  the  name  of  Galuppi  as  composer.    German  title 
page,  "Die  verkehrte  Welt,"  and  text  face  Italian  text,  which  is  noticeably  different 
m  the  arias  from  the  Venice  (1753)  edition.    For  instance,  this  has  (I,  6)     Feriteme. 
piagatemi"  instead  of  "In  quel  voltosiede  un  nume,"and(III,4)  " E  un  dolce  tesoro 
mstead  of  "Chi  troppo  ad  amor  crede." 

Firsc  performed  at  Dresden,  Briihl'sches  Theater,  Jime  25, 1754.        Schatz  3460 

II  mondo  della  luna. 

[5]-62  p.     16Y^.     {Carlo  Goldoni,  Opere  drammaiiche  giocose,  t.  II, 
Torino,  1757.) 
Three  acts.    First  composed  by  Galuppi.    (See  below.)  ML  49.A2G6 

—  II  mondo  della  luna.  Dramma  di  tre  atti  per  musica.  Rappre- 
sentato per  la  prima  volta  in  Venezia  il  camovale  dell'  anno 
MDCCLII.  [0 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  t.  Jfi, 
p.  \113\-169.     18^"^.  PQ 

II  mondo  della  luna.  Dranmia  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  di  San  Mois^  nel  carnovale  dell'  anno 
1775. 

Venezia,  Antonio  Graziosi,  1775.     64  p.     17^"^. 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  the  composer  Gennaro 
Astaxitta,  but  not  of  the  author.  Schatz  383 

H  mondo  della  luna.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo,  Pastore  Arcade,  da  rappresentarsi  nel  Real  Teatro  di  Salva- 
terra  nel  carnovale  dell'  anno  1765. 

Lishona,  Stamperia  Ameniana,  n.  d.    66  p.     15*^^. 

Three  acts.  By  Carlo  Goldoni.  Cast,  scenario,  and  name  of  composer,  Pietro 
Antonio  Avondano.  Schatz  510 


OPERA   LIBKETTOS  773 

II  mondo  della  luna.  Dramina  giocoso  per  musica  di  Polisseno 
Fegejo  Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  Giustinian  di 
S.  Moise.     II  carnovale  dell'  anno  1750. 

Venezia,  Modesto  Fenzo,  1750.    59  p.     Ij^Y"^- 

Three  acts.  By  Goldoni.  Neither  he  nor  the  composer,  Baldaseare  Galuppi,  is 
mentioned.    Cast  and  scenario. 

First  performed,  as  indicated,  January  29,  1750. 

SCHATZ  3461 

—  II  zuondo  nella  luna.  Drama  giocoso,  da  rappresentarsi  sopra  il 
Teatro  di  S.  M.  B. 

LoTidon,  G.  Wood/all,  1760.    93,  [1]  p.     20^"^. 

Three  acts.  The  last  p.  contains  the  aria, ' '  Bella  mia,  se  son  tuo  sposo, ' '  substituted 
for  "lo  ho  ^xa  vespaio"  (I,  4).  English  transl.  faces  the  Italian  of  Goldoni,  who  is  not 
mentioned.  Cast,  name  of  Baldassare  Galuppi  as  composer,  and  note  that  "the  trans- 
lator has  thought  proper  to  give  some  of  the  scenes  almost  literally,  in  order  the  more 
to  facilitate  to  the  reader  the  intelligence  of  the  original." 

The  text  does  not  mention  the  fact  that  about  one-half  of  the  arias  are  not  from  this  or 
any  other  play  by  Goldoni.  It  is  clear  that  also  the  music  was  more  or  less  a  pasticcio, 
the  substituted  aria,  for  instance,  being  from  Pergolesi's  "II  maestro  di  musica." 

First  performed  at  London,  Haymarket,  November  22,  1760.  ML  48.M2H 

—  Die  welt  im  Monde.  Eine  komische  oper  in  drey  aufzuegen. 
Aus  dem  italiaenischen  uebersetzt.  Die  musik  ist  von  demherm 
Balthasar  Galuppi. 

Oels,  Samuel  Gottlieb  Ludwig,  [17—].     79  p.     W'^. 

Three  acts.     Translator  imknown  to  Schatz.  Schatz  3462 

II  mondo  della  luna.     L.  T.  of  Paisiello's  II  crednlo  deluso. 

II  mondo  festeggiante.  Balletto  a  cavaUo  fatto  nel  Teatro  con- 
giunto  al  palazzo  del  serenissimo  granduca  per  le  reali  nozze  de' 
serenissimi  principi  Cosimo  Terzo  di  Toscana  e  Margherita  Luisa 
d'Orleans. 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Firenze,  Vincen- 
do  VangelisU,  1689,  v.  1,  {257\-297  p.    24'^'^. 

A  prose  description  by  Alessandro  Segni  of  this  remarkable  affair  (invented  by 
Alessandro  Carducci),  interspersed  with  Moniglia's  "parole  per  tanto  de'  pienissimi 
cori  e  quelle  di  tutti  i  passati  canti."  Domenico  Angles!  is  mentioned  as  the  com- 
poser. 

According  to  Allacci,  printed  1641,  which  is  impossible,  since  Cosimo  Ill's  mar- 
riage took  place  in  1661.  ML  49.A2M7 

Monsieur  de  Porsugnac.  Intermezzi  comici  musicali  da  rappre- 
sentarsi nel  Teatro  di  Sant'  Angelo  I'autunno  dell'  anno  MDCCXLI. 

Venezia,  Marino  Rossetti,  17 41'     19  p.     14V^- 

Two  parts.  Author  not  mentioned,  and  unknown  to  Schatz,  and  Giuseppe  Maria 
Orlandmi,  the  composer,  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Samuele,  May,  1727.  Schatz  7341 

—  Pourceaugnac  and  Grille tta.  An  interlude.  Performed  by 
Sig.  Anna  Maria  Faini,  and  Signor  Antonio  Lottini,  at  the  King's 
Theatre  in  the  Hay-Market.  The  musick  is  composed  by  Sig. 
Giuseppe  Maria  Orlandini  .  .  . 

London,  J,  ChricMey,  1737.    31  p.     17^-^. 

English  text  faces  Italian,  which  is  much  altered  from  the  origiiyil. 

First  performed  January,  1737,  as  indicated.  Schatz  7342 


774  LIBBARY   OF   CONGBESS 

Monsieur  Petiton.     Intermezzo. 

[257}-276  p.  16^^^.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  iv,  Torino,  1757.) 

Two  parte.  Not  mentioned  by  Wiel.  Schatz  records  without  compoaer'a  name  a 
performance  at  the  Teatro  di  San  Samuele,  1736.  ML  49.A2G6 

—  Monsieur  Petiton.     Intermezzo  di  due  parti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  35, 
[207\-229  p.     18^"^.  PQ 

Monsieur  Petitone.     O.  T.  of  Piccinni's  Madama  Arrighetta. 

Li  montanari  nel  Penft,  ballet.     See  Rispoli's  Idalide. 

Montezuma.     Tragedia  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  .  .  .  nel  carnovale  del  MDCCLXXI. 
Berlino,  Haude  e  Spener,  1771.     131,  [5]  p.     16^"^. 

Three  acts.  By  Frederick  the  Great,  whose  French  prose  text  was  translated  into 
Italian  by  Giampietro  Tagliazucchi.  Neither  he  nor  the  king  is  mentioned.  Argu- 
ment, scenario,  and  name  of  Carl  Heinrich  Graun  as  the  composer.  German  title- 
page  and  text  face  Italian. 

Performed  asindicated;  previously  performed  thereJanuary  6, 1755.    Schatz4108 

The  monument  in  Arcadia:   A  dramatic  poem,  in  two  acta:  By 

George  Keate,  Esq.  .  .  . 

London,  J.  Dodsley,  1773.     x,  [2],  43  p.    26*^. 

Dedication,  preface.     No  composer  or  performance  recorded  by  Clarence. 

LONGE  186 

Der  morgen  des  europaeischen  glueckes,  oder  Aurora,  an  dem 
hohen  gebuhxts-tage  des  .  .  .  heirn  Joseph  I,  erwaehlten  roemischen 
kaeysers  ...  in  einem  schaeffer-spiel  auf  dem  grossen  Hamburgi- 
schen  schau-platz  vorgestellet,  im  jahr  1710,  den  26  julii. 

Hamburg,  Friedrich  Conrad  Grejlinger,  n.  d.     Unpaged.     19'^'^. 

Five  acts.  Scenario  and  congratulatory  "vorbericht."  Neither  the  author, 
Breymann,  is  mentioned,  nor  the  composer,  Reinhard  Keiser.  To  some  of  the  arias 
Italian  text  has  been  added. 

First  performed,  as  indicated,  July  26,  1710.  Schatz  5104 

II  Moro.  Commedia  per  musica  da  rappresentarsi  nel  Teatro 
elettorale  di  Sassonia. 

Dresda,  n.  publ,  1797.     157  p.     16\'^. 

Two  acts.  Antonio  Salieri  is  mentioned  as  the  composer.  Giovanni  de  Gamerra, 
the  author,  is  not  mentioned.    German  title-page,  "Der  mohr,"  and  text  face  Italian. 

First  performed  at  Dresden,  July,  1797;  at  Vienna  August  7,  1796,  at  ftie  Bui^- 
theater.  Schatz  9303 

II  moro  di  corpo  bianco  ossia  Lo  schiavo  del  proprio  onore,  ballet. 
See  P.  Guglielmi's  La  sposa  contrastata. 

II  moro  di  corpo  bianco  o  sia  Lo  schiavo  del  proprio  onore,  ballet. 
See  Marinelli's  Amore  aguzza  I'ingegno. 

La  mort  d*Hercule.     L.  T.  of  LuUy  and  Marais'  Alcide. 

La  mort  di  lacomede.     Tr.  T.  of  the  ballet  La  morte  di  Licomede. 

La  morte  d'Agamemnone,  ballet.    See  Andreozsd's  Ines  de  Castro. 


OPERA  LIBRETTOS  775 

La  morte  d'Eg^to  ossia  Le  furie  d'Oreste,  ballet.  See  Caruso's 
Antigone. 

La  morte  d'Ercole — ^Der  tod  des  Hercules,  baUet.  See  Jonunelli's 
Semiramide. 

La  morte  d'Ercole,  ballet.     See  Nasolini's  Adrian©  in  Siria. 

La  morte  d'Ettore,  ballet.     See  Nasolini's  Gl'  Indiani. 

La  morte  d'Ippolito  e  Fedra,  ballet.     See  Geraci's  Vologeso. 

La  morte  d'Olofeme.  Tragedia  sacra  per  musica  da  rappresen- 
tarsi  nel  Real  Teatro  del  Fondo  di  Separazione  neUa  quadragesima 
di  quest'  anno  1791. 

Napoli,  Vincenzo  Flavto,  n.  d.    34  p-     15*^. 

Two  parts.  Cast  and  name  of  Pietro  Guglielmi  as  composer.  In  an  "A wise" 
the  anonymous  author  says: 

" .  .  .  E  siccome  I'istesso  sacro  fatto  b  stato  scenegigiato  dall'  in  signe  abate  Pietro 
Metastasio,  sotto  il  titolo  della  Betulia  Liberata,  cod  ha  creduto  ben  fatto  lo  scrittore 
della  presente  tragedia,  dove  1'^  riuscito  servirsi  de'  sentimenti  d'un  si  immortale 
autore,  non  defraudame  il  publico,  con  trascriverli  fedelmente."    ML  50.2.M8G92 

—  La  m.orte  di  Oloferne.     Componimento  per  musica. 
Roma,  Arcangelo  Casaletti,  1791.     Ip.l.,  xxxvii  p.     27*^. 

Two  parts.  Text  based  on  "La  Betulia  liberata"  by  Metastasio.  The  author  is 
not  mentioned .    Pietro  Guglielmi  is  mentioned  as  the  composer. 

First  performed  at  Rome,  Palazzo  Colonna,  April  22,  1791.  ML  50.2.M8G93 

—  II  trionfo  di  Giuditta  o  sia  La  morte  d'Oloferne.  Dramma  sacro 
per  musica  da  rappresentarsi  nel  Regio  Teatro  di  via  della  Pergola  la 
quadragesima  del  MDCCXCV  .  .  . 

Firenze,  Stamperia  Albizziana,  1795.     32  p.     16Y^. 

Two  acts.  Cast,  name  of  Pietro  Guglielmi  as  the  composer  and  same  "awiso" 
according  to  which  the  anonymous  author  helped  himself  freely  to  Metastasio's ' '  Betulia 
liberata. "  Schatz  4277 

—  II  trionfo  di  Giuditta  o  sia  La  morte  d'Oloferne.  Dramma 
sacro  per  musica  da  rappresentarsi  nel  Regio  Teatro  degli  Awalorati 
in  Livorno  la  quadragesuna  dell'  anno  1796. 

[Livomo\  Tommaso  Masi  e  compagno,  n.  d.     Jfi  p.     15"^. 

Two  acts.    Cast,  scenario,  and  same  prefatory  Awiso. 

Pietro  Guglielmi  is  mentioned  as  the  composer.  Schatz  11712 

La  morte  d'Orfeo,  baUet.     See  Gius.  Scarlatti's  Pelopida. 

La  morte  di  Arrigo  Sesto,  r§  d'Inghilterra,  ballet.  See  G.  Gior- 
dani's  Elpinice. 

La  m.orte  di  Attila,  baUet.  See  Flora vanti's  L'astuta  in  amore 
ossia  II  furbo  malaccorto. 

La  m.orte  di  Calisto,  ballet.     See  Paer's  Cinna. 

La  morte  di  Cesare.     Dramma  per  musica  del  Signer  abate  D. 
Gaetano   Sertor   da   rappresentarsi   nel   nobilissimo  Teatro   di  San 
Samuele  il  camovale  dell  anno  1789  .  .  . 
Venezia,  Modesto  Fmzo,  1788.    80  p.     17"^. 


776  LIBRARY   OF   CONGRESS 

La  morte  di  Cesare — Continued. 

Three  acts  with  licenza.  Author's  dedication,  argument,  scenario,  cast,  and  name 
of  the  composer,  Francesco  Bianchi.  On  p.  31-35  aiT^ument  of  the  ballet  "II  convito 
di  Cesare,''  p.  56-^5  argument,  cast,  and  full  description  of  the  ballet  "Timugino, 
eran  Kan  de'  Tartari,  in  quattro  atti."  Both  ballets  were  by  Domenico  Ricardi, 
the  composers  of  the  music  not  being  mentioned. 

First  performed,  as  indicated,  December  27,  1788.  Schatz  1005 

—  Giulio  Cesare.  Drammajper  musica  del  Signer  abate  D.  Gaetano 
Sertor  da  rappresentarsi  nel  Keg.  Teatro  di  Trieste  nella  primavera 
deir  anno  MDCCXC. 

Trieste,  Stamperia  govemale,  n.  d.     63  p.     16^"'^. 

Three  acts.  Impresario's  dedication,  dated  April  21,  1790,  ailment,  cast,  scena- 
rio, and  name  of  Francesco  Bianchi  as  composer.  The  text  is  a  later  version  of 
Sertor 's  "La  morte  di  Cesare."  Schatz  1006 

La  morte  di  Cesare.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  grande  alia  Scala  il  camevale  1791  .  .  . 

MUano,  Gio.  Batista  Bianchi,  n.  d.     64  p.     16^'^^. 

Pages  17-18  supplied  in  ms. 

Three  acts.  By  Gaetano  Sertor,  who  is  not  mentioned.  Impresario's  dedication, 
dated  Milan,  December  19, 1790,  argument,  cast,  scenario,  and  name  of  Nicola  Antonio 
Zingarelli  as  the  composer.  With  the  opera  was  performed  Giuseppe  Traffieri's 
ballet  "Edipo,"  composer  of  the  music  not  mentioned  and  the  libretto  of  which  does 
not  appear  at  the  end,  as  ann«unced  in  a  footnote. 

First  performed,  as  indicated,  December  26,  1790  (Schatz).  Schatz  11263 

La  morte  di  Cleopatra.  Dramma  per  musica  da  rappresentarsi 
nel  Real  Teatro  di  S.  Carlo  nel  di  30.  maggio  1798  per  festeggiare  11 
nome  glorioso  di  Ferdinando  IV  .  .  . 

Napoli,  Stamperia  Flaviina,  1798.     61  p.     W^"^. 

Tvfo  acts.  Argument,  cast,  scenario,  name  of  Pietro  Guglielmi  as  the  composer, 
and  dedication,  dated  May  30,  1798,  in  which  the  impresario,  Onorato  Balsamo,  says: 

"Per  la  seconda  volta,  median te  il  vostro  sovrano  clementissimo  beneplacito,  com- 
parisce  sulle  scene  del  vostro  Real  Teatro  il  dramma  intitolato :  La  morte  di  Cleo^tra." 

By  whom  the  text  was  first  composed  and  when  it  was  first  performed  as  indicated, 
Schatz  does  not  mention,  but  Piovano  proved  that  the  libretto  is  by  Antonio  Simone 
Sografi,  that  it  was  composed  by  Nasolmi,  1791,  and  that  Guglielmi's  opera  was  first 
performed  at  Naples,  Teatro  di  San  Carlo,  June  22,  1796.  The  libretto  contains  also, 
on  p.  38-47,  cast  and  description  of  Gaspare  Ronzi's  "Enea  e  Lavinia,  ballo  eroico  pan- 
tomimico,"  in  five  acts,  and  on  p.  48-51  of  his  "Amor  vince  tutto,  ballo  comico  panto- 
mimo'in  un  solo  atto."    The  composers  of  the  music  are  not  mentioned. 

Schatz  4253 

La  m.orte  di  Cleopatra.  O.  T.  of  Nasolini's  Cleopatra,  regina 
d'Egitto. 

La  morte  di  Cleopatra,  ballet.    See  Rust's  Gli  antiquari  in  Palmira. 

La  m.orte  di  Clitennestra.     A.  T.  of  the  ballet  Oreste. 

La  morte  di  Danao.    A.  T.  of  the  ballet  Ipermestra. 

La  m.orte  di  Dimone  o  sia  L'innocenza  vendicata.  Dramma  serio- 
giocoso  per  musica  da  rappresentarsi  nel  nuovo  Teatro  Tron  in  S. 
Cassano  I'autunno  delFanno  MDCCLXIII. 

Venecia,  Paolo  Colomhani,  1763.     77  [1]  p.     17"^. 

Three  acts.    Prefatory  note  with  argument,  cast,  and  note: 

"II  dramma  h  del  Sig.  Giuseppe  de  [Joseph  Felix  vonl  Kitrtz  impresario,  e  posto  in 
verei  italiani  dal  Sig.  Giovanni  Bertati.    La  musica  k  del  Sig.  Antonio  Tozzi  .  .  ." 


OPERA   LIBRETTOS  777 

La  morte  di  Dimone — Continued. 

In  his  preface  Kurtz  says: 

"Ecco  qual  sia  il  dramma,  ch'io  ho  destinato  di  far  rappresentare  in  queeto  nuovo 
teatro.  Molto  dire  dovrei  del  dramma  medeeimo,  il  di  cui  genere  forse  potr^  strano 
eembrare  al  pubblico,  dopo  che  I'ltalia  si  b  dimenticata  delle  rappresentazioni,  che 
facevansi  ne'  euoi  teatri  if  eecolo  scorso.  Solamente  per6  io  mi  ristringerb  a  dire,  che 
non  cerco,  e  non  pretendo  con  questa  mia  composizione  d'introdurre  un  nuovo  gusto 
euUe  scene  italiane;  ma  che  a  me  si  conveniva  di  appigliarmi  ad  una  rappresentazione 
di  questo  tal  genere,  affine  d'introdurvi  que'  spettacoli,  e  quelle  decorazioni,  ch'io 
aveva  destinato  di  produrre  in  questa  citt^;  ed  ecco  per  queeto  introdotte  nuovamente 
BuUe  scene  le  Deita,  e  la  moltiplicit^  di  pereonaggi."  Schatz  10385 

La  morte  di  Geta,  ballet.     See  Portugal's  Alceste. 

La  morte  di  Licomede — ^La  mort  de  Licom^de,  ballet.  See  Jom- 
melli's  Demofoonte. 

La  morte  di  Meleagro,  ballet.     See  Tritto's  L'equivoco. 

La  morte  di  Mitridate,  tragedia  per  musica  del  Signer  Sografi  poeta 
del  Teatro  La  Fenice  e  del  Teatro  comico  Sant'  A^elo  Testate  dell' 
anno  1797. 

Venezia,  Stamperia  Valvasense,  n.  d.     55  p.     17 Y'^. 

Two  acts.  Cast  and  name  of  Nicola  Antonio  Zingarelli  as  the  composer  ("La 
musica  tutta  nuova").  On  p.  [25]-;-33,  argument,  cast,  and  description  of  Filippo 
Beretti's  ballet,  "L'esilio  di  Tarquinio  il  Superbo  VII.  rh  di  Roma,"  music  by  Vittorio 
Trento.    The  second  ballet  was  called  "Chi  la  fa  I'aspetta."  Schatz  11269 

La  m.orte  di  Pirro,  ballet.     See  Bertoni's  Nitteti. 

La  m.orte  di  Semiramide.  Tragedia  per  musica  da  rappresentarsi 
nel  Teatro  grande  alia  Scala  il  camevale  1791  .  .  . 

Milano,  Gio.  Batista  BiancJii,  n.  d.  4  V-  ^-i  ^^>  t-^^l  P-  ^^V^^ 
Three  acts.  By  Antonio  Simone  Sografi.  Impresario's  dedication  dated  Mflani 
February  9,  1791,  cast,  scenario,  and  names  of  the  composer,  Giovanni  Battista 
Borghi,  and  the  librettist  (in  h.-t.).  The  unnumb.  additional  pages  contain  preface, 
cast,  argument  J  and  detailed  description  of  Giuseppe  Traffieri's  "Le  Danaidi,  hallo 
tragico-pantomimo "  in  five  acts  and  the  ailment  of  hia  ballet  "Rinaldo  d'Asti." 
The  composers  of  the  music  are  not  mentioned.  Schatz  1234 

—  La  m.orte  di  Semiramide,  ossia  La  vendetta  di  Nino.     Tragedia 
per  musica  da  rappresentarsi  nel  Regio  Teatro  di  S.  Carlo  della  rrin- 
cipessa  la  primavera  dell'  anno  1799. 
Lishona,  Simone  Taddeo  Ferreira,  1799.     Jf.  p.  I.,  99  p.     14"^. 

Cast,  scenario,  and  name  of  composer,  Borghi.    Portuguese  text  faces  Italian. 

Schatz  1240 

La  m.orte  di  Semiramide  ossia  La  vendetta  di  Nino.  Dramma 
per  musica  da  rappresentarsi  nel  Ces.  Reg.  Teatro  di  Trieste  Tautunno 
dell'  anno  1795. 

Trieste,  Stamperia  govemidle,  n.  d.     48  p.     16^^. 

Three  acts.  By  Antonio  Simone  Sografi,  who  is  not  mentioned,  and  is  not  to  be 
confused  with  the  author  or  rather  arranger  of  the  text  with  same  title  as  composed 
1802  by  Nasolini,  who  is  not  mentioned,  but  is  known  to  be  the  composer  of  this 
earlier  opera,  too.  Dedicatory  poem  by  the  impresario  dated  Trieste,  October  3, 
1795,  cast,  and  scenario.  With  the  opera  was  performed  Michele  Fabiani's  "II  trionfo 
d'Arbace,  ballo  eroico  in  cinque  atti,"  music  ("scritta  espressamente")  by  "Mons. 
d'Anglois,  virtuoso  di  S.  M.  il  r6  di  Sardegna." 

First  performed  at  Rome,  Teatro  Argentina,  carnival  1792,  imder  the  title  "Semi- 
ramide.'' Schatz  7013 


778  LIBRARY  OF   CONGRESS 

La  morte  di  Semiramide.     L.  T.  of  Prati's  La  vendetta  di  Nino. 

La  morte  ed  il  rinascimexito  del  pastore  Adone,  ballet.  See 
Bach's  Artaserse. 

Les  mortels.     Entr6e  in  Brassac's  L'empire  de  I'amour. 

I  morti  fatti  sposi,  ballet.     See  Cimarosa's  Gli  Orazi  e  i  Curiazi. 
Les  morts  vivans.     A.  T.  of  Le  Petit's  Le  combat  nocturne. 
Moschetta  e  Grullo.     Litermezzi  in  Sarro's  Siroe,  r^  di  Persia. 

II  mostro,  ossia  Da  gratitudine  amore.  Dramma  per  musica  da 
rappresentarsi  nel  Teatro  Elettorale,  composta  da  Caterino  Maz- 
zom  .  .  . 

Dresda,  n.  publ,  1786.     136  p.     15^"^. 

Two  acts.  Franz  Seydelmann  is  mentioned  aa  the  composer.  German  title- 
page  "Das  ungeheuer,  oder  Liebe  aus  dankbarkeit,"  and  text  face  Italian. 

Krst  performed  1786,  as  indicated.  Schatz  9846 

Motezuma.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  per  la  fiera  dell'  Ascensione  dell'  anno  1772. 
Venecia,  Modesto  Fenzo,  1772.     56  p.     16^"^. 

Three  acts.    Argument  with  name  of  the  author,  Vittorio  Amedeo  Cigna-Santi, 
cast,  scenario,  and  name  of  Baldassare  Galuppi  as  composer.     ("  La  musica  sark  del.") 
First  performed  May  27,  1772,  as  indicated.  Schatz  3463 

Motezuma.  Dramma  per  musica  da  rappresentarsi  nel  Regie 
Teatro  di  Torino  nel  camovale  del  1780  ... 

Torino,  Onorato  Derossi,  n.  d.     viii,  60  p.     15^*^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Vittorio  Amedeo  Cigna-Santi 
as  author,  of  Giacomo  Insangfuine  as  composer.  With  the  opera  were  performed, 
libretto  published  separately  in  French  and  Italian,  Sebastiano  Grallet's  ballets  "II 
tempio  della  pazzia,"  "Bacco  ed  Arianna,"  and  "II  guerrier  generoso,"  music  by 
Vittorio  Amedeo  CanavBsso.  Schatz  4835 

Motezuma.     Dramma   per   musica   da   rappresentarsi   nel   Regie 

Teatro  di  Torino  nel  carnovale  del  1765  .  .  . 

Torino,  Gaspare  Bayno,  n.  d.     8  p.  I.,  60  p.     16Y'^- 

Three  acts.    Argument,  cast,  scenario,  and  names  of  Vittorio  Amedeo  Cigna-Santi 

as  author,  of  Giovanni  Francesco  de  Ma  jo  as  composer  of  the  opera,  and  of  Giuseppe 

Antonio  Le  Messier  as  composer  of  the  three  incidental  ballets.  Schatz  5858 

Motezuma.     A  serious   opera.     To  be  performed   at   the   King's 
Theatre  in  the  Hay-Market.     The  music,  entirely  new,  by  Signor 
Sacchini.     The  translation  by  Bottarelli,  jun.  teacher  of  languages. 
Londmi,  T.  CadeU,  1775.     iv,  53,  [1]  p.     19^^. 

This  title  on  p.  [1].  It  is  preceded  by  the  iv  p.  with  the  author,  Giovan  Gualberto 
Bottarelli's,  dedication  (dated  February  1,  1775)  to  the  duke  of  Dorset.  The  last 
unnumb.  page  contains  "Proposals  for  printing  by  subscription  several  Odes  of 
Horace,  translated  into  Italian  verse  by  G.  G.  Bottarelli  and  set  to  music  by  Messrs. 
Bach,  Vento,  Giordani,  Boroni,  Holtzbauer,  Barthelemon,  and  others  .  .  ." 

The  cast  is  preceded  by  G.  G.  Bottarelli's  notice  to  the  reader  with  a  very  brief 
argument,  and  reading  in  part: 

"I  do  not  see  what  objections  can  arise  against  Motezuma's  dying  on  the  opera- 
8tage,  breathing  the  language  of  harmony,  when  actors  die  on  other  stages  in  tragedy, 
speaking  the  l^guage  of  the  Muses. 


OPEBA   LIBRETTOS  779 

Motezruxua — Continued. 

"I  hope  the  British  nation  (I  mean  Buch  as  are  inspired  by  Apollo,  and  whoee 
genius's  are  happily  composed  to  form  the  learned  world)  will  take  in  good  part  these 
attempts  of  an  honest  man,  who  has  laboured  these  seven  and  twenty  years,  both  night 
and  day,  either  to  add  new  pleasures  to  the  entertainment,  or  to  give  a  new  face  and 
form  to  the  old  ones."  Schatz  9232 

Motezuma.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di 
Sant'  Angelo  nell'  autunno  dell'  anno  1733. 

Venezia,  Marino  Rossetti,  n.  d.     60,  [1]  p.     IS''^. 

Three  acts.  By  Alvise  Giusti,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Antonio  Vivaldi  as  the  composer.  The  additional  page  contains  the 
substitute  aria,  "A  svenare  il  mostro  gl'empi"  (I,  16),  and  the  additional  aria,  "II 
nochiero  coraggioso"  (II,  2).  Schatz  10773 

The  recitatives,  airs,  etc.  in  the  new  pantomime  entertainment  of 
Mother  Shipton.  As  it  is  now  performing  at  the  Theatre-Royal  in 
Covent-Garden.     The  second  edition. 

London,  n.  publ,  1771.     8  p.     21'^'^. 

Cast.  Neither  the  author  (unknown  to  Clarence)  nor  the  composer,  Samuel 
Arnold,  is  mentioned. 

First  performed  1770.  ML  52.2.M6 

Moulinet  premier,  parodie  de  Moulinet  Second,  tragedie. 

Paris,  Praultjils,  1739.  2  p.  l,  56  p.  W"^.  {Theatre  de  M, 
Favart,  Paris,  Duchesne,  1763-77,  t.  vi.) 

One  act.  Text  (in  prose  and  vaudevilles)  preceded  by  "Epistre.  Moulinet  a 
Mahomet"  and  followed,  on  p.  55-56,  by  "Compliment  de  Moulinet  au  public.  A  la 
cloture  du  Theatre  de  I'Op^ra-comique,  le  21  mars  1729,"  with  "Nota.  La  parodie 
a  6t6  representee  pour  la  premiere  fois,  le  15  mars  1739."  Parody  of  de  la  Noue's 
"Mahomet  II,"  first  played  at  the  Theatre-Fran?ais  on  February  23,  1739.  Font  does 
not  mention  Favart's  musical  collaborator.  ML  49.A2F1 

Songs,  duets,  choruses  etc  in  The  xnouiitaineers ;  a  play,  in  three 
acts.  Performed  at  the  Theatre  Royal,  Hay-Market.  Second 
edition. 

London,  T.  CadeU,  1793.     1  p.l,  5-20  p.    20'^'^. 

Neither  the  author,  George  Colman,  jim.,  is  mentioned,  nor  the  composer,  Samuel 
Arnold. 

First  performed  August  3,  1793.  Lonok  227 

—  The  mountaineers;  a  play,  in  three  acts;  written  by  George 
Colman;  (the  younger)  and  firet  performed  at  the  Theatre  Royal, 
Haymarket,  on  Saturday,  August  3,  1793. 

London,  J.  DehreU,  1795.     2  p.l,  90,  [2]  p.     20<='^. 

The  [2]  p.  contain  booklists  of  Debrett.    Cast.  Lonoe  231 

Mountaineers  of  Switzerland.    A.  T.  of  Carr's  The  archers. 

The  mouth  of  the  Nile ;  or,  The  glorious  first  of  August,  a  musical 
entertainment.     By  T.  Dibdin.     As  performed  at  the  Theatre-Royal, 
Covent-Garden.     The  second  edition. 
London,  J.  Barlcer,  1798.    26,  [2]  p.    21^"^. 

On  the  [2]  p.,  Barker's  booklists.  One  act.  Cast  and  prologue.  The  composer, 
Thomas  Attwood,  is  not  mentioned. 

First  performed  October  25,  1798.  Lonoe  254 

Die  muellerin.     Tr.  of  de  La  Borde's  La  meuniSre  de  Gentilly. 


780  LIBBARY  OF   CONGRESS 

Die  mlillerin  oder  Die  streitig  gemachte  liebe.  Tr.  of  Paisiello's  La 
molinara  o  sia  L'amor  contrastato. 

Das  muendel.  Ein  lustspiel  mit  gesaengen,  in  zwey  aufzuegen,  von 
Ch.  G.  K.  [orb] 

AUona,  J.  H.  S.  HeUmann,  178S.     66,  [1]  'p.     16^"^. 

Not  recorded  by  Schatz.  ML  50.2.M86 

A  miLUier  caprichosa.     Tr.  T.  of  Gazzaniga's  La  moglie  capricciosa. 

Les  Muses,  ballet  represent 6  par  I'Academie  royale  de  musique  I'an 
1703.  Les  paroles  de  M.  Danchet  &  la  musique  de  M.  Campra. 
LLS.  Opera. 

n.  i.,  n.  d.  front,  111-172  p.  14^'^.  (Recueil  general  des  opera, 
Paris,  1706,  t  viii.) 

Detached  copy.  Prologue  and  four  entries,  called  "La  pastorale,"  "La  satyre," 
"La  tragMie,"  "La  com^die." 

First  performed,  as  indicated,  October  28,  1703.  Schatz  1558 

Second  copy.    ML  48. R4 

—  Amarillis,  pastorale,  representee  par  I'Academie  royale  de 
musique,  k  la  place  de  celle  qui  se  trouve  dans  Le  ballet  des  Muses. 
Compos^e  par  MM.  Danchet  &  Campra. 

n.  i.,  n.  d.  173-180  p.  14"^.  (Recueil  general  des  opera,  Paris, 
1706,  t  viii.) 

Detached  copy.     One  act;    At  end,  the  remark,  "Cette  pastorale  finit  par  le  diver- 
tissement de  la  premiere  pastorale,  cy  devant  page  124,"  t.  e.,  "le  ballet  des  Muses." 
First  performed  at  Paris,  Academic  royale  de  musique,  September  10,  1704. 

Schatz  1542 
Second  copy.    ML  48. R4 

—  Les  Muses,  ballet.  Repr6sent6  par  I'Academie  royale  de  musique 
le  8  octobre  1703. 

[19S]-26S  p.     17^"^.     (Antoine  Danchet,  Theatre,  t  ii,  Paris,  1751.) 
Prologue  and  the  same  four  entries.    Campra,  the  composer,  is  not  mentioned. 

PQ  1972.D2 

—  Amarillis,  pastorale,  representee,  par  I'Academie  royale  de 
musique,  ^  la  place  de  celle,  qui  se  trouve  dans  Le  ballet  des  Muses. 

{255\-263  p.     ibidem.  PQ  1972.D2 

The  Muses  in  mourning.    An  opera. 

[5]-i7  p.  21*^^.  (Aaron  EiU,  Dramatic  works,  London,  T.  Lownds, 
1760,  vol.  ii.) 

One  act.     No  composer  or  performance  recorded  by  Clarence.  Longe  326 

Das  muster  rechtschafFener  ehelichen  liebe.  A.  T.  of  Handel's 
Zenobia. 

La  muta  per  amore.     A.  T.  of  Moneta's  II  capitan  Tenaglia. 

La  muta  per  amore.  Dramma  giocoso  per  musica  di  Cerilo  Orco- 
meno  P.  A.  della  Colonia  Renia.  Da  rappresentarsi  nel  nobile  Teatro 
di  San  Samuele  nel  camovale  dell'  anno  1781  .  .  . 

Venezia,  Modesto  Fenzo,  1781.     72,  [1]  p.     16^"^- 

Two  acts.  Dedication,  cast,  scenario^  and  name  of  Michele  Mortellari  as  the 
composer.    Author's  real  name  not  mentioned  by  Wotquenne.  Schatz  6693 


OPERA  LIBRETTOS  781 

Mutio  Scevola.    See  M.  Curzio. 

Mutio  Scevola.     Drama  per  musica  nel  Teatro  a  S.  Salvatore 

I'aiino  1665  .  .  . 

Venetia,  Guliani,  1665.    front.,  9 If.  jp.  (incl.  pi.)     l^h*^- 

Three  acts  with  prologue.    By  conte  Niccol5  Minato.    Author's  dedication  dated 

Venice,  Janxiary  26,  1665,  preface,  argument,  and  scenario.    The  composer,  Pietro 

Francesco  Cavalli,  is  not  mentioned.  Schatz  1739 

Mutius  Scaevola.  Tr.  of  Mattei,  Bononcini  and  Handel's  Muzio 
Scevola. 

II  muto  per  astiizia.  Farsa  giocosa  per  musica  di  Giuseppe  Foppa 
da  rappresentarsi  nel  nobile  Teatro  Giustiniani  in  San  Moisd  il  camo- 
vale  dell'  anno  1799. 

[Venezia],  n.  puhl.,  n.  d.    36  p.     l?^""^. 

One  act.    Cast  and  name  of  Bemardini  (Marcello  di  Capua)  as  composer. 

Schatz  851 

Mutter  Natur  in  ihren  kindem.  A.  T.  of  Piccinni's  Der  gluecks- 
wechsel. 

D  Muzio  Scevola.  Dranmia  per  musica  del  nobile  Signore  Carlo 
Giuseppe  Lanfranchi  Rossi,  patrizio  Pisano,  da  rappresentarsi  nel 
Nuovo  Teatro  della  citta  di  Padova  per  la  solita  nera  deU'  anno 
1762  ... 

Padova,  Comatti,  1762.     62,  [2\  p.     17'^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  name  of 
Baldassare  Galuppi  as  composer.  ("La  musica  h  nuova.")  The  additional  pages 
contain  the  substitute  arias  (II,  6)  "  Almen  la  sorte  arrida  "  and  "Aria  di  Tito.  Veggo 
nelgran  cimento." 

First  performed  in  Jime,  1762,  as  indicated.  Schatz  3464 

Muzio  Scevola,  drama  per  musica,  da  rappresentarsi  nel  Teatro  d' 
Hamburgo,  I'anno  1723 — Mutius  Scaevola  .  .  . 
Hamburg,  Caspar  JaTchel,  n.  d.     Unpaged.     18^'^^. 

Three  acts  and  prologue.  Argument,  cast,  scenario.  The  prologue  has  German 
text  only;  the  three  acts  German  (author  unlmown  to  Schatz)  and  Italian  (by  Paolo 
Antonio  Rolli).     Neither  he  is  mentioned,  nor  any  coinposer. 

Chrysander,  when  speaking  of  the  first  performance  of  the  opera  at  London,  Hay- 
market,  April  15,  1721,  in  his  Handel  biography,  proved  that  the  single  acts  were 
composed  by  Filippo  Mattel  (called  Pippo),  Giovanni  Battista  Bononcini  (who  also 
composed  the  overture  published  by  Walsh),  and  Georg  PYiedrich  Handel,  in  the 
order  named.  The  error  of  naming  Attilio  Aiiosti  (who  was  not  in  England  at  the 
time)  as  one  of  the  collaborators  instead  of  Mattei  is  due  to  Hawkins  (V,  277)  and 
Bumey  (IV,  258).  Also  Filippo  Amadei  has  been  mentioned  as  composer  of  the 
first  act.  That  would  not  add  to  the  controversy  if  the  claim  of  Schatz  is  correct,  that 
Filippo  Amadei  was  merely  the  real  name  of  Filippo  Mattei. 

First  performed  at  Hambiurg,  January  7,  1723;  at  London,  as  above.    Schatz  168 

—  Muizio  Scevola. 

[S7]-99  p.  17''^.  (RoUi,  Componimenti  poetici,  Nuova  edizione, 
Verona,,  G.  Tumermani,  1744-) 

Three  acts.    Argument  and  dedication.  ML  49.A2R7 

II  Muzio  Scevola.     Drama  per  musica  .  .  . 

Napoli,  Dom.  Ant.  Parrino  e  Michele  Luigi  Muzio,  1698.     71  p. 

2gem 


782  LIBRARY  OF  CONGRESS 

D  Muzio  Scevola — Continued. 

Three  acts.  By  conte  Niccol6  Minato,  who  is  not  mentioned.  Impresario's  dedi- 
cation, amiment,  cast,  and  scenario.  The  composer,  Aleseandro  Scaxlatti,  is  not 
mentioned.  Dent  says:  "ascribed  by  Florimo  and  others  to  A.  Scarlatti  without  any 
apparent  documentary  evidence." 

First  performed  at  Naples,  Teatro  di  S.  Bartolomeo,  1698.  Schatz  9528 

My  g^randmother;  a  musical  farce,  in  two  acts,  as  performed  at  the 
Theatre  Royal,  Haymarket.     The  music  composed  by  Mr.  Storace. 
n.  pi.,  Printed  for  the  curious,  1794.     19,  [1]  p.     17 \*^'^. 

Cast.    The  author.  Prince  Hoare,  not  mentioned. 

First  performed  December  16,  1793.  Longe  233 

Myndlingen  og  Sladdreren.  Tr.  of  d'Avossa's  La  pupilla  ed  il 
ciarlone. 

Myrrha  und  Elvira  oder  Das  opferfest.  L.  T.  of  Winter's  Das  unter- 
brochene  opferfest. 

Myrtil  et  Lycoris,  pastorale.  Representee  devant  Leurs  Majest6s 
k  Choisy,  en  septembre  1778. 

[Paris],  P.  R.  Christophe  BdUard,  1778.     4  p.  l,  22  p.     21<^"*. 

One  act.  Cast.  Bocquet  de  Liancourt  and  Maximilien  Jean  Boutellier  are  men- 
tioned aa  authors,  [Leopold  Bastien]  Desormery  as  composer. 

First  performed  at  Fontainebleau,  November  4,  1777;  at  Paris,  Academic  royale 
de  musique,  October  2,  1777.  ML  50.2.M92D2 

Myrtillo.     See  Venus  and  Adonis. 

Mysis  ed  Eufrasia  ossia  I  due  gemelli,  ballet.  See  Trento's  opera 
Bianca  de'  Rossi. 

The  mysteries  of  the  castle:    a  dramatic  tale,  in  three  acts;   as 
performed  at  the  Theatre-Royal,  Covent-Garden.     Written  by  Miles 
reter  Andrews,  Esq. 
London,  T.  N.  Longman,  1795.    1  p.  I.,  89,  [S\  p.    20^. 

Cast,  prologue,  epilo^e,  and  prefatory  note,  of  date  February  24, 1795,  stating  that 
the  prologue  and  song  in  praise  of  Hawking  is  by  Capt.  Topham.  William  Shield, 
who  partly  selected,  jwxtly  composed  the  numerous  songs,  glees,  etc.,  is  not  mentioned. 

First  performed  January  31,  1795.  Lonoe  229 

Der  nachlaessige.     Tr.  of  Ciampi's  II  negligente. 

Die  nacht.     Tr.  of  Piccinni's  Notte  critica. 

Die  nachtmusik.     A.  T.  of  Mitscha's  Adrast  und  Isidore. 

Na'is,  ballet-heroique,  avec  un  prolo^e,  represents,  pour  la  premiere 
fois,  par  I'Academie-royale  de  musique  le  mardi  22  avril  1749,  et 
remis  au  The§,tre  le  mardi  7  aoM  1764. 
Paris  Aux  depens  de  VAcademie,  ches  de  Lormel,  1764-    59,  [1]  p. 

Three  entries  and  prologue,  called  "L'accord  des  dieux."  Cast,  brief  argument, 
and  names  of  Louis  de  Cahusac  as  author,  of  Jean  Philippe  Rameau  as  composer. 

ML  52.2.N22 


OPERA  LIBKBTTOS  783 

La  naissance  de  Venus,  opera.  Representee  par  I'Academie 
royale  de  musique  I'an  1696.  Les  paroles  sont  de  M.  Picque  &  la 
musique  de  M,  CoUasse.     XXXIX.  opera. 

n.  i.,  n.  d.  front.,  353-414  P-  H*^^-  {Recueil  general  des  opera, 
Paris,  t.  V,  1703.) 

Detached  copy.    Five  acts  and  prologue. 

Firet  performed  May  1,  1696,  as  indicated.  Schatz  2101 

Second  copy.    ML  48. R4 

Der  name  thut  nichts  zur  sache.  A.  T.  of  Schack's  Die  beiden 
Antone  and  originally  of  Anton  der  dumme  gaertner. 

Nancy:  or,  The  parting  lovers.  An  interlude.  Set  to  music  by  the 
author. 

[24S\-264,  [2]  p.  22*^.  (Henry  Carey,  DramaticJc  worJcs,  London, 
1743.) 

One  act.  Argument,  in  which  Carey  says  that  the  subject  of  his  interlude  is  based 
on  an  actual  occurrence,  and  that  from  it: 

"the  author  drew  the  following  sketch,  and  form'd  it  into  an  interlude,  a  kind  of 
entertainment  formerly  in  great  request,  but  now  almost  a  stranger  to  the  English 
stage.  The  Italians  still  preserve  it  imder  the  name  of  Intermezzo,  which  is  equal  to 
the  word  Interlude.  These  little  starts  of  fancy,  not  only  afford  a  present  diversion, 
and  supply  a  vacancy  on  the  stage,  while  other  entertainments  are  getting  ready;  but, 
by  encouragement  and  improvement,  sometimes  become  entertainments  themselves." 

First  performed  at  Drury  Lane  1739 ;  revived  in  1755,  as  ' '  The  press  gan^,  or  Love  in 
low  Ufe,  "on  the  prospect  of  a  war,  and  frequently  brought  forward  on  similar  occa- 
sions under  the  title  of  True  Blue"  (Grove).  ML  49.A2C2 

Nanette  et  Lucas,  ou  La  paysanne  curieuse,  comedie  en  prose, 
m^l6e  d'ariettes,  en  un  acte;  representee  pour  la  premiere  fois  par 
les  Comediens  italiens  le   14  juin  1764.     Les  paroles  sont  de  M. 
Framery.     La  musique  de  M.  le  chevalier  d'Herbain. 
Paris,  Claude  Herissant,  1754  [0    51  -p.     19^"^. 

Cast  and  Framery 's  complimentary  "Epftre  a  Messieurs  les  acteurs  de  Nanette  et 
Lucas."  ML  50.2.N17H3 

—  Nanette  et  Lucas,  ou  La  paysanne  curieuse,  com6die  en  prose, 
mdlee  d'ariettes,  en  un  acte;  representee  pour  la  premiere  fois  par 
les  Comediens  italiens  le  14  jum  1764.  Les  paroles  sont  de  M. 
Framery.     La  musique  de  M.  le  chevalier  d'Herbain. 

Paris,  Claude  Herissant,  1775.     40  p.     19<''^. 

On  p.  18-19,  the  air  of  "Cet  amour  qu'  en  vous  voyant"  (I,  7).         Schatz  4644 

Nanine,  soeur  de  lait  de  la  reine  de  Golconde;    pastorale  en 
trois  actes;  en  ariettes  et  vaudevilles  choisis. 
Geneve  et  se  trouve  a  Paris,  chez  la  veuve  Duchesne,  1773.     64  p- 

Argument.  On  p.  57-64  the  "Airs  d^tach^s":  "Nos  plus  beaux  jours,"  "Oil 
Buis-je  transport^?"  "Non,  je  ne  puis  plus."  Neither  the  author,  Desfontaines  de 
Lavall^e,  is  mentioned,  nor  the  composer,  Jean  Joseph  Bodolphe. 

First  performed  at  Fontainebleau,  Theatre  de  la  Cour,  1773.  ML  50.2. N2R7 

Nannerl  bei  hofe.     A.  T.  of  Der  verliebte  eigensinn. 


784  LIBBABY  OP   CONGRESS 

Li  Napoletani  in  America.     Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Real  Teatro  dell'  Ajuda  in  occasione  di  festeggiarsi  il 
relicissimo  giomo  natalizio  di  Sua  Reale  Maestk  .  .  .  D.  Marianna 
Vittoria  .  .  .  nella  primavera  dell'  anno  1775. 
Lishona,  Stamperia  reale,  n.  d.     88  p.     /5<="». 

Three  acts.  Cast,  scenario,  and  names  of  Francesco  Cerlone  as  author,  of  Niccol6 
Piccinni  as  compoeer. 

First  performed  March  31,  1775,  as  indicated;  at  Naples,  Teatro  de'  Fiorentini, 
June  10,  1768.  Schatz  8133 

Narbale.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniani  di  San  Moise  neUa  fiera  dell'  Ascensione  dell'  anno  1774. 

Venezia,  Modesto  Fenzo,  1774.     47  V-     ^^''"*- 

Three  acts.  Argument,  cast,  scenario,  and  name  of  the  compKwer,  Ferdinando 
Giuseppe  Bertoni,  and  of  the  author,  Metastasio.  The  argument  contains  this  ludi- 
crous out  characteristic  remark: 

"Questo  atto  eroico  diede  occasione  al  rinomatiseimo  Metastasio  di  formame  il 
dramma,  che  ha  per  titolo:  L'Eroe  dnese.  Per  le  convenienze  poi  di  questi  cantanti, 
e  le  circostanze  del  teatro,  che  non  poterono  accomodarsi  al  vestito  e  scena  Cinesi,  si  h 
pensato  mutare  e  scena  e  nomi  de'  personaggi,  e  per  conseguenza  anche  il  titolo  del 
dramma,  conservandone  tutta  I'azione." 

With  the  opera  was  performed  (composer  of  the  nfiisic  not  mentioned)  Doraenico 
Ricciardi's  ballet,  "II  ratto  delle  Sabine,"  description  and  cast  of  which  on  p.  20-22. 

First  performed,  as  indicated.  May  25,  1774.  Schatz  940 

Narciso. 

p.  9-55.  15Y^.  {Ottavio  TronsareUi,  Drammi  musicdli,  Roma, 
Francesco  Corbelletti,  1682.) 

Trologue  and  five  acts.    Ai^gument.    No  composer  mentioned.  ML  49.A2T7 

II  Narciso. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744y  i-  '>^h  V-  [293]-S58. 

Five  acts.  Argument  and  prefatory  note  referring  to  the  first  edition  of  this 
"dramma  pastorale"  published  at  "Aspac,  per  Geremia  Kretschmann  nel  1697,"  with 
Francesco  Antonio  Pistccchi's  name  as  composer,  etc.  It  is  further  said  that  Pis- 
tocchi  performed  the  part  of  Narciso  and  that  Zeno  wrote  the  play  in  fifteen  days. 
In  the  "Catalogo"  at  end  of  t.  x  is  this  note:  "in  Aspac.  1696.  Ediz.  assai  guasta,  e 
storpiata."    As  a  matter  of  fact,  the  Anspach  ed.  is  not  dated.  ML  49.A2Z3 

—  II  Narciso,  publicato  per  la  prima  volta  in  Aspac  1696. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  i,  p.  103-158. 

01  cm 

Five  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

II  Narciso.     Favola  boschereccia  rappresentata  in  musica  nella  cittk 

di  Lodi  ... 

Lodi,  Menletti,  n.  d.     4  p.  I.,  80  p.     15*^^. 

Three  acts  with  prologue.  By  Francesco  de  Lemene,  who  is  not  mentioned. 
Dedication  dated  Lodi,  September  29,  1676,  and  signed  by  the  composer.  Carlo 
Bortio.  Schatz  1254 

II  Narciso.  Pastorale  per  musica  da  rapresentarsi  nel  novissimo 
Teatro  di  corte  d'Anspacn,  consegrata  all'  Altezza  Serenissima  Elet- 
torale  di  Madama  Soma  Charlotte  ...  da  Francesco  Antonio  Pis- 
tocchi,  mastro  di  capella  dell'  Altezza  Serenissima  il  Margravio  di 
Brandenburgo. 

Anspach,  Geremia  Kretschmann,  n.  d.     Unpaged.     19'^'^. 

Five  acts.  Composer's  dedicatioUj  notice  to  the  reader  with  Apostolo  Zeno's 
name  as  the  author  and  of  Johann  Christian  Rau  as  author  of  the  German  translation 


OPERA   LIBRETTOS  785 

II  Narciso — Continued. 

that  faces  the  Italian  text.  Argument,  Bcenano,  and  cast,  in  which  Giuseppe  Maria 
Cassani's  name  was  added  on  a  printed  slip  for  the  character  of  the  originally  blank 
Lesbino. 

First  performed  in  1697.  as  indicated.  Schatz  8197 

D  Narciso,  drama  pastorale,  da  rappresentarsi  sul  Regie  Teatro 
Danese,  il  carnovale  dell'  anno  1763. — Narcissus  .  .  . 
Ei0henhavn,  Lars  Nielsen  Svare,  n.  d.     109  p.     i5i'^"*. 

Three  acts.  Argument,  cast,  and  names  of  Apostolo  Zeno  as  author,  of  Giuseppe 
Sarti  as  composer  ("La  musica  6  tutta  nuova").    Danish  text  faces  Italian. 

Schatz  9450 

Narciso  et  Ecco  immortalati.     Opera  drammatica  di  Oratio  Per- 

siani  rappresentata  in  musica  in  Venetia  .  .  . 

Venetia,  Antonio  Bariletti,  164^.     81,  18  p.     i4<="». 

The  last  page  of  the  libretto  incorrectly  numbered  65.  In  three  acts  with  prologue. 
Author's  dedication,  dated  Venice,  January  30,  1642.  The  additional  18  p.  contain 
the  "Argomento  et  scenario  ..."  The  composer,  Pietro  Francesco  CavaUi,  ia 
not  mentioned. 

First  performed  at  Venice,  1642,  Teatro  a  SS.  Giovanni  e  Paolo,  as  indicated. 

Schatz  1747 
Narcissus.     Tr.  of  Sarti's  II  Narciso. 

Die  narren  fiir  liebe.     Tr.  of  Cocchi's  Li  matti  per  amore. 

Die  narrheiten  der  eifersucht.  Tr.  of  Anfossi's  Le  pazzie 
de'gelosi. 

II  Narsete,  generale  di  Giustiniano  imperatore.    SeeM.,  Curzio. 

H  natal  d' Apollo.     Componimento  drammatico  per  festeggiare  la 
nascita  di  S.  A.  R.  il  principe  ereditario  delle  Sicilie. 
Napoli,  Stamperia  reale,  1775.    front,  78  p.     19\'^'^. 

Two  acts  and  licenza.  Vignettes,  etc.  Argument,  scenario,  cast,  names  of  Saverio 
Mattel  as  author,  of  Pasquale  Caiaro  as  composer.  The  two  acts  were  separated  by 
"La  gara  degli  atleti,  ballo."  The  componimento  was  followed  by  Carlo  Lepicq's 
five-act  ' '  Adelaide  di  Guesclin,  ballo  eroico, ' '  of  which,  without  name  of  the  composer 
of  the  music,  cast,  argument,  and  scene  by  scene  description. 

First  performed,  as  indicated,  January  4,  1775,  Teatro  di  San  Carlo, 

ML48.M2G 

H  natal  d'Ercole  di  Michelagnolo  Buonarroti.  Favola  rappresen- 
tata al  serenissimo  Signor  Don  Alfonso  da  Este,  principe  di  Modana, 
e  all'  eccellentissimo  Signor  Don  Luigi  suo  fratello,  nelJa  venuta  lore 
a  Firenze.  Da  Madama  serenissima  di  Toscana.  Nel  palazzo  dell' 
Eccellentiss.  Sig.  D.  Antonio  Medici,  [coat  of  arms] 
Firenze,  Giunti,  1605.     4  p.  I.,  51  p.    21^'^. 

Prologue  and  five  acta.  Buonarroti's  dedication  ia  dated  Florence,  October  22, 
1605.  Since  he  speaks  of  "Questa  mia  favola  del  Natal  d'Ercole,  rappresentata  a 
V.  A.  S.  e  all'  eccellentiss.  Sig.  D.  Luigi  suo  fratello,  ben  che  al  presente  comparisca 
fuori  spogliata  de  gli  omamenti  dell'  apparato,  e  per  se  poco  adorna  ..."  The  per- 
formance would  seem  to  have  taken  place  before  October  22,  1605,  but  a  contempo- 
rary diary  of  court  happenings,  which  Solerti  quotes  in  "Musica  .  .  .  alia  Corte 
Medicea  dal  1600  al  1637  "  mate  it  quite  clear  that  October  22,  1605,  was  the  date 
of  first  performance.  The  diary  does  not  mention  the  composer.  Nor  ia  he  men- 
tioned in  the  libretto,  nor  by  Solerti,  Eitner,  Vogel,  Corazzini,  yet  Schatz  attributes 
the  music  to  Jacopo  Peri.  The  words  of  "II  natal  d'Ercole"  do  not  appear  with 
any  of  his  published  music.  Schatz  7920 

Second  copy.    ML  48.M2  I 
72251°— VOL  1—14 50 


786  LIBRARY   OF  CONGRESS 

II  natal  di  Giove. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  ii,  [431]-454  p. 

One  act.  ML  49.A2M42 

—  II  natal  di  Glove.  Azione  teatrale,  rappresentata  la  prima  volta, 
con  musica  del  Bonne,  negli  appartamenti  dell'  Imperial  Favorita 
dalle  reali  arciduchesse  Maria  Teresa  (poi  imperatrice  regina),  e 
Marianna  di  lei  soreUa,  dal  R.  principe  Carlo  di  Lorena,  e  da  una 
dama,  ed  un  cavalier  della  corte,  alia  presenza  de'  sovrani,  per  festeg- 
gi^re  d  giomo  di  nascita  dell'  imperator  Carlo  VI,  il  di  primo  ottobre 
1740  .  .  . 

[359]-384  p.  26'^'^.  (Pietro  Metastasio,  Opere,  t.  i,  Parigi,  vedova 
Herissant,  1780.) 

One  act.     Argument.  ML  49.A2M44 

II  natale  augusto.  Dramma  per  musica  per  celebrare  il  felicissimo 
nascimento  di  S.  A.  Serenissima  Donna  Maria,  principessa  della 
Beira.  Da  cantarsi  in  atto  di  umilissimo  ossequio  in  casa  di  Anselmo 
Jose  da  Cms  Sobral. 
Lishona,  Simone  Taddeo  Ferreira,  1783.  4  V-  ^v  ^^  V-  16'^^- 
Prologue,  two  acts.  Gaetaho  Martinelli  is  mentioned  as  the  author,  Antonio  Leal 
Moreira  as  the  composer.    The  princess  was  bom  April  29,  1793. 

First  performed,  as  indicated,  Li^on,  May,  1793.  Schatz  6637 

II  natale  di  Minerva.     Dramma  musicale. 

Girolamo  Bartolommei  Smeducci,  Drammi  musicali  morali,  Firenze, 
1656,  V.  i,  p.  [59]-99.     ^S<="». 

Prologue  and  three  acts.  Ai^ument,  allegoria,  and  dedication  to  duke  Ferdinand 
of  Bavaria,  beginning: 

"Queste  mie  musicali  fa  vole,  che  nel  tempo  delle  fortunatissime  nozze  di  V.  A.  S. 
giunsero  in  penna  a  farle  divotissima  offerta,  idtomano,  rinnovate  con  la  stampa,  a 
dedicarsi  air  A.  S.  Sereniss.  .  .  ."  ML  49.A2B3 

Nature  et  patrie.     A.  T,  of  Gr^try's  Callias. 

Naturens  r0st.  Et  syngestykke  i  tre  akter.  Lyrisk  omarbejdet 
efter  Armands  original :  Le  cri  de  la  nature,  komoedie  i  een  akt.  Af 
E.  Falsen.     Musiken  af  hr.  kapelmester  Kundzen. 

Ej0henhavn,  JoJian  Fredrik  Schultz,  1799.     100  p.     15^^'^. 

First  performed  at  Copenhagen,  Royal  Theatre,  December  3,  1799.     Schatz  5327 

Le  naufrage  au  port,  com^die  en  un  acte,  mSlee  de  vaudevilles  par 
les  CC.  Pain  et  Midet;    repr&entee  pour  la  premiere  fois  sur  le 
Theatre  du  Vaudeville  le  13  Fructidor,  Tan  2™«  de  la  R^publique 
franpaise. 
Paris,  au  Theatre  du  Vaudeville,  an  troisieme,  [1794-95],     39  p.  20'^'^. 
Cast.    On  p.  38,  the  air  of  the  vaudeville,  "Pour  voir  accueillir." 
First  performed,  as  indicated,  August  30,  1794.  ML  48.M2H 

H  naufragio  di  Cipro.  Dramma  pastorale  per  musica,  nuova- 
mente  composto  per  essere  rappresentato  sul  Regio  Teatro  di  Copen- 
aga,  nel  came  vale  dell'  anno  1764. — Skibbruddet  ved  Cypren  .  .  . 
Oversadt  paa  dansk,  af  R.  Soelberg  .  .  . 

Ki0henhavn,  Lars  Nielsen  Svare,  n.  d.     95  p.     16^^. 

Three  acts.  Argument,  cast,  and  names  of  Pietro  Antonio  Zani  as  author  ("La 
poesia  6  tutta  nuova"),  and  of  Giuseppe  Saxti  ("La  musica  6  tutta  nuova").  Danish 
text  faces  Italian. 

First  performed,  as  indicated,  in  January,  1764.  Schatz  9451 


OPERA   LIBRETTOS  787 

n  naufragio  felice,  ballet.     See  Borghi's  La  donna  instabile. 

The  naval  pillar:  A  musical  entertainment.  Performed  at  the 
Theatre-Royal,  Co  vent-Garden,  with  unbounded  applause.  By  T. 
Dibdin  .  .  . 

London,  J.  Barker,  1799.    m,  U]  p.     21^"^. 

Cast,  prefatory  note,  and  name  of  "Mr.  [John]  Moorehead"  ae  composer  of  "the 
overture,  new  songs,  and  music  of  the  dance."  He  also  utilized  a  few  national  and 
old  airs  and  the  "Glee  and  chorus:  When  Britain  first  her  flag  uprear'd,"  by  Callcott. 

Firet  performed  October  7,  1799.     (Geneet.)  Longe  258 

La  nave  d'Argo.     See  M.  Curzio. 

Le  navigateur.     A.  T.  of  Philidor's  M  elide. 

Die  neapolitanische  fischer-empoerung.  A.  T.  of  Reiser's 
Masagniello  furioso. 

Nebucadnezar,  koenig  zu  Babylon.  See  Reiser's  Der  bestuerzte 
und  wieder  erhoehte  .  .  . 

La  necjessita  non  ha  legge.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  in  Bologna  nel  Teatro  Marsigli  Rossi  nel'  estate  dell' 
anno  1784  ... 

Bologna,  Sassi,  n.  d.     54  p-     IS*^^. 

Two  acts.  Author  unknown  to  Schatz.  With  impresario's  dedication,  cast, 
scenario,  and  name  of  the  composer,  Vincenzo  Fabrizj.     Practically  the  same  text  as: 

Schatz  2976 

—  La  necessita  non  ha  legge.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1786.     119  p.     15'=^'. 

Two  acts.  Author  unknown  to  Schatz.  German  text  and  title-page,  "Noth  hat 
kein  gesetz,"  face  Italian.    With  cast  and  name  of  the  composer,  Vincenzo  Fabrizj. 

Schatz  2969 
II  negligente. 

[173\-218  p.  16^"^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  a,  Torino,  1767.) 

Three  acts.    First  composed  by  Ciampi  as  below.  ML  49.A2G6 

—  II  negligente.  Dramma  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  I'anno  1753.     [!] 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v.  44} 
[183]-2S1  p.     18'"^.  PQ 

H  negligente.     Dranmia  comico  per  musica  da  rappresentarsi  nel 
Teatro  Giustinan  di  S.  Mois§  I'autunno  delF  anno  1749. 
Venezia,  Modesto  Fenzo,  1749.    front.,  48  p.     14¥'^- 
^  Three  acts.     By  Goldoni,  with  alterations.    Cast  and  name  of  composer,  Legrenzio 
Vincenzo  Ciampi.  Schatz  1886 

—  II  negligente,  drama  per  musica.  Tradotto  dall'  italiano  in 
tedesco  da  Marco  Soralli,  maestro  della  Ungua  italiana  in  Norim- 
berga. — Der  nachlaessige,  eine  musicalische  opera.  Ubersetzt  aus 
dem  italiaenischen  ins  teutsche  imd  verbessert  von  Marco  Soralli  .  .  . 

n.  i.,  n.  d.     109  p.     17'''^. 

Three  acts.  German  text  faces  the  Italian.  The  cast  is  that  of  Fflerst  Thum  und 
Taxis  private  company,  managed  by  Girolamo  Bon,  which  first  performed  the  opera 


788  LIBBARY  OF   CONGRESS 

II  negligente — Continued. 

at  Frankfort  o/M,  Theaterbude  am  Rosemarkt,  October  5,  1754.  A  foot-note  an 
p.  [2] reads: 

La  musica  delle  arie,  duetti,  terzetti  e  quartetti  sono  del  celebre  Signor  Vincenzo 
Ciampi,  Maestro  napolitano." 

The  text  is  not  quite  the  same  as  in  "II  negligente,"  Venezia,  1749.  For  instance, 
the  aria,  "Se  il  foco  mi  accende  "  (I,  6)  is  not  in  the  text  as  composed  by  Ciampi,  where 
we  have  "Senza  sentir  il  danno,"  and  in  III,  5,  "Levarsi  dopo  il  Sole"  instead  of 
"Non  vc^lio  imbrogli,"  as  in  III,  4  of  the  Soralli  version.  Schatz  1889 

Le  negociant  de  Nantes.     A.  T.  of  Solid's  Le  Franc  Breton. 

Nel  perdono  la  vendetta.  Melodramma  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  Mois^  per  la  fiera  dell'  Ascensione  dell'  anno 
1728. 

Venezia,  Aloise  Vdlvasense,  1728.     46  p.     15"^. 
Pages  3-4  perhaps  missing. 

Three  acts.  Notice  to  the  reader  as  argument,  and  scenario.  Neither  the  author, 
Carlo  Paganicesa,  nor  the  composer,  Giovanni  Porta,  ia  mentioned. 

First  performed  in  May,  1728,  as  indicated.  Schatz  8384 

Le  nemiche  degli  uomini,  ballet.    See  Tarchi's  Dorval  e  Yirginia. 

I  nemici  generosi  o  sia  II  duello  per  complimento.  Dramma  giocoso 
per  musica  da  rappresentarsi  nel  Regio  Teatro  di  via  della  Pergola  la 
primavera  del  1797  .  .  . 

Firenze,  Stamperia  Alhizziniana,  1797.    52  p.     16^'^^. 

Two  acts.  Without  names  of  the  composer,  Cimarosa,  or  author,  who  is  unknown 
to  Schatz.  On  p.  4-10,  argument,  cast,  and  detailed  description  of  Gio.  Batista 
Giannini's  four-act  "La  fata  benefica.  Ballo  persiano  favoloso."  Paisiello  and 
Ercolani  are  mentioned  as  the  composers  of  the  music. 

First  performed  at  Rome,  Teatro  Valle,  carnival,  1796.  Schatz  1957 

—  I  nemici  generosi.  Dramma  giocoso  per  musica,  da  rappre- 
sentarsi nel  Teatro  Elettorale  di  Sassonia. 

Dresda,  n.  puhl,  1797.     27  p.  I.,  64  p.     16'^'^. 

Two  acts  with  name  of  the  composer,  Cimarosa.  German  title-page ,  "  Die  grossmue- 
thigen  feinde,"  faces  Italian,  and  most  of  the  p.  1.  are  taken  up  by  the  very  detailed 
"Innhalt." 

First  performed,  as  indicated,  January  18,  1797.  Schatz  1958 

—  H  duello  per  complimento.  Farsa  giocosa  per  musica  d'un  atto 
solo  da  rappresentarsi  nel  Teatro  Giustimani  in  San  Moisfe. 

Venezia,  Modesto  Fenzo,  Anv^  primo  della  lihertd,  iialiana  [1797]. 
32  p.     ISh""^. 

One  act.  Cast  and  name  of  Cimarosa  as  the  composer.  The  farce  is  followed  by 
Luigi  Olivieri's  "Emesta  e  Daon,  ballo  pantomimo  in  tre  atti,"  with  cast,  argument, 
and  description,  but  without  name  of  the  composer  of  the  music,  and  "Chi  I'avrebbe 
mai  creduto."  Then  comes,  on  p.  39-64,  with  cast,  the  libretto  of  "II  secreto,  farsa 
giocosa  per  musica  d'lm  atto  solo  da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Moisfe 
del  cittadino  Giuseppe  Foppa  .  .  .    La  musical  del  celebre  maestro  SimeoneMayr." 

Schatz  2002 

II  nemico  amante.  L.  T.  of  Buini  and  Chelleri's  La  paee  per 
amore. 

II  nemico  delle  donne.     L.  T.  of  Galuppi's  L'inimico  delle  donne. 

Neptune  et  Amymone.     See  Mouret's  Les  amours  des  dieux. 


OPERA   LIBRETTOS  789 

Nerina.  Favola  pastorale  da  rappT-esentarsi  nel  Teatro  Grimani  di 
S.  Samuel  nella  fiera  dell'  Ascensions  dell'  anno  1728  .  .  . 

Venezia,  Carlo  Bonarrigo,  1728.     J^l  p.     15^'^. 

Three  acts.  Dedication  by  Domenico  Lalli  as  impresario,  who  is  supposed  to  have 
altered  the  text  by  Pietro  d'Averara,  who  is  not  mentioned;  argument,  cast,  scenario, 
and  name  of  Antonio  Pollaroli  as  the  composer.  Schatz  8263 

Nero.     See  Handel's  Die  durch  blut  und  mord  erlangete  liebe. 

Nero.     Tr.  of  Orlandini's  Nerone. 

Nerone.  Tragedia  per  musica  rappresentata  nel  famoso  Teatro 
Grimani  di  S.  Gio.  Grisostomo  il  carnovale  dell'  anno  1721. 

Venezia,  MariTio  Rossetti,  1721 .     59  p.     15^^. 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Giuseppe  Maria  Orlandizu  as  the  composer.        Schatz  7343 

—  Nero,  in  einem  sing-spiele  auf  dem  Hamburgischen  schauplatze 
voi^estellet.     Im  jalir  1729. 

n.  pi.,  Gedruckt  mit  Stromerschen  schrifften,  n.  d.      Unpaged.     18'^'^. 

Three  acts.  Scenario.  Translated  by  Johann  Mattheson,  who  is  not  mentioned. 
The  arias  have  also  Italian  text.  "Die  music  (auseer  den  wenigen  mit  dem  *  bezeich- 
neten  arien)  ist  von  dem  hm.  Orlandizu  ..."  The  starred  arias  are  "Affetti  del 
mio  sposo"  (I,  1),  "Gi^  tutto  valore"  (I,  5),  "Spirto  eccelso,  con  valore"  (I,  9), 
"Bella  destra"  (I,  12),  "Amor  e  gelosia"  (II,  3),  "D'antico  Amor  le'faci"  (II,  6). 

The  composers  of  these  arias  are  not  mentioned.  Schatz  7344 

•H  Nerone.     Drama  per  musica,  nel  nuovo  Teatro  Grimano  di  S. 
Gio.  Grisostomo.     L'anno  1679.     Di  Giulio  Cesare  Corradi  .  .  . 
Venetia,  Francesco  Nicolini,  1679.     71  p.     14""^. 

Three  acts.  Author'^  dedication,  argument,  notice  to  the  reader  with  name  of 
Carlo  Pallavicino  as  the  composer  and  scenario.  Schatz  7729 

Nerone  fatto  Cesare.  Drama  per  musica  da  rappresentarsi  nel 
famoso  Teatro  di  S.  Salvatore.  L'anno  MDCXCIII.  Di  Matteo 
Noris  ... 

Venetia,  Nicolini,  1693.     89  p.     13^^. 

Three  acts.  Author's  dedication,  notice  to  the  reader  with  name  of  Giacomo 
Antonio  Perti  as  the  composer,  and  scenario. 

First  performed,  carnival  1693,  as  indicated.  Schatz  7952 

Netley  Abbey,  an  operatic  farce  in  two  acts,  as  performed  at  the 
Theatre-royal,  Covent-Garden.     Written  by  Mr.  Pearce  .  .  . 
London,  T.  N.  Longman,  1794.     3  p.  I.,  35,  [1]  p.     20'^'^. 

Cast,  dedication,  dated  November  22,  1794,  and  note  appreciative  of  the  "comic 
exertions,"  "vocal  powers  "  of  the  cast  and  of  "the  beautiful  air"  by  Mr.  Baumgarten, 
in  the  first  act,  and  Mr.  Shield's  striking  composition  of  "England,  a  world  within 
itself"  in  the  second.  No  other  composers  are  mentioned  in  the  libretto,  but  the 
title  page  of  Longman  and  Broderip's  vocal  score  says  "partly  selected  and  partly 
composed  bv  Mr.  Baumgarten,  Mr.  W.  Parke,  Sigr  Paisiello,  Mr.  Howard,  and 
Mr.  Shield,    and  the  individual  numbers  are  headed  accordingly.  r 

First  performed  on  April  10,  1794  (Schatz);  April  22,  1794  (Genest).     Longe  229 

Nettuno  ed  Egle.  Favola  pastorale  per  musica  da  rappresentarsi 
nel  Real  Teatro  dell'  Ajuda  per  celebrare  gli  augustissimi  sposalizi  de' 
serenissimi  Signori  infanti  ai  Portogallo  e  di  Spagna  Don  Giovanni 
con  Donna  Carlotta  Gioacchina,  e  Donna  Marianna  Vittoria  con  Don 
Gabriele  Antonio  la  primavera  dell'  anno  1785. 

[Lishoa],  NeUa  stamperia  reale,  n.  d.    52  p.     15*^^. 

Two  acta.  By  Gaetano  Sertor  (Schatz).  Argument,  cast,  scenario,  and  name  of 
the  composer,  JoSo  de  Sousa  Carvalho.  It  is  said  that  "il  drammatico  componi- 
Biento,  k  d'un  Veneto  incognito  autore."  Schatz  1671 


790  LIBKABY   OF   CONGBESS 

Nettuno  ed  Egle.  Fa vola  pastorale  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  di  S.  Benedetto  la  fiera  dell'  Ascensione  dell' 
anno  1783  .  .  . 

Venezia,  Modesto  Fenzo,  17 88.     57  p.     17 h""". 

Two  acta.  Dedication  by  the  author,  Gaetauo  Sertor,  argument,  cast,  scenario, 
and  name  of  Antonio  Pio  as  the  composer.  On  p.  29-32  cast,  description,  and  name 
of  Carlo  Canobio  as  the  composer  of  the  music  of  "Cupido  trionfatore  o  sia  Apollo  e 
Dafne,  ballo  pastorale  pantomime  composto  dal  Signor  Giuseppe  Canziani "  and  on 
p.  55-57  of  La  maggior  impresa  d'Ercole  o  sia  Adureto  ed  Alceste,  ballo  tragico 
eroico  pantomime  "  by  the  same  author  and  composer.  Schatz  8188 

Das  neu-beglueckte  Sachsen  durch  die  erfreuliche  geburt  eines 
Chur-Saechsischen  printzen,  auf  veranstaltung  des  koenigl.  Pohln. 
und  Chur-fuerstl,  Saechs,  Geheimen  Secretairs  herrn  Koenigs,  als  er 
eben  in  Hamburg  anwesend  war,  in  einem  von  ihm  verfertigten  Pro- 
logo  vor  seiner  opera  Sancio  zu  allerunterthaenigster  freuden-bezeu- 
gung  auf  dasigem  schau-platze  oeffentlich  vorgesteUt.  1730. 
Hamburg,  [Piscator],  n.  d.     Unpaged.     18'^'^. 

Publisher's  name  cut  off  in  binding. 

Cast,  names  of  the  author  and  of  the  composer,  Georg  Philipp  Telemann,  and 
sonnet  by  Christoph  Gottlieb  Wend,  dated  "Hamburg,  im  October  1730"  and 
addressed  to  Johann  Ulrich  Koenig.  From  the  dedication  it  appears  that  this  libretto 
was  printed  after  the  performance  on  October  30,  1730,  in  honor  of  the  prince's  birth, 
on  August  25,  1730.    The  libretto  is  followed  by: 

—  FORSETZUNG  DES  Prologi,  an  statt  der  opera  Sancio,  dabey  vorzuatellen.     1730. 

Hamburg,  gedruckt  mit  Piscators  schrifften. 

Cast.  ScHATz  10272 

Der  neu-modische  liebhaber  Damon,  in  einem  scherzhaften  singe- 
spiele  auf  der  Hamburgischen  schau-buehne  zum  erstenmale  vorge- 
stellet  1724. 

[Hamhurg],  Caspar  Jdkhd,  n.  d.     Unpaged.     18*^^. 

Three  acts.  Argument.  Neither  the  author  (unknown  to  Schatz)  nor  the  com- 
poser, Georg  Philipp  Telemann,  is  mentioned.  Schatz  10264 

Musiktexte  aus  dem  Neusonntagskinde  nach  dem  Furchtsamen  des 
weil.  herrn  Hafner.  Als  singspiel  neu  fuer  das  k.  k.  privil.  Marinelli- 
sche  Theater  bearbeitet  [von]  Joachim  Perinet  .  .  .  Die  musik  ist 
vom  herrn  Wenzel  Mueller  .  .  .  Aufgefuehrt  den  10  ten  des  wein- 
monates  [Oct.]  1793.     Dritte  auflage. 

Wien,  Mathias  Andreas  Schmidt,  179^.     Ifi  p.     17'''^. 

Cast.  Schatz  6947 

—  Gesaenge  aus  dem  singspiele :  Das  sonntagskind  in  zwey  auf- 
zuegen.     In  musik  gesetzt  von  Wenzel  Mueller. 

Hamburg,  Rahe  und  Freystatzhy  wittwe,  1798.     32  p.     W^. 

Joachim  Perinet  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  February  3,  1795. 

Schatz  6948 

—  Arien  und  gesaenge  aus  der  oper:  Das  neue  Sonntags-kind. 
Ein  komisches  singspiel  in  zwej^  aufzuegen.  Die  musik  ist  vom 
herrn  kapellmeister  Mueller  in  Wien. 

Berlin,  n.  publ.,  n.  d.     Jfi  p.     15^^. 

Cast.    Perinet  is  not  mentioned. 

First  performed  at  Berlin,  Koenigl.  National  Theater,  May  6, 1796.    Schatz  6949 

Der  neue  gutsherr.     A.  T.  of  Dittersdorf's  Der  schiffspatron. 


OPERA   LIBRETTOS  '         791 

Der  neue  gutsherr.     In  drey  akten.     Komponirt  vom  herrn  musik- 
direktor  Hiller. 

n.  i.,  n.  d.     134  V-     ^^''™- 

In  his  "Vorrede,"  dated  Leipzig,  July  6,  1781,  [Johann  Gottfried]  Dyk  says: 

' '  Die  franzoesische  und  deutsche  komische  oper  ist  ein  sonderbar  ding.  Zwar  ist  ea 
etwas  sehr  gewoehnliches,  zumal  unter  den  Franzosen,  liederchen  bey  spaziergaengen 
und  mahlzeiten  zu  singen;  aber  im  gespraech  mit  andem  faellt  man  doch  nie  aus 
rede  in  gesang.  Indess,  die  gattimg  ist  einmal  da  und  gewaehrt  vei^uegen  .  .  . 
Um  aber  das  iinnatuerliche  in  der  form  so  viel  als  moeglich  zu  mindem,  sollte  man 
die  scene  immer  auf  das  land,  oder  in  die  fabelhaften  und  ritter  zeiten  legen;  hier 
laesst  sich  der  gesang  noch  am  ehsten  ohne  gar  zu  groese  widersinnigkeit  anbringen. 
Aus  dem  itzigen  staedtischen  leben  entlehnte  suejets,  soUten  wir  Deutsche  uns  um 
60  mehr  enthalten  mit  gesaengen  zu  verbraemen,  da  wir  unsem  dialog  in  prosa  schrei- 
ben  imd  da  unser  gesang,  eben  weil  er  ungleich  mehr  gesang  ist  als  der  franzoesische, 
auch  deshalb  ungleich  greller  von  der  rede  absticht.  Die  Italiener,  in  deren  opem 
alles  gesang  ist,  koennen  ihre  suejets  freyer  waehten:  hingegen  muessen  sie  auf  alle 
entwicklung  der  charaktere  und  leidenschaften  verzicht  thun,  welche  das  recitativ 
nicht  zulaeset.  Bey  dieser  manier  kann  der  dichter  nur  diu-ch  die  situationen  interes- 
siren  oder  belustigen :  bey  der  franzoesischen  und  deutschen  kann  er  es  auch  in  etwas 
durch  die  charaktere  .  .  .  Ausgefuehrte  arien  voUends  darf  man  nur  in  ruhepunk- 
ten,  etwann  gegen  das  ende  eines  akts,  anbringen:  in  der  mitte  einer  scene  haelt 
eine  solche  arie  den  fortgang  der  handlung  zu  lange  auf.  Nach  diesen  gnmdeaetzen 
habe  ich  zu  arbeiten  gesucht,  und  nicht  sowohl  auf  einen  kuenstlich  verflochtenen 
plan  imd  ausgefuehrte  charaktere,  als  auf  gemaelde  imd  kontrastirende  situationen 
und  empfindungen  mein  absehn  gerichtet  .  .  .  Der  stoff  meines  stuecks  ist  aus  dem 
Paysan  parvenu  von  Marivaux  gezogen;  imd  die  ausfuehrung  der  gesaenge  gehoert 
einem  meiner  freimde,  dem  verfasser  des  Huldreich  Wurmsamen  von  Wurmfeld, 
[Johann  Friedrich  Jiinger],  ohne  dessen  beyhuelfe  ich  es  nicht  wuerde  gewagt  haben, 
eine  oper  zu  schreiben  .  .  .  Herr  Hiller  will  die  gefaelligkeit  fuer  mich  haben, 
musik  zu  den  gesaengen  zu  setzen:  ein  klavierauszug  dieser  musik  wird  im  druck 
erscheinen." 

A  performance  is  not  recorded  by  Schatz.  Schatz  4730 

Der  neue  herr  oder  Die  hoeflichen  bauem.     Ein  singspiel  in  zwey 
akten  nach  der  Ankunft  des  herm  neu  bearbeitet. 

Breslau  und  Hirschherg,  Johann  Friedrich  Kom,  dem  aeUem,  1788. 
94  p.     14'^. 

Not  recorded  by  Schatz.  Not  found  in  "Deutsches  Anonymen  Lexikon."  Rie- 
mann  has  "Der  neue  Herr,  Singspiel  von  Georg  Braun  (Eichstatt,  ca.  1790)." 

Schatz  11637 

Der   neue   krumme   teufel.     0.   T.    of  Haydn's   Asmodeus   der 
krumme  teufel. 

Der  neue  richter.     A,  T.  of  Weissflog's  Das  fruehstueck  auf  der 
jagd. 

Das  neue  sonntagskind.     L.  T.  of  Wenzel  Muller's  Das  neu  sonn- 
tagskind. 

Die  neuen  Amazonen,  ein  allegorisch  pantomimisches  ballet  von 
C.  Schulz.     Die  musik  ist  vom  kapellmeister  Schweitzer. 

Theater  Journal  fuer  Deutschland,  Fuenftes  stueck,  Gotha,  1778,  p. 
46-53. 

Two  acta.  Identical  with  the  ballet  "Die  Amazonen"  composed  between  1772 
and  1775  (Maurer)?  Schatz  11764 

Die  neuen  Arkadier.     L.  T.  of  Sussmayer's  Der  spiegel  von  Arka- 
dien. 


792  LIBRARY  OF   CONGRESS 

The  new  rehearsal.  A.  T.  of  Barth^lemon's  A  peep  behind  the 
curtain. 

New  Spain;    or,  Love  in  Mexico:    an  opera  in  three  acts;   as  per- 
formed at  the  Theatre-Royal  in  the  Hay-Market.     First  actea  on 
Friday,  July  16,  1790. 
London,  G.  G.  J.  and  J.  Robinson,  1790.     3  p.  I,  61  p.     22'='^. 
Neither  the  author,  John  Scawen,  nor  Samuel  Arnold,  the  composer,  is  mentioned. 

ML  50.2.N43 
Second  copy.    Longe  238 

Nicaboro  in  Jucatan.  Draroma  per  musica  di  Domenico  Piccinni 
da  rappresentarsi  nel  Real  Teatro  di  S.  Carlo  nel  di  12.  gennaro  1799. 
Festeggiandosi  la  nascita  di  Ferdinando  IV  .  .  . 
Napoli,  Stamperia  Flaviina,  1799.  48  p.  16Y'^- 
Two  acts.  Impresario's  dedication,  dated  Naples,  January  12,  1799,  ailment, 
Bcenario,  cast,  and  name  of  Giacomo  Tritto  as  the  composer.  According  to  a  foot- 
note, the  text  of  the  first  part  of  scene  1,  act  I,  was  not  by  Piccinni.  On  p.  8-18,  argu- 
ment, cast,  without  name  of  the  composet  of  the  music,  and  description  of  Gaspare 
Ronzi's  "Giulietta  e  Romeo,  ballo  pantomimo  tragico-urbano."  His  second  ballet 
was  called  "Li  Zingani  in  fiera."  Schatz  10463 

Nicaise,   opera-comique  en  un  acte.     Par  M.   Vad6.     Repr6sent6 
sur  le  Th^&tre  de  1 'Opera-comique  h.  la  Foire  S.  Germain  le  7  f^vrier 
1756. 
.     Paris,  Duchesne,  1756.     70  p.     19^"^. 

Largely  en  vaudevilles.  Cast.  On  p.  65-70  the  "Airs  choisis"  as  below.  On 
cover  of  this  title  the  music  is  attributed  to  [Felice]  Bambini.  ML  50.2. N3 

—  Nicaise,  opera-comique  en  un  acte^ar  M.  Vade.  Repr^sente  sur 
le  Theatre  de  I'Op^ra-comique  h.  la  Foire  St.  Grermain  le  7  f6vrier 
1756. 

La  Hay e,  Pierre  Gosse,  junior,  1760.  86  p.  W^^.  {Vade,Oeuvres, 
La  Haye,  1759,  t.  iv.) 

Largely  en  vaudevilles.  Cast.  On  p.  7^-85,  the  "Airs  choisis:"  "Pour  d'autres 
instans,"  "Non,  je  n'aimerai  jamais."  ML  49.A2V2 

—  Nicaise,  op6ra-comique,  en  un  acte.  Repr^ent6  sur  le  Theatre 
de  rOp^ra-comique,  h.  la  Foire  S.  Germain  le  7  f^vrier  1756. 

Paris,  la  veuve  Duchesne,  1766.     72  p.     19'^'^. 

On  p.  67-72,  the  airs:  "Pour  d'autres  instants  gardez,"  "Non,  je  n'aimerai  jamais 
que  voiis."  Schatz  11501 

Nice,  imitation  de  Stratonice;  en  im  acte,  en  prose,  mel6e  de  vaude- 
■villes;  representee  pour  la  premiere  fois  sur  le  The&tre  du  Vaudeville 
le  mercredi  6  juin  1792. 
Paris,  Maret,  1793.    27  p.    20'^'^. 

Cast.     Not  recorded  by  CI.  &  L.,  Schatz  or  Towers.  ML  48.M2H 

Nicodeme  dans  la  lune,  ou  La  revolution  pacifique.  Folic  en 
prose  et  en  trois  actes,  m^l^e  d'ariettes  et  de  vaudevilles.  Repre- 
sentee pour  la  premiere  fois  a  Paris,  au  Theatre  franpais,  comique  et 
lyrique,  le  7  novembre  1790,  et,  pour  la  cent  cinquante-sixi^me  fois, 
le  mardi  27  septembre  1791.  Par  le  Cousin-Jacques.  Troisieme 
edition. 

Paris,  FrouUe  et  chez  Vauteur,  1791.     IO4  p.     21""^. 

Cast.  On  p.  97-104,  "Quelques  reflexions  de  I'auteur  "  on  the  history,  etc.,  of  this 
famous  piece,  which  is  "eelon  tout  le  monde,  ime  production  trfes  originate,  soit  en 
mal,  eoit  en  bien."  Schatz  707 


OPERA   LIBRETTOS  793 

Nicola  e  Cirilla,  ballet.     See  Gardi's  II  finto  Stregone. 

Nicomade.  Dramma  serio  per  musica  da  rappresentarsi  in  Geneva 
nel  Teatro  da  S.  Agostino  il  camevale  del  1790  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     53  p.,  13,  {1\  p.     ISY^, 

Three  acts.  Eustachio  Manfredi  is  mentioned  as  the  author,  and  Giuseppe  Gior- 
dani  as  the  composer  (" ttiusica  nuova  ") .  Dedicatory  poem,  argument,  scenario,  and 
cast.  The  additional  pages  contain  the  argument,  cast,  and  description  of  Filippo 
Beretti's  five-act  ballo  tragico,  "Ipermestra  ossia  La  morte  di  Danao."  The  com- 
poser of  the  music  is  not  mentioned.  Schatz  3847 

^'II  Nicomede  in  Bitinia.  Drama  per  nausica  da  rappresentarsi  nel 
Teatro  Zane.  L'anno  MDCLXXVII.  Del  dottore  Gio.  Matteo 
Giannini  .  .  . 

Venetia,  Francesco  Nicolini,  1677.    front,  71  p.     14'^'^. 

Three  acts.  Poem  dedicated  to  the  empress  Eleonara  by  #iannini  and  dated 
Venice,  February  4,  1677,  ai^ument,  scenario,  and  notice  to  the  reader,  with  name  of 
Carlo  Grossi  as  the  composer,  and  remark  to  the  effect  that  the  drama,  on  account  of 
the  "apparenze  e  machine,"  could  not  be  performed  in  its  original  form,  for  want  of 
space.  Hence  the  necessity  to  condense  and  mutilate  it  "in  quella  parte,  che  nobilita 
i  drami,  ed  allettando  I'occhio,  invaghisce  gl'animi,  oggid^  aseuefatti  a  i  prodigi." 

Schatz  4218 

La    Nicopoli.     Drama    musicale    da    rappresentarsi    nel    Theatro 
Domestico  in  S.  Fantino  I'anno  1700  del  dottor  Francesco  Rossi  .  .  . 
Venetia,  Gio.  Maria  Rossi,  1700.    front,  4S  p.     15^. 

Three  acta.  Author's  dedication,  argument,  prefatory  note,  with  name  of  the  com- 
poser, Bernardo  Borgog^nim.  Schatz  1241 

Nicoraste.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascensione  dell'  anno  1769. 
Venezia,  Modesto  Fenzo,  1769.     Ifi  p.     16^"^. 

Three  acts.  By  Bartolomeo  Vitturi  (not  mentioned),  with  alterations.  Argument, 
cast,  and  name  of  Antonio  Sacchini  as  the  comnoser.  Schatz  9233 

Nicoraste  re  di  Tracia.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  la  fiera  dell'  Ascensione  dell'  anno  1745, 

Venezia,  Modesto  Fenzo,  1745.     4^  V-     -^^'^'"• 

Three  acts.  By  Bartolomeo  Vitturi,  who  is  not  mentioned.  Impresario's  dedica- 
tion, dated  Venice,  May  22,  1745,  argument,  cast,  scenario,  and  name  of  Giovanni 
Battista  Pattoni  as  the  composer.  Schatz  7785 

Nilus,  der  grossmuethige  veraechter  der  welt,  ein  singspiel  in 
einem  aufzuge  von  der  kleineren  congregation  unter  tem  titel  der 
Unbefleckten  Empfaengniss  Mariae  aufgemehrt  im  Maerzmonde  1785 
zu  Augsburg. 

[Augsburg],  Joseph  Simon  Hueber,  n.  d.     10  p.     19^''^. 

At  head  of  title:  "Martinez  oder  Die  beside  rachbegierde,  ein  christliches  trauer- 
Bpiel  in  dreyen  aufzuegen,  und." 

With  cast  and  "Vorbericht."  Michael  Dernier  is  mentioned  as  compoeer.  The 
author  is  not  mentioned,  and  is  unknown  to  Schatz.  Schatz  2508 

Nina,  ou  La  folle  par  amour,  com^die  en  im  acte,  en  prose,  m^l^ 
d'ariettes,  par  M.  M.  D.  V.  Musique  de  M.  Dalayrac.  K6pr6sent6e, 
pour  la  premiere  fois,  par  les  Com6diena  italiens  ordinaires  du  roi.  le 
15  mai  1786. 

Paris,  Brunei,  1788.     47  p.     21  <^. 

Cart.    Text  by  B.  J.  Marsollier.  ML  50.2.N4D2 


794  LIBRARY  OF   CONGRESS 

Nina — Continued. 

—  Nina ;  or,  The  love  distracted  maid:  A  comedy  in  one  act.  Trans- 
lated from  the  French  of  M.  .M.  D.  V. 

London,  G.  GouUing,  1787.    2  y.l.,  40  p.    21^"^, 

On  p.  39^0,  a  list  of  "New  music  published  by  G.  Goulding."  In  a  prefatory  note 
this  translation  is  called,  "entire  and  unmutilated :  no  deviation  whatever  has  been 
attempted  from  the  fable  or  connection  of  the  excellent  original  ..."  He  appar- 
ently alludes  to  Marsollier's  "Nina,  ou  La  foUe  par  amour,"  first  performed  at  Paris, 
with  Dalayrac's  music,  1786. 

No  peiiormance  of  this  English  version,  by  unknown  translator,  recorded  by 
Clarence.  Long k  99 

—  Nina  oder  Wahnsinn  aus  liebe.  Ein  schauspiel  mit  gesang  in 
einem  aufzuge.  Nach  dem  franzoesischen  mit  beybehaltener  musik 
von  B.  C.  d'Arien. 

Hamburg,  n.  fall.,  1787.     56  p.     17""^. 

Dalayrac  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  January  31, 1787. 

ScHATz  2367 

—  Nina  oder  Wahnsinn  aus  liebe.  Ein  schauspiel  mit  gesang  in 
einem  akt. 

Mainz,  n.  pull.,  1787.     2  p.  I.,  66  p.     UY"^- 

"  Vorerinnerung  .  .  .  Der  uibersetzer,"  according  to  Schatz,  Heinrich  Gottlieb 
Schmieder.    Dalayrac  is  not  mentioned. 

First  performed  at  Mannheim,  June  17,  1787.  Schatz  2368 

—  Arien  und  gesaenge  aus  Nina  oder  Wahnsinn  aus  liebe.  Singspiel 
in  einem  aufzuge.  Aus  dem  franzoesischen.  Die  musik  ist  vom 
herrn  Dallairac. 

Berlin,  n.  publ,  1790.     16  p.     W"^. 

German  version  by  Joh.  Andr6  (Schatz). 

First  performed  at  Berlin,  Nationaltheater,  May  3,  1788.  Schatz  2369 

—  Nina;  oder:  Was  vermag  die  liebe  nicht?  Ein  singspiel  in 
einem  aufzuge.  Nach  dem  franzoesischen  von  L.  Die  musik  ist 
von  Dallirak. 

Berlin,  n.  publ.,  1789.     62  p.     15'^'^. 

First  performed  at  Charlottenburg,  Schlosetheater,  July  31, 1789.      Schatz  2370 

Nina  or  The  love  distracted  maid.  Tr.  of  Dalayrac's  Nina  ou  La 
folle  par  amour. 

Nina  o  sia  La  pazza  ber  amore,  Commedia  in  prosa,  ed  in.  verso  per 
musica,  tradotta  dal  francese.  Da  rappresentarsi  nel  Teatro  de' 
Fiorentini  per  seconda  opera  di  quest'  anno  1790. 

Napoli,  Vincenzo  Flauto,  1790.     47  p.     18'^'^. 

Two  acts.  Cast,  name  of  PaisieUo  as  composer,  and  preface  by  the  author,  Giam- 
battista  Lorenzi.  In  this  he  refers  to  the  first  performance  at  Caserta,  Teatro  del  Reale 
Sito  di  Belvedere,  summer  of  1789,  for  which,  by  royal  command,  he  wrote  and 
Paisiello  composed  several  additional  numbers.  The  opera  was  there  performed  in 
one  act,  without  intermissions.  For  this  replica,  he  continues,  it  was  found  necessary 
to  divide  the  opera  in  two  par*s,  and,  incidentally,  to  write  and  compose  further 
additional  numbers.  All  these  additions  are  marked  with  an  asterisk  in  the  libretto. 
They  are: 

"Con  voi  divide"  ("I,  8),  "Mormora  il  ruscelletto  allor  piii  grato"  (I,  9),  "Gli 
armenti  suoi  raccoglie  (I,  9),  "Senza  il  caro  mio  tesoro"  (I,  9),  "L'amo  tanto,  che 
ler  lei"  (II,  1),  "Se  non  prendo  un  p6  di  fiato"  (II,  3),  "Conti-con  voi  .  .  .  con 
■ei"(II,  7).  Schatz  7645 


le 


OPEEA   LIBRETTOS  795 

Nina  o  sia  La  pazza  per  amore — Continued. 

—  Nina,  o  sia  La  pazza  per  amore.     Dramma  giocoso  per  musica, 
da  rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,n.  puhl,  1791.     99  p.     15^"^. 

Two  acts.  Paisiello  is  mentioned,  but  not  Lorenzi.  (j«rman  title  page,  "Nina, 
oder  Wahnsinn  aus  liebe,"  and  text  face  Italian. 

First  performed  January  7,  1792,  as  indicated.  Schatz  7646 

Nina  oder  Wahnsinn  aus  liebe,  Tr.  of  Dalayrac's  Nina  ou  La  foUe 
par  amour. 

Nina  oder  Wahnsinn  aus  liebe.  Tr.  of  Paisiello's  Nina  o  La  pazza 
per  amore. 

Nina  oder  Was  vermag  die  liebe  nicht?  Tr.  of  Dalayrac's  Nina  ou 
La  folle  par  amour. 

Nina  pazza  per  amore,  ballet.     See  Andreozzi's  Amelia  ed  Ottiero. 

Nina  pazza  per  amore,  baUet.     See  Andreozzi's  Argea. 

Nina  pazza  per  amore,  ballet.     See  Astaritta's  II  curioso  accidente. 

La  Nina  T^BZza.  per  amore,  ballet.     See  Guglielmi's  Enea  e  Lavinia. 

Ninetta^  o  sia  La  contadina  nel  palazzo  signorile,  ballet.  See  Sarti's 
Siroe. 

Ninette  a  la  cour.     A.  T.  of  Le  caprice  amoureux. 

Ninette  a  la  cour,  ballet  en  action;  par  M.  Gardel,  L.  .  .  .  Re- 
pr6sent6,  devant  Leurs  Majest^s,  h,  Choisy,  pour  la  premiere  fois,  & 
a  Fontainebleau  en  1777. 

[Paris],  Pierre  RoheH  Christophe  Ballard,  1777.    2  p.  1, 19  p.    j?i<"». 

Three  acts.  Cast.  Act  by  act  synopsis  of  the  action.  Composer  of  the  music  not 
recorded  by  Lajarte,  who  merely  says:  "  Ninette  h  la  cour  fut  parodi^  par  Favart  sur 
la  musique  de  Ciampi  (Bertoldo  alia  Corte).  Quelques  airs  sont  rest^s  dans  le  ballet, 
qui  eut  du  succ^." 

First  performed  at  Paris,  Acad^mie  royale  de  musique,  August  18,  1778. 

ML  52.2.N4 

La  ninfa  Apollo.  O.T.  of  L'  inganno  felice,  1730;  with  same  prefa- 
tory note. 

La  ninfa  Apollo  del  conte  Lemene.  Favola  pastorale  da  rappresen- 
tarsi nel  Teatro  Grimani  di  S.  Samuele  nella  fiera  tiell'  Ascensione 
deir  anno  1734  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.    34  p.     i5J<="*. 

Three  acts.  Retouched  by  Giov.  Boldini,  who  is  not  mentioned.  Impresario's 
dedication,  cast,  scenario,  and  name  of  Galuppi  as  composer. 

First  performed,  as  indicated,  May  30,  1734.  Schatz  3488 

La  ninfa  Apollo.  Scherzo  scenico  pastorale  per  musica  da  rappre- 
sentarsi nel  Teatro  Tron  di  S.  Cassano  1'  ultima  sera  del  camovale 
dell'  anno  MDCCIX.  Poesia  del  co.  Francesco  de  Lemene,  Lodi- 
giano. 

Venezia,  Marino  Rossetti,  1709.     2^  p.     14^^- 

Three  acts.    Cast.    The  composer.  Carlo  Francesco  Gasparini,  is  not  roenti6ned. 

First  performed  February  12,  1709,  as  indicated.  Schatz  3574 


796  UBRABY  OF  CONGRESS 

La  ninfa  Apollo.     Pastorale  da  recitarsi  in  musica  1'  anno  1726. 
Per  la  ricreazione  del  carnovale  da  Signori  Accademici  Librali  .  .  . 
Venezia,  Antqnio  Bortoli,  1726.     Ifi  p.     15^^. 

Three  acta.  Without  list  of  characters !  Dedication  and  notice  to  the  reader: 
"Eco  la  Ninfa  Apollo  parto  della  celebre  pennadel  Sig.  Francesco  di  Lemene,  ma 
non  gi^  Quale  resci  dalle  mani  del  euo  autore.  L'  aggiunta  d'  un  personi^gio,  la  muta- 
zione  delle  ariette,  e  la  variazione  e  traspoeizione  di  qualche  ecena,  la  rendono  in 
buona  parte  da  quella  diverea.  Sappia  per6  chi  legge,  che  un  tale  cambiamento  non 
h  gia  effetto  di  poca  etima  verso  un  cosl  illustre  poeta,  ne  presunzione  di  migliorar  la 
poeeia,  ma  pura  necessity  di  accomodarla  al  numero,  ed  alia  ability  di  chi  deve  rap- 
presentarla,  ed  all'  uso,  ed  al  gusto  della  musica  del  modemo  teatro  .  .  ." 

The  composer,  Francesco  Bossi,  is  not  mentioned.  Schatz  8888 

La  ninfa  avara  di  Benedetto  Ferrari  dalla  Tiorba.  Rappresetata 
in  musica  in  Venetia.     Posta  in  musica  dall'  istesso  autore. 

71.  i.,  n.  d.  p.  {205]-237  (JPoesie  drammatiche  di  Benedetto  Ferrari, 
MOano,  16U).     13^^. 

Detached  copy.     Three  acta  and  prologue.     Author's  dedication  and  argument. 
F^rst  performed  at  Venice,  Teatro  di  San  Mois^,  carnival  1641.  Schatz  3066 

La  ninfa  blzzarra.  Dramma  pastorale  del  Signer  Am-elio  Aureli. 
Musica  del  Sig.  Marc'  Antonio  Ziani.  Da  rappresentarsi  il  mese  di 
Settembre  nel  rinovato  Teatro  Accademico  aelF  Aurora  in  Cento 
r  anno  MDCCI  .  .  . 

Modona,  Demetrio  Degni,  1701.     48  p.     15^"^. 

Three  acts.  By  Aurelio  Aureli,  who  is  not  mentioned.  Cast,  Bcenario,  and  dedi- 
cation dated  Cento,  September  8,  1701,  which  begins: 

"La  ninfa  bizzarra,  che  nel  fine  dello  spirato  secolo  sii  la  Brenta  fece  di  s^  mede- 
sima  delizioso  spettacolo  agl' occhj  dell' adriatica  nobiM  ..." 

This  refers  to  the  performances  at  Venice,  Teatro  di  Dolo  sopra  la  Brei^ta,  October, 
1697.  Schatz  11190 

Le  ninfe  di  Diana^  ballet.     See  Bianchi's  Calto. 

Ninias  tiranno  di  Babilonia  punito  da  Zoroastro  o  sia  Piramo  e 
Tisbe,  ballet.     See  Anfossi's  Gli  amanti  canuti. 

Nino.     Dramma  per  musica  da  rappresentarsi   nel  Teatro   di  S. 
Angelo.     Nel  carnovale  dell'  anno  1732  .  .  . 
Venezia,  Carlo  Buonarrigo,  n.  d.     65  p.     16^^. 

Page  55  contains  Buonarrigo's  announcement  of  publication  of  "un  eeatto  catalogo 
di  tutti  li  drammi  musicali  recitati  in  Venezia." 

Three  acts.  Dedication,  argument,  scenario,  cast,  and  name  of  the  composer, 
Francesco  Courcelle.  The  libretto  was  originally  by  Ippolito  2ianelli  and  was 
revised  by  Vincenzo  Cassani  (Schatz).  Schatz  2283 

Niobe.     See  Bertali's  Theti. 

Niobe,  koenigin  in  Thebe  .  .  .  gesungener  vorgestellet  im  jahr 

1688. 

Muenchen,  JoTiann  JaecMin,  n.  d.     6  p.  I.,  92  p.     18^^^. 

Three  acts.  Dedication  to  the  "  ChurfuerstUche  Durchleuchten  "  dated  Munich, 
January  1,  1688,  and  signed  by  Ludwig  (Luigi)  Orlandi,  ar§:ument,  scenario,  list  of 
machines.  The  composer^  Agostino  Steffajii,  is  not  mentioned.  Orlandi's  Italian 
title  was  "Niobe,  regina  di  Thebe." 

First  composed  January  5,  1688  (Riemann).  Schatz  10033 

Niobe,  regina  di  Thebe.  O.  T.  of  Steffani's  Niobe,  koenigin  in 
Thebe. 


OPEBA  LIBRETTOS  797 

Nitetis.     Tr.  of  Sarti's  La  Nitteti. 

Nitetti.  Dramina  per  musica  del  celebre  Sig.  Pietro  Metastasio. 
Da  rappresentarsi  nell'  Imperial  Teatro  di  Pietroburgo. 

St.  Pietroburgo,  NeUa  Stamperia  ddV  Academia  ddle  Scienze,  n.  d. 
217  p.     19'^. 

Three  acta.  Argument,  cast,  and  name  of  Giovanni  Paisiello  as  composer.  French 
title  page,  "Nitetis,"  and  text  face  Italian. 

First  performed  January,  1788,  as  indicated.  ML  50.2.N46P2 

Nitocri. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  t.  Hi,  p.  [£49]S44  p. 

Three  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
1(^0  "  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1722.    (See  below.) 

ML  49.A2Z3 

—  Nitocri.     Pubblicata  per  la  prima  volta  in  Vienna  1722. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  v,  p.  345- 
436.    21 '='^. 

Three  acts  and  licenza.    Argument.     No  composer  is  mentioned.     ML  49.A2Z4 

Nitocri.  Drama  per  musica  da  rappresentarsi  nel  Regie  Teatro  di 
Torino,  nel  camovale  del  1752.  aUa  presenza  di  S.  S.  R.  M. 

Torino,  Pietro  Giuseppe  Zappaia  e  jigliuolo,  1751.  4  V-  ^-t  ^^  V- 
15^"^. 

Three  acts.  By  Apostolo  Zeno.  Argument,  cast,  scenario,  and  names  of  the 
author  and  the  composer,  Gioacchino  Cocchi. 

First  performed,  as  indicated,  December  26,  1751.  Schatz  2050 

Nitocri.     Dramma  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Grimani  di  S.  Gio.  Grisostomo  il  camevale  dell'  anno  MDCCXXXIII. 
Venezia,  Carlo  Buonarigo,  n.  d.     69  p.     15'^'^. 

Three  acts.  By  Apostolo  Zeno.  Dedication  by  Domenico  Lalli  (who,  according 
to  Schatz,  altered  the  text)  argument,  notice  to  the  reader,  scenario,  name  of  the 
composer,  Giuseppe  Sellittti,  and  cast. 

First  performed  at  Venice  with  modifications  (indicated  by  an  asterisk)  of  the 
original  libretto  as  used  at  Vienna  1722  {"b  rimasta  so^etta  alia  solitta  mutazione 
dialcune  arie").  Schatz  9827 

Nitocri,  koenigin  in  Eg^ypten.  An  dem  glorwuerdigsten  geburts- 
tag  der  Roem.  Kais.  wie  auch  Koen.  Spams.  Cathol.  Majestaet  Elisa- 
bethae  Christinae  ...  In  der  kaiserlichen  Favorita  welsch  gesun- 
gener  vorgestellet.  Im  jahr  1722.  Poesi  des  herm  Apostolo  Zeno 
.  .  .  Die  music  zu  denen  worten  ist  von  dem  brn.  Antonio  Cal- 
dara  .  .  . 

Wienn,  Johann  Peter  Van  Ghelen,  n.  d.     4  P-  ^-t  ^^  V-     14¥^- 
Three  acts  and  licenza.    Argument  and  scenario.    The  ballet  music  was  com- 
posed by  Niccola  Matteis.    Translation  only  of  Caldara's  "Nitroci."     Schatz  1486 

Nitteti.  Dramma  scritto  daU'  autore  in  Vienna,  per  la  Real  corte 
cattolica;  ed  ivi  .  .  .  rappresentato  la  prima  volta  con  musica  del 
Conforti,  sotto  la  magistrate  direzione  del  celebre  cavalier  Carlo 
Broschi,  I'anno  1756. 

ph.,  [105]-206  p.  26'^'^.  {Metastasio,  Opere,  t.  viii,  Parigi,  vedova 
Herissant,  1781.) 

Three  acts.    Argument.  ML  49.A2M44 


798  LIBRABY  OF  CONGBESS 

La  Nitteti.  Nuovo  dramma  per  musica  del  Signor  abbate  D.  Pietro 
Metastasio. 

Napoli,  Domenico  Lanciano,  1766.     72  p.     16^*^^. 

Three  acts.  Argument,  scenario,  and  dedicatory  sonnet  to  Farinelli.  No  com- 
poser is  mentioned.    Evidently  published  for  the  closet,  not  for  the  stage. 

ML  50.2.N46 

La  Nitteti.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  la  fiera  dell'  Ascensione  dell'  anno  1780, 

Venezia,  Modesto  Fenzo,  n.  d.     54  p.     17 Y"^- 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  composer, 
Pasquale  Anfossi,  but  not  of  librettist.  On  p.  22-35:  "Descrizione  del  primo  oallo. 
Gabriella  di  Vergy  ballo  tragico-pantomimo  in  cinque  atti  d'invenzione,  e  direzione 
del  Sig.  Francesco  Clerico  ...  with  cast  and  argument,  but  not  the  name  of  the 
composer  of  the  music.  Schatz  276 

Nitteti.  Dramma  per  musica  d&  rappresentarsi  nel  nobilissimo 
Teatro  di  San  Samuele  il  carnovale  dell'  anno  1789. 

Venezia,  Modesto.  Fenzo,  1789.     64  p.     IS'^'^. 

Two  acts!  Argument,  cast,  scenario,  and  name  of  the  composer,  Ferdinando 
Giuseppe  Bertoni,  but  not  of  the  librettist,  Metastasio.  On  p.  25-32  argument, 
cast,  and  full  description  of  "La  morte  di  Pirro,  ballo  eroico  in  quattro  atti,"  by 
Domenico  Ricciardi,  music  by  Vittorio  Trento.  Schatz  941 

Nitteti.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  di  Milano  nella  primavera  1789.  In  occasione  delle  faustissime 
nozze  delle  Loro  Altezze  Reali  I'arciduchessa  Maria  Teresa  d 'Austria 
ed  il  duca  d'Aosta  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     72  p.     16Y™'- 
Three  acts.     By  Metastasio.     Impresario's  dedication,  argument,  cast,  scenario, 
and  name  of  Francesco  BiaxLchi  as  composer.     On  p.  [61]-72  cast,  argument,  and 
description  of  "Amore  e  Psiche,  ballo  eroico  pantomimo"  in  five  acts  by  Gaspero 
Angiolini,  who  also  composed  the  music. 

First  performed,  as  indicated,  April  20,  1789.  Schatz  1003 

La  Nitteti.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  20  gennaro  1783  per  festeggiare  la  nascita  .  .  .  [di] 
Carlo  III  .  .  . 

Napoli,  Vincenzo  Flauto,  1783.     72  p.     15'^'^. 

Three  acts.  By  Metastasio.  Dedication  dated  Naples,  January  20,  1783,  argu- 
ment, cast,  scenano,  and  name  of  the  composer.  ("Curci")  Giuseppe  Maria  Curcio. 
With  the  opera  were  performed  Paolo  Franchi  s  "Urtado  e  Miranda,  ballo  tragico 
pantomimo  in  cinque  atti"  with  argument,  cast,  and  description  and  Giuseppe 
Trafieri's  ballet  "II  cambio  felice  o  sia  Pulcinella  eposo  deluso.  The  composers  of 
the  music  are  not  mentioned.  Schatz  2300 

La  Nitteti.  Dramma  per  musica  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  della  Pergola  nell'  autunno  dell'  anno  1758  .  .  . 

Firenze,  Stamperia  dirimpetto  aW  Oratorio  di  S.  Filippo  Neri,  n.  d. 
63  p.     IS""^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Johann  Adolph  Hasse  as  the  composer. 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  carnival  1758.     Schatz  4547 

La  Nitteti.     Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
deir  Ajuda  nel  felicissimo  giorno  natalizio  del  fedelissimo  monarca 
D.  Giuseppe  I  .  .  .  nel  di  6  giugno  1770. 
Lishona,  Stamperia  reale,  n.  d.     85  p.     16*^^. 

Three  acts.  Argument,  scenario,  cast,  and  names  of  Metastasio  as  author,  of 
Niccol6  Jommelli  as  composer. 

First  performed  at  Stuttgart,  Hoftheater,  February  11,  1759.  Schatz  4891 


OPERA  LIBRETTOS  799 

La  Nitteti.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  30.  maggio  1764.  Festeggiandosi  il  nome  della 
S.  R.  M.  di  Fernando  IV  .  .  . 

Napoli,  Francesco  MoreUi,  1764.     70,  [1]     IdY"^- 

Three  acts.  By  Metaetaaio,  who, is  not  mentioned.  Impresario's  dedication, 
dated  Naples,  May  30, 1764,  ai^ument,  scenario,  cast,  name  of  Antonio  Maria  Mazzoni 
as  the  composer,  and  "avvertimento,"  which  reads,  in  part: 

"non  meno  i  versi  de'  recitativi,  che  I'arie  segnate  coUe  virgolette  si  tralaeciano  per 
la  ma^or  possibile  brevity.  In  qualche  scena  poi  si  sono  aggiunti  pochi  versi  di 
recitativo,  a  solo  oggetto,  che  I'attore  senza  cantar  quell'  aria,  che  si  tralascia,  abbia 
im  positivo  concludente  per  partir  dalla  scena.  Questi  pochi  versi  non  vengono 
etampati  nell'  intemo  del  libro,  ove  la  scena  si  chiede;  ma  nell'  ultima  p^ina  diviei, 
per  quella  venerazione,  che  si  deve  al  non  mai  lodato  abbastanza  rispettabilissimo 
autore  di  questo  dramma."  Schatz  6227 

La  Nitteti.     Dramma  per  musica  da  rappresentarei  nel  Regie  Ducal 
Teatro  di  Milano  nel  camovale  dell'  anno  1771  .  .  . 
Milxmo,  Giovanni  Montani,  1771.     v,  56  p.     15"^. 

Three  acts.  By  Metaetasio,  who  is  not  mentioned.  Dedication,  argimient, 
scenario,  cast,  and  name  of  Carlo  Monza  as  the  composer.  Schatz  6615 

Nitteti.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  camovale  del  1783  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  63,  [1]  p.     15^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
names  of  Salvatore  Rispoli  as  the  composer  of  the  opera,  of  vittorio  Amedeo  Canavaseo 
as  composer  of  InnocenzoGambuzzi's  ballets,  "La  favola  d'ApoUo  eDafne,"  "II  matri- 
monio  de'  Groelandesi,"  and  "  Di  popolo  egizio."  A  description  of  the  first  is  printed 
on  p.  58-62,  the  argument  of  the  second  on  p.  63. 

First  performed,  as  indicated,  December  26,  1782.  Schatz  8812 

La  Nitteti.  Dramma  per  musica,  da  rappresentarsi  sul  Regio  Teatro 
Danese,  I'autunno  dell'  anno  1761. — Nitetis  .  .  . 

Ki0henhavn,  Lars  Nielsen  Svare,  n.  d.     143  p.     16""*. 

Three  acts.  Argument,  cast,  and  names  of  Metaetasio  as  author,  of  Giuseppe  Sarti 
as  composer.     Danish  text  faces  Italian. 

First  performed,  as  indicated,  October  12,  1761.  Schatz  9452 

—  La  Nitteti.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Benedetto  per  la  fiera  delF  Ascensione  dell'  anno  1765. 

Venezia,  Giorgro  Fossati,  n.  d.     64.  P-     17 Y^- 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Sarti  as  the  composer.  The  text  follows  the  original  of  1761  closely, 
but  it  is  characteristic  that  for  the  performances  in  Venice  the  chorus,  "Si  scordi  1 
euoi  tiranni "  (I,  6),  was  dropped.  Schatz  9475 

La  Nitteti.  Ultimo  dramma  per  musica  del  Sig.  abate  Pietro  Metas- 
tasio, Poet^  Cesareo.  Da  rappresentarsi  nel  Teatro  dell'  illustrissimo 
pubblico  di  Reggio  per  la  Fiera  dell'  anno  1757  .  .  . 

Reggio,  Giuseppe  Davolio,  n.  d.     5  p.  I.,  64  P-     17 Y'^. 

Three  acts.  Dedication  dated  Reggio,  April  29, 1757,  argument,  cast,  scenario,  and 
name  of  Tommaso  Trajetta  as  composer.  Schatz  10403 

Li  nnamorate  correvate.  Commeddea  de  notJl  Pietro  Trinchera, 
posta  mmuseca  da  lo  Sio  Don  Gregorio  Sciroli,  masto  de  cappella  de 
S.  Ece.  lo  Segnore  prencepe  de  Besegnano.  Da  rappresentarese  a 
lo  Teatro  Nuovo  a  Mmonte  Cravario  nchisto  prencipio  de  viemo 
deir  anno  1752. 

Napoli,  Domenico  Lanciani,  1752.     83  p.     15^"^. 

Three  acts.    Cast  and  notice  to  the  reader: 

"sta  commeddeja  ...  6  cchella  stessa,  che  a  lo  camevale  dell'  anno  passato  co  lo 
titolo  de  lo  finto  pbhziano,  ncontraje  la  sciorte  de  dare  efazione  ...    E  pe  cosirela 


800  LIBRARY   OF   CONGRESS 

Li  nnainorate  correvate — Continued. 

ncuoUo  a  et'aute  pereonaggie,  b  stato  neceesario  cagnare  la  parte  de  la  primma  donna, 
e  chella  de  la  Bcconda  da  Napolitano,  Ntoscano.  La  muaeca  6  tutta  nuova,  fatta  da 
lo  Sio  Don  Gregorio  Sciroli  ...  a  riserba  de  U'arie  8^;nate  co  Ho  segno  §,  che  86  de 
lo  primmo  autore." 

Accordingly,  "Picarone,  a  un  cavaliero"  (fl,  4^,  "Chi  llo  birbo  malenato"  (I,  8), 
"Celia  mia,  meglio  de  chillo"  (I,  11),  etc.,  were  oy  Nicola  LogroBcino. 

ScHATz  9785 

No  magick  like  love.     A.  T.  of  The  British  enchanters. 

Songs,  duets,  trio  and  finales,  in  No  song  no  supper.  As  per- 
formed at  the  Theatre-Royal,  Drury-Lane.  The  music  chiefly  com- 
posed by  Mr.  Storace:  The  rest  selected  from  Pleyel,  Gretry,  Dr. 
Harington,  Giordani,  Gluck,  etc. 

n.  i.,  1790.     18  p.     19^"^. 

Two  acts.  Cast.  The  author,  Prince  Hoare,  is  not  mentioned.  Storace  utilized 
his  opera  "Gli  equivoci"  for  this. 

First  performed,  as  indicated,  April  16,  1790.  Lonoe  206 

—  No  song,  no  supper. 

Same  title,  same  imprint,  same  ca^t,  same  text,    hut  1  p.  Z., 

[1],  6-17  p.     18<^^.  LoNOB  215 

—  No  song  no  supper.  An  opera  in  two  acts.  As  performed  at 
the  Theatre  Royal  Drury-Lane. 

Dublin,  P.  Byrne,  1792.     H  p.     17 Y^^, 

Cast.  Neither  Prince  Hoare,  the  author,  nor  Stephen  Storace,  the  composer,  ia 
mentioned.  Schatz  10085 

Second  copy.    Lonoe  223 

Noah's  flood,  or,  The  destruction  of  the  world.  An  opera.  ,  .  .  By 
Edward  Ecclestone,  Gent.     ... 

London,  Printed  hy  M.  ClarJc  and  sold  by  B.  Tooke,  1679.  9  p.  I., 
62  p.     21'^'^. 

Of  the  9  p.  1.,  the  3d  (end  of  the  dedication)  and  9th  (list  of  characters)  are  wanting 
in  this  copy.  On  p.  1.  2-3,  "The  epistle  dedicatory;"  on  p.  1.  4-5,  poems  to  "Mr. 
Edward  Ecclestone,"  by  Richard  Saunders,  John  Leanerd,  and  John  Morton;  on 
p.  1.  6-8  the  preface  to  this  five-act  play,  in  which  the  author  says: 

"...  Mr.  Dreydon's  State  of  Innocency  and  fall  of  Man,  is  of  the  same  nature 
with  this,  from  whose  incomparable  piece  I  drew  this  rugged  draught  ..." 
John  Leanerd  begins  his  poem: 

"Milton  reviv'd,  or  rather  Dryden  trac'd; 
"Each  step  found  out  and  follow'd,  though  in  haste. 
"A  second  opVa  to  the  world  is  brought, 
"Full  of  quick  sence,  smooth  fancy,  subtle  thought." 
Listed  by  Clarence  in  "The  Stage  "  as  a  miracle  play.  ML  50.2.N74 

Second  copy,  lacking  9th  p.  1.,  and  trimmed  to  19"".  Longb  241 

The  noble  peasant,  a  comic  opera,  in  three  acts;  as  performed  at 
the  Theatre-Royal,  in  the  Haymarket.     By  Thomas  Holcroft. 
London,  George  Bolinson,  1784.     2  p.  I.,  Hi,  [4]-68  p.     21*^^. 

Three  acts.  Cast  and  preface  dated  August  14,  1784,  in  which  the  author  lavishes 
his  praise  on  William  Shield,  who  composed  the  overture  and  almost  all  the  songs, 
etc.,  except  two  glees  by  Cooke  and  Smith,  an  "Ancient  glee,  composed  in  the  year 
1500,"  and  two  songs  to  music  by  Duni  and  Sacchini. 

First  performed  August  2,  1784,  as  suggested.  Lonoe  93 


OPEBA   LIBRETTOS  801 

The  noble  pedlar:   or,  The  fortune  hunter.     A  burletta.     As  acted 
at  the  Theatre  Royal,  Druiy-Lane,  set  to  music  by  Mr.  Barthelemon. 
Second  edition. 
London,  W.  NicoU,  1771.     20  p.    BS'^^. 

Two  parts.     Cast.     The  author,  George  Saville  Carey,  is  not  mentioned. 

First  performed,  asindicated.  May  13,  1771.  Lonqe  213 

Le  noble  roturier,  comedie  en  un  acte,  m§lee  de  vaudevilles;  par 
J.  B.  Radet.  Repr^entee  sur  le  Theatre  du  Vaudeville,  le  24 
ventose  de  Tan  deux  de  la  republique  franpoise  une  et  indivisible. 

Paris,  chez  le  libraire,  au  Theatre  du  vaudeville,  Andeuxieme.  [1793- 
94]  64  p.     20'"^. 

Variantes  du  Noble  roturier.     n.  i.,  n.  d.     12  p.     20*^. 

Cast.     Many  of  the  airs  are  printed  in  the  text.     Not  recorded  by  either  CI.  &  L.  or 
Schatz. 
First  performed,  as  indicated,  March  14,  1794.  '  ML  48.M2K 

La  noce  interrompue.     Parody  of  Lully's  Alceste. 

Les  noces  d'Arlequin  et  de  Silvia  ou  Thetis  et  Pel^e  deguises. 
Parody  of  Colasse's  Thetis  et  Pel6e. 

A  noiva  fing^da.  Drama  jocoso  em  musica  para  se  representar  no 
Theatre  do  Salitre.     Anno  ^e  1790. 

Lishoa,  Jose  de  Aquino  BuThoens,  1790.     74  P-     15^™. 

Three  acts.     Portuguese  translation  of  Giuseppe  Maria  Diodati's  "Le  trame  deluse." 
Cast  and  name  of  Marcos  Antonio  [Portugal]  as  the  composer.  Schatz  8431 

Non  irritare  le  donne  ovvero  II  chiamantesi  filosofo.  Farsa 
giocosaper  musica  originale  di  Giuseppe  Foppa  da  rappresentarsi  nel 
nobile  Teatro  Giustiniani  in  San  Moise  il  carnovale  dell  anno  1799. 

Venezia,  Modesto  Fenzo,  1798.     4I  p.     18^"^. 

Cast  and  name  of  Marcos  Portugal  as  the  composer. 

The  opera  was  followed  by  Giuseppe  Cajani's  ballet,  "L'amante  in  cimento,"  the 
composer  of  the  music  not  being  mentioned. 

First  performed,  as  indicated,  December  27,  1798  (Carvalhaes).         Schatz  8438 

Non  son  quella,  e  la  difesa.     Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  nell'  autunno  deU-  anno  MDCCX  .  .  . 
Venezia,  Gio.  Battista  Zuccato,  1710.     60  p.     14^""". 

Three  acts.  Dedication  dated  Venice,  November  29, 1710,  argument,  and  scenario. 
Neither  the  author,  Giorgio  Antonio  Falier,  nor  the  composer,  Giov.  Maria  Buggeri, 
is  mentioned.  -    Schatz  9132 

Les  nopces  de  Pelee  et  de  Thetis.  See  Caproli's  Le  nozze  di  Teti 
e  di  Peleo. 

Airs,  duets,  etc.,  in  the  new  pantomime,  called  the  Norwood  gypsies. 
Performing  at  the  Theater-Koyal  in  Covent-Garden.     Second  edition. 
London,  Printed  in  the  year  1777.     Ip.l.,  5-16  p.    20^. 

Neither  the  author  is  mentidned  (imknown  to  Clarence),  nor  the  composer,  John 
Abraham  Fisher.  Lonoe  124 

Noth  hat  kein  gesetz.  Tr.  of  Fabrizj's  opera  La  necessita  non 
ha  legge. 

72251 "  —VOL  1—14 51 


802  LIBRARY   OF   CONGRESS 

II  nottambulo,  ballet.     See  Sarti's  L'Idalide. 

La  notte  critica.  Dramma  di  tre  atti  per  musica.  Kappresentato 
per  la  prima  volta  in  Venezia  il  camovale  dell'  anno  MDCCLXVI  con 
musica  del  Boroni. 

Carlo  Goldoni,  Opere  teatraU,  Venezia,  Zatta  eji§li,  1788-95.  t.  39 
{127]-188  p.     18'^.  FQ 

La  notte  critica.  Dramma  giocoso  per  musica  del  Signer  dottor 
Carlo  Goldoni  da  rappresentarsi  nel  Teatro  Iron  di  S.  Cassano  il 
camovale  dell'  anno  1766  .  .  . 

Venezia,  Modesto  Fenzo,  1766.     70  p.     l^Y'^- 

Three  acts.  Impresario'e  dedication,  cast,  scenario,  and  name  of  the  composer, 
Antonio  Boroni.  Schatz  1246 

—  La  notte  critica.  Dramma  giocoso  per  musica  di  Polisseno 
Fegeio,  P.  A.  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E.  di 
Sassonia. 

Dresda,  n.  puhl,  1768.     159  p.     75^™. 

Cast  and  name  of  the  composer,  Boroni.  German  title-page,  "Die  critische 
nacht,"  and  text  face  Italian.  Schatz  1247 

La  notte  critica. 

Three  acts.     By  Goldoni.    Music  by  Florian  Leopold  Gassmann. 
First  performed,  at  Vienna,  Burgtheater,  January  5,  1768. 
Not  in  L.  of  C. 

—  Die  unruhige  nacht,  ein  komisches  singspiel  in  drey  aufzuegen. 
Aus  dem  italienischen.  Auf  die  musik  des  verstorbenen  nerm  Florian 
Gassmann  uebersetzt.  Aufgefuehrt  in  Kais.  Koenig.  National-  Hof- 
theater. 

Wien,  heym  Logenmeister,  1783.     69  p.     16Y^. 

Three  acts.     German  version  by  Johann  Joachim  Eschenburg. 

First  performed,  as  indicated  January  10,  1783.  Schatz  3616 

La  notte  critica.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  del  Pubblico  della  cittk  di  Pisa  il  camevale  dell'  anno 
MDCCLXIX. 

Pisa,  Pompeo  PoUoni,  e  camp.,  1769.     78  p.     19'^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Filippo  Gherardesca  as  the  composer.  Schatz  3801 

Notte  critica.     Dramma  giocoso  per  musica  di  Polisseno  Fegejo,  P. 
A.  da  rappresentarsi  nel  Real  Teatro  di  Salvaterra  nel  carnevale  dell' 
anno  1767. 
Lishona,  Michele  Maneschal  da  Costa,  n.  d.     98  p.     16'^'^. 

Three  acts.  By  Goldoni.  Argument,  cast,  scenario,  and  name  of  Niccol6  Pic- 
cinni  as  the  composer.  This  libretto,  therefore,  undermines  Cametti's  claim  that 
"Notte  critica"  was  really  an  opera  of  Niccolo  Piccinni's  "secondogenito,  Luigi," 
who  was  bom,  by  the  way,  in  1766!!  Schatz  810O 

—  Gesaenge  aus  der  komischen  oper:  Die  nacht,  in  zwey  aufzuegen, 
nach  dem  italienischen  des  Dr.  Goldoni.     Die  musik  von  Piccinl. 

Hamburg,  J.  M.  Michaelsen,  n.  d.     36  p.     15'^'^. 

Translated  by  Johann  Joachim  Eschenburg. 

First  performed  at  Berlin,  Koch'sches  Theater  i.  d.  Behrenstrasse,  November  10, 
1774.  Schatz  8101 


OPERA  LIBRETTOS  803 

Le  nouveau  d'Assas,  trait  civique,  en  un  acte  et  en  prose,  m616  de 
chants.     Repr^sente  pour  la  premiere  fois,  par  les  Com^diens  italiens 
ordinaires  du  roi,  en  octobre  1790.     Les  paroles  sont  de  M    *     *     *. 
La  musique  est  de  M.  Berton. 
Paris,  Vente,  1790.     32  p.     21'"^. 

Label  of  Duchesne,  an  VII,  pasted  over  imprint.     Cast.    Text  by  Dejaure. 
First  performed  October  15,  1790.  ML  50.2.N6B2 

Le  nouveau  Don-Quichotte,  opera-bouffon,  en  deux  actes,  paroles 
de  M,  Boissel.  Musique  de  M.  Champein;  represente,  pour  la  pre- 
miere fois,  a  Paris,  sur  le  Theatre  de  Monsieur,  aux  Thuileries,  le 
lundi  25  mai  1789;  &  a  Nantes,  dans  les  premierers  jours  de  novem- 
bre  1790.  « 

A  Nantes,  et  se  trouve  d,  BruxeUes,  dies  J.  L.  de  Bouhers,  1792.  35  p. 
21 Y"". 

Caat.  ML  50.2.N62C3 

Le  nouveau  magasin  des  modernes,  com^die  en  un  acte,  en  prose, 
m^l6e  de  vaudevilles.  Representee,  pour  la  premiere  fois  sur  le 
Th6^tre  du  Vaudeville  le  18  Frimaire,  an  7  [December  8,  1798]. 

Paris,  chez  le  libraire  du  Theatre  du  vaudeville,  an  VII.  [1798-99]. 
47  p.     20^"^. 

Cast.  "  Avec  14  airs  not^s,"  printed  in  the  text.  Not  recorded  by  either  CI.  &  L. 
or  Schatz.  ML  48M2K 

Le  nouveau  marie,  ou  Les  importuns,  opera  comique  en  un  acte; 
represente  pour  la  premiere  fois,  par  les  Comediens  italiens  ordinaires 
du  roi,  le  20  September  1770.  Les  paroles  sont  de  Monsieur  de 
Cailhava.     La  musique  de  Monsieur  Bacelli. 

Paris,  veuve  Duchesne,  1771.     31  p.     18""^. 

Cast  and  (on  p.  25-31)  music.  Schatz  520 

La  nouvelle  Bastienne,  opera  comique  en  un  acte,  suivi  du  Diver- 
tissement de  la  Fontaine  du  Jouvence.  Par  Mr.  Vad6.  Represents 
pour  la  premiere  fois  sur  le  Theatre  de  I'OpSra-comique  le  17  sep- 
tembre  1754. 

La  Haye,  Pierre  Gosse,  1760.  44,  24  p.  W"".  (Vade,  Oeuvres,  t. 
a.  La  Haye,  1760.) 

En  vaudevilles.  The  24  p.  contain  seven  "Airs  de  la  Nouvelle  Bastienne":  "Tant 
qu'on  verra  la  riviere,"  "Donn'  moi  ta  main,"  "Mon  Bastien  va  perir,"  "Aga!  ces 
genslafaut,"  "Ne  vla-t-ilpasdebieauxappas,"  "Esprit  farouche,  nennetetouche," 
and  "Quand  j'avons  engag^";  three  "Airs  chantans  de  La  fontaine  de  Jouvence": 
"Tendre  Amour  re^ois  Phommage,"  "Ah!  qu'il  est  affreux  de  vieillir,"  and  "Sois 
favorable  k  nos  d^sirs";  and  "Fontaine  de  Jouvence.  Duo.  Parodie  du  Regne 
amour":  "Chante  un  dieu,  que  j'adore."  The  divertissement  was  "composed"  by 
Jean  George  Noverre.    The  arranger  of  the  music  unknown  to  me.       ML  49.A2V2 

—  La  nouvelle  Bastienne,  op6ra-coniique  en  un  acte,  suivi  du 
Divertissement  de  la  Fontaine  ae  Jouvence.  De  M.  Vad6.  ReprS- 
sent6  pour  la  premiere  fois  sur  le  Theatre  de  rOp6ra-comique  le  17 
septembre  1754. 

Paris,  la  veuve  Duchesne,  1766.     56  p.     19'^'^. 

On  p.  33-44,  seven  "Airs  de  La  nouvelle  Bastienne,"  and  on  p.  45-56,  four  "Airs  de 
La  ion taine  de  Jouvence."    ■  Schatz  11503 


804  LIBRARY   OF  CONGRESS 

Nouvelle  chasse  du  cerf,  divertissement  en  musique;  compost  de 
plusieurs  airs  parodies  sur  les  opera  d'Angleterre:  avec  din^rentes 
symphonies  6trangeres. 

p.  [297]-[315].  WY"^-  {Jean  de  Serre  de  Rieux,  Les  dons  des 
enfans  de  Latone,  Paris,  1734.) 

The  text  is  preceded  by  an  "  Avertissement,"  which  reads  in  part: 

"L'id^e  n'est  pas  nouvelle;  elle  a  paru  avec  succfes  dans  le  aivertissement  de  la 
Chasse  du  cerf  imprim^  ch6s  Ballard  il  y  a  plus  de  vingt-cinq  ans  ...  en  mdme 
terns  I'id^e  est  venue  d'offrir  aux  personnes  qui  pourvoient  dans  la  suite  entendre 
cette  seconde  Chaase,  un  genre  de  nouveaute  en  musique  si  different,  qu'  elle  ne 
pourroit  diminuer  le  prix  ni  balancer  la  reputation  acquise  k  la  musique  de  M.  Morin 
auteur  de  la  premiere  .  .  . 

"...  Toute  la  difference  qu'il  y  a  entr'eux,  ne  consiste  que  dans  la  composition 
de  la  musique.  II  n'y  a  dans  cette  seconde  Chasse  que  les  seuls  recitatifs,  qui  font 
la  liaison  de  Taction,  &  les  choeurs,  qui  sont  composes  par  un  auteur  fran^ois:  toutes 
les  symphonies  sont  etrangeres,  tiroes  de  diff^rens  auteurs  italiens  connus,  &  tous  les 
airs  chantans  sont  parodies  sur  un  nombre  d'airs  choisis  dans  les  opera  d'Angleterre 
de  la  composition  de  M.  Hendel  (Handel). 

"...  Comme  sa  composition  infiniment  sage  &  gratieuse  semble  s'approcher  de 
notregftotplus  qu'aucune  autre,  dans  le  principe  ou  I'on  estque  tout  ce  qui  est  essen- 
tiellement  bon  en  musique  doit  le  paroltre  tel  a  toutes  les  nations  sens^es,  on  a  voulu 
faire  I'essay  de  voir  si  les  paroles  frangoises  raises  avec  exactitude  pourroient  sous  un 
masque  etranger  recevoir  encore  de  nouvelles  graces  ..." 

This  preface  is  slightly  contradicted  by  the  Table  des  air  a  chanter,  avec  violonis  " 
at  end,  where  after  the  airs  by  "Hendel"  is  listed  "Volez,  tendres  Z^phirs"  as  by 
"Fago,  Napolitain"  and  "Que  tes  jeux  sont  charmans,  trio."  as  from  "2.  L.  de  Son. 
Le  Clair." 

Not  recorded  by  De  La  Valli^re.  ML  63.836 

La  nouvelle  ecole  des  femmes,  comedie  en  trois  actes,  meslee 
d'ariettes,  avec  un  divertissement  par  M.  de  Moissy.     La  musique  de 
M.  Philidor.     Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  lundi  22  Janvier  1770. 
Paris,  la  veuve  Duchesne,  1770.     61  p.     18^'^. 

Cast.  On  p.  53-61,  the  airs  of  the  ariettes,  "Je  veux  qu'on  m'aime"  (I,  1),  "Laure 
a  de  la  beaute"  (I,  5),  "Ce  n'est  plus  k  Cyth^re"  (II,  6).  Schatz  8021 

La  nouvelle  soiree  des  boulevards,  ambigu  m^le  de  chants  &  de 
danses;   nouvellement  corrig^e  &  augment6e,  &  telle  que  les  Come- 
diens italiens  ordinaires  du  roi  viennent  de  la  remettre  au  theatre, 
Bordeux,  Jean  Chappuis,  1769.     4^  p.     19'^^.  Schatz  11504 

Le  nouvelHste  dupe,  opera  comique  en  un  acte;  represents  pour  la 
premiere  fois  sur  le  Theatre  de  la  Foire,  en  1737.    ■ 

Charles  Francois  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  2, 
[179]-226  p.     17^'^. 

In  prose  and  vaudevilles.    Composer  not  found.  PQ  2019. P3 

II  novello  Giasone.     L.  T.  of  Cavalli's  Giasone. 

Le  nozze.  O.  T.  of  Goldoni's  text  I  pretendenti  delusi,  better 
known  as  Fra  i  due  litiganti  il  terzo  gode.  Also  the  same  as  Le  nozze 
di  Dorina. 

Le  nozze.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  jigli,  1788-95,  v.  37, 
[315]-364  p.     ISY'"- 

For  first  composer  and  performance  see  next  entry.  PQ 


OPERA   LIBRETTOS  805 

Le  nozze.  Dramma  giocoso  per  musica  di  Polisseno  Fegejo,  Pastor 
Arcade,  da  rappresentarsi  nel  Teatro  Grimani  di  S.  Samuele  per  il 
carnovale  1757. 

Venezia,  Modesto  Fenzo,  1757.     JfS  f.     m*^^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
BaWassare  Galuppi  as  composer. 

First  performed  at  Bologna,  Teatro  Marsigli  Rossi,  summer,  1755,  but  Piovano  says 
that  the  Teatro  Fo-magliari  was  the  theatre.  Schatz  3465 

Le  nozze  a  dispetto.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  la 
prima  opera  del  corrente  anno  1797. 

Napoli,  Stamperia  Flautina,  1797.     55  p.     15Y™- 

Two  acts.  Impresario's  dedication  dated  Naples,  July  17,  1797,  caat,  and  name  of 
the  composer,  Giuseppe  Maria  Curcio.  On  p.  47-55,  argument,  preface,  description, 
cast  of ' '  Elisabetta  e  Blech ,  ballo  eroico  pantomimo  di viso  in  cinque  atti , "  by  Giuseppe 
Cajani,  who  also  composed  the  music.  As  second  ballet,  was  performed  "I  finti 
filosofi."  Schatz  2303 

Le  nozze  alia  Mira.     Farsa  con  arie  in  musica  che  si  rappresenta 
nel  Teatro  Tron  di  San  Cassano  il  carnovale  1780. 
Venezia,  Modesto  Fenzo,  1780.     1^8  p.     16^"^. 

Two  acts.  Author  unknown  to  Schatz.  Cast.  Angelo  Gagni  is  mentioned  as  the 
composer  of  the  opera  and  of  the  ballets.  Schatz  3413 

Le  nozze  americane,  baUet.     See  CoUa's  Andromeda. 

Le  nozze  d'Enea  con  Lavinia.  Tragedia  di  Giacomo  Badoaro 
N.  V.  Rappresentata  nel  Teatro  di  S.  S.  Gio.  e  Paolo  I'anno  1641. 
Posta  in  musica  da  Claudio  Monteverde,  maestro  di  capeUa  della 
Basilica  di  S,  Marco. 

Unpaged  ms,  probably  17th  cent.     IS^*^^. 

Five  acts,  with  prologue.    The  opera  was  first  performed  as  indicated. 

Schatz  6596 

Le  nozze  d'Ercole,  e  d'Ebe.  Dramma  per  musica  per  i  lietissimi, 
e  faustissimi  sponsalizi  dell'  Augusta  infanta  di  Spagna  D.  Carlotta 
di  Borbon  coir  infante  augusto  di  Portogallo  D.  Giovanni  e  dell' 
augusta  infanta  di  Portogallo  D.  Marianna  Victoria  coll'  augusto 
infante  di  Spagna  D.  Gabriel  Antonio  di  Borbon. 
Lisbona,  Francesco  Luiggi  Ameno,  1785.  5  p.  I.,  27  p.  16Y^- 
Two  acts.  The  title  proper,  on  Ist  p.  1.,  the  rest  on  2d  p.  1.  On  3d  p.  1.,  "Da  can- 
tarsi  ai  [13]  d'Aprile  del  1785.  Nel  palazzo  dell'  eccellentissimo  Signor  conte  di 
Feman  Nunez."  On  p.  1.  4,  cast  and  note  that  the  music  is  by  Jeronymo  Francisco 
de  Ldma,  "il  poetico  componimento  6  del  Sig.  *  »  *  poeta  romano"  (name 
unknown  to  Schatz).  Schatz  5618 

Le  nozze  d'Ercole,  e  d'Ebe.  Serenata  per  musica  da  rappresen- 
tarsi nel  famosissimo  Teatro  Grimani  a  S.  Gio.  Grisostomo  1  ultima 
sera  del  carnevale. 

Venezia,  n.  publ.,  1744-     H  V-     ^^*^'"- 

Two  parts.  Cast  and  name  of  Nicolk  Antonio  Porpora  as  the  composer.  The 
author  not  mentioned,  and  unknown  to  Schatz. 

First  performed  February  18,  1744,  as  indicated.  Schatz  8374 


806  LIBRARY   OF   CONGRESS 

Le  nozze  degli  Dei.  Favola  deir  ab.'  Gio.  Carlo  Coppola  nelle  rcali 
nozzc  (ie  Sereniss.  gran  duchi  di  Toschana  Ferdinando  II.  e  Vittoria 
principessa  d'Urbino. 

Firenze,  Amadore  Mdssi  e  Lorenzo Landi,  1637.  -^  p.  I.,  104f.,7  pL, 
50,  [1]^.,  1  pi     23'^'". 

The  ornamental  t.  p.  and  the  7  pi.  were  designed  by  Alfonsus  Pariginus,  engraved 
by  Stefanns  Delia  Bella.  The  pi.  at  end  of  the  volume  has  the  legend  "Trattato  di 
Carlo  Blasis"  and  hardly  belonged  originally  with  this  volume. 

Prologue  and  five  acts.  Author's  dedication  dated  Florence,  August  1,  1737,  and 
"A'  lettori  argomento,  which  reads  in  part: 

"Sappia  il  benigno  lettore,  che  io  nel  comporre,  e  atampare  questa  opera  non  h6 
havuto  altro  fine,  che  di  ubbidire  al  comandamento  del  Serenissimo  Gran  Duca,  k 
cui  servo;  il  quale  mentre  ch'io  era  con  I'animo  piii  che  mai  alieno  da  simili  pofsie, 
mi  comad5,  cne  componessi  la  comedia,  la  quale  si  dovea  rappreeentare  in  musica 
nelle  sue  felicispime  nozze.  Mi  ristrinse  k  breve  spazio  di  tempo  per  condurla  a 
fine,  come  quegli,  che  havea  gusto  di  vederla  compita.avati  la  sua  partenza  per  Pisa. 
M'ordin6  soggetto  allegro,  quale  si  conviene  k  nozze,  e  per  dar  maggior  campo  all' 
inventor  deUe  machine  di  abbellirla  con  variety,  e  vagnezza  di  prospettiva;  voile 
che  contenesse  festa  in  cielo,  in  mare,  e  nell'  inferno:  Ond'  io  presi  per  soggetto  le 
Nozze  degli  Dei,  trattandone  quattro  piu  celebrate  da'  poeti  .  .  . 

"Cosi  pensai  sodisfare  alle  volontk  del  Serenissimo  Gran  Duca  11  quale  irk  sette 
giomi  vide  la  comedia  finita,  I'udi  letta  da  me,  e  mostr6  no  poco  gradirla.  Spero 
che  la  brevity  del  tempo,  nel  quale  h  stata  composta  scuserk  le  imperfezioni  .  .  . 
Non  tralascerb  di  dire,  che  per  luggir  la  lunghezza,  che  portan  seco  le  musiche,  e  le 
machine,  e  per  la  stagione  molto  calda,  e  poco  atta  agli  spettacoli,  e  per  la  brevity 
delle  notti,  quella  che  si  rappresent^  fix  in  gran  parte  scemata,  e  variata  da  questa, 
che  si  stampa  ..." 

This  argumento  is  followed  by  the  list  of  "Interlocutori.  Chori.  Balli."  The 
text  of  the  opera  ending  on  p.  104,  with  instructions  to  the  binder  is  followed  by 

—  "Relazione  delle  Nozze  degli  Dei.  Favola  dell'  abate  Gio.  Carlo  Coppola 
...     In  Firenze  Nella  nuova  stamperia  del  Massi,  e'  Landi.     1637." 

The  author  was  Francesco  di  Ranaello  Rondinelli,  who  signs  the  dedication.  His 
very  minute  description  of  this  extraordinarily  spectacular  opera  begins  with  the 
antecedents  of  the  text,  already  narrated  by  Coppola  and  then  he  says: 

"Piacuto  il  concetto  si  diede  ordine  k  cinque  compositori  principali  della  cittk 
(accioche  il  sentirsi  variety  di  stile  apportasse  maggior  diletto  k  chi  ascoltava)  che 
metessero  in  musica  questa  poesia;  i  quali  corrisposero  con  I'artifizio  del  contrap- 
punto,  e  con  la  vaghezza  dell'  arie  alia  bellezza  della  favola.  II  che  fatto  furono 
d'stribuite  le  parti  k  migliori,  che  ^n  trovassero  nella  citt^;  n^  si  deve  tralasciare,  che 
un'  opera  cosi  grande,  nella  quale  intervennero  circa  150.  canton,  si  fece  eenza  chia- 
mare  alcun  musico  forestiero;  essendosi  presi  tutti  de'  provisionati  da  S.  A.  e  dello 
Stato,  e  citta  di  Firenze.  La  cura  della>  musica  fu  del  Sig.  Bal6  Ferdinando  Saraci- 
nelli,  sopraintendente  di  essa  per  S.  A.  quella  delle  machine  I'ebbe  Alfonso  Parigi, 
e  de'  balli  Agnolo  Ricci  veterano  in  condurre  con  isquisitezza  simili  trattenimenti. 
Per  ispiegare  questa  machina  fii  eletto  il  cortile  del  Palazzo  de'  Pitti,  il  quale  essendo 
per  tutta  Europa  cclebrato  (come  in  verity  egli  b)  per  una  fabrica  ammirabile,  sarebbe 
coea  superflua,  come  notissimo  il  descriverlo. 

"Risolutesi  tutte  queste  cose  il  Sereniss.  G.  Duca  se  n'and6  k  Pisa,  lasciando  la 
cura  di  perfezionare  quest'  opera  al  Sereniss.  Sig.  principe  Gio.  Carlo  suo  fratello  .  .  . 
Fattasi  pertanto  la  coronazione  della  Sereniss.  Sposa,  fii  giudicato  opportune  il  rap- 
presentarla  in  questo  tempo,  accioche  essendo  i  popoli  in  somma  allegrezza  per  questa 
eolennit^  della  nuova  Gran  Duchessa  k  tanto  giubilo,  e  cosi  universale,  corrispon- 
desse  festa  di  straordinaria  magnificenza  ..." 

The  relation  is  followed  by  the  names  "de  i  cavalieri,  che  opera vano  nell'  abbatti- 
mento,  e  ne  balli  della  commedia"  and  on  the  unnumb.  p.  by  the  imprimatur,  dated 
September  5,  1637,  that  of  the  opera  itself  (on  p.  104)  being  dated  July  14,  1637. 

Neither  Schatz  nor  Solerti  have  anything  to  say  about  the  identity  of  the  five  com- 

g)8er9.  If  Schatz  dates  the  first  performance  as  September,  1637,  he  overlooked  the 
ct  that  the  text  of  the  opera  was  published  after  the  performances.  The  correct 
date  is  July  8,  1637.  as  appears  from  Solerti's  "Musica,  ballo  e  drammatica  alia  Corte 
Medicea  dal  1600  al'  1637."  Schatz  11351 

lie  nozze  de'  Sanniti,  ballet.  See  G.  Giordani's  La  disfatta  di 
Dario. 


OPERA  LIBRETTOS  807 

Le  nozze  della  Bita.     Dramma  giocoso  per  musica  da  rappresen- 

tarsi  in  Firenze  nel  Teatro  di  via  del  Cocomero  nelF  autunno  delF 

anno  1778  ... 

Firenze,  Anton  Giuseppe  Pagani,  1778.     59  p.     WY'^- 

Two  acts.    Cast.    Niccol6  Tassi  is  mentioned  aa  the  author,  Bemard(in)o  Ottani 

as  the  composer.  Schatz  7362 

Le  nozze  di  Amore  e  di  Norizia.  Italian  O.  T.  of  Sales'  Das 
hochzeitsfest  des  Amors  und  der  Norizia. 

Le  nozze  di  Dorina.     Same  as  Goldoni's  text  Le  nozze. 

Le  nozze  di  Dorina.     L.  T.  of  Sarti's  I  pretendenti  delnsi. 

Le  nozze  di  Figaro.  Comedia  per  musica  tratta  dal  francese  in 
quattro  atti.     Da  rappresentarsi  nel  Teatro  di  corte  I'aiino  1786. 

Vienna,  Giuseppe  Nob.  de  Kurzbeck,  n.  d.     99  p.     16^^. 

Da  Ponte  is  mentioned  as  the  author,  Mozart  as  the  composer.  In  his  preface, 
Da  Ponte  says: 

"II  tempo  prescritto  dall'  uso  alle  drammatiche  rappresentazioni,  un  certo  dato 
numero  di  personaggi  comunementt  praticato  nolle  medesime;  ed  alcune  altre  pru- 
denti  viste,  e  convenienze  dovute  ai  costumi,  al  loco,  e  agli  spettatori,  furono  le 
cagioni  per  cui  non  ho  fatto  una  traduzione  di  quella  eccellente  comedia  [by  Beau- 
marchais],  ma  una  imitazione  piuttosto,  o  vogliamo  dire  un  estratto. 

"  Per  questo  sono  stato  costretto  a  ridure  a  undeci  attori  i  sedeci  che  la  compongono, 
due  de'  quali  ei  poasono  eseguire  da  uno  stesso  soggetto,  e  ad  ommettere,  oltre  un 
intiero  atto  di  quella,  molte  graziosissime  scene,  e  molti  bei  motti,  e  ealetti  ond'6 
sparsa,  in  loco  di  che  ho  dovuto  sostituire  canzonette,  arie,  cori  ed  altri  pensieri,  e 
parole  di  musica  suscettibili,  cose  che  dalla  sola  poesia,  e  non  mai  dalla  prosa  si  som- 
mistrano.  Ad  onta  per6  di  tutto  lo  studio,  e  di  tutta  la  diligenza  e  cura  avuta  dal 
maestro  di  cappella,  e  da  me  per  esser  brevi,  I'opera  non  ear^  delle  piii  corte  che  si 
eieno  esposte  sul  nostru  teatro  al  che  speriaino  che  basti  di  Bcusa  la  variety  delle  fila 
onde  fe  tessuta  I'azione  di  questo  dramma,  la  vastit^  e  grandezza  del  medesimo,  la 
moltipliciti  df '  pezzi  musicali,  che  ei  eon  dovuti  fare,  per  non  tener  di  eoverchio 
oziosi  gli  attori,  per  scemare  la  noja,  e  monotonia  dei  lunghi  recitativi,  per  esprimere 
tratto  tratto  con  diversi  colori  le  diverse  pa8.=iioni  che  vi  campeggiano,  o  il  de'iderio 
noetro  particolarmente  di  offerira  un  quasi  nuovo  genere  di  spettacolo  ad  un  pubblico 
di  gusto  si  raffinato,  e  di  si  giudizio  intendimento.     II  Poeta. 

First  performed,  as  indicated.  May  1,  1786.  Schatz  6826 

—  Le  nozze  di  Figaro  o  sia  La  folle  giomata.  Comedia  per  musica 
tratta  dal  francese  in  quattro  atti,  da  rappresentarsi  ne'  Piccoli  Teatri 
di  S.  M.  il  r6  di  Prussia  messo  in  musica  dal  Sign.  Wolfgango  Mo- 
zart .  .  . 

Berlino,  Haude  e  Spener,  1790.     165  p.     15^"". 

Da  Ponte  is  not  mentioned.  German  title  page,  "Figaro's  hochzeit  oder  Der  toUe 
tag,"  and  text  (after  Vulpius)  face  Italian. 

First  performed  at  Potsdam,  as  indicated,  1790.  Schatz  6827 

—  Gesaenge  aus  dem  singspiele  Figaro's  heyrath,  in  vier  aufzuegen, 
aus  dem  italienischen  uebersetzt  vom  freyherm  von  Knigge.  In 
musik  gesetzt  von  Mozart, 

Hamburg,  J  oh.  Matth.  Michaelsen,  1791.     56  p.     16'^'^. 

First  performed  at  Hamburg  April  4,  1791.  Schatz  11396 

—  Die  hochzeit  des  Figaro.  Eine  nach  dem  italienischen  frei- 
bearbeitete  operette  in  vier  aufzuegen  von  C.  A.  Vulpius.  Die 
musik  ist  von  Mozart. 

Leipzig,  JoJiann  Samuel  Heinsius,  179/^.     110  p.     14Y^- 

First  performed  at  Weimar,  herzogl.  Hoftheater,  October  24, 1793,     Schatz  6829 


808  LIBRABY  OP  CONGRESS 

Le  nozze  di  Figaro — Continued. 

—  Die  hochzeit  des  Figaro.  Ein  singspiel  in  vier  aufzuegen.  Mit 
beybehaltung  der  musik  von  Mozart.  Aus  dem  italieniscnen  uber- 
setzt.     Fuer  das  Kaiserl.  Koenigl.  Hoftheater. 

Wien,  Johann  Baptist  WaUisTiausser,  1798.     102  p.     W^^. 

German  veraion,  by  Adolph  Friedrich  freiherr  von  Knigge  and  Philippine  Eregine, 
freiin  von  Knigge. 

First  performed  at  Vienna,  as  indicated,  July  10, 1798;  at  Hanover,  Schloestheater, 
by  the  G.  F.  W.  Grossmann'sche  Gesellschaft,  May  18,  1789.  ScHArz  6828 

—  Figaros  hochzeit,  oder  List  uber  list.  Ein  scherzhaftes  sing- 
spiel  in  4  aufziigen.  Nach  Mozzarts  musik.  Aus  dem  italianischen 
d!es  abbate  da  Ponte. 

Passau,  Niklas  Ambrosi,  1793.     109  p.     17 Y"^. 

"  Karakter  und  kleidung  der  personen  "  on  p.  [4-9].  The  stage-businees  is  printed 
in  red !  Schatz  6860 

Le  nozze  di  Monsu  Fagotto.     Intermezzi  per  musica  a  tre  voci  da 
rappresentarsi  nel  Teatro  alia  Valle  nel  carnevale  dell'  anno  1754  .  .  . 
Roma,  Libraria  di  S.  Michele,  1754.     ^4  V-     ^^'''^^ 

Two  parts.  Author  not  mentioned.  Text  perhaps  written  by  Angelo  Lungi,  who 
together  with  the  book-seller  G.  Puccinelli  signed  the  dedication.  Cast  and  name 
of  Gioacchino  Cocchi  as  composer.  The  first  intermezzo  begins  with  the  aria ' '  Perchfe 
son  bella,  Perchd  son  cara,"  the  second  with  the  aria  "Se  si  mette  una  pedina." 

ML  50.2.N7C6 

Le  nozze  di  Paride.  Spettacolo  ])oetico,  e  musicale  dell'  abate 
Pietro  Chiari  Bresciano  poeta  di  S.  A.  Sereniss.  di  Modona.  Da  rap- 
presentarsi nel  Teatro  di  San  Gio.  Grisostomo  I'autunno  dell'  anno 
1756. 

Venezia,  Modesto  Fenzo,  1756.     56  p.     17^"^. 

"Azioni  della  mattina — del  mezzogiomo — dolla  sera."  Sonnet  by  Antonio  Co- 
dognato,  cast,  nama  of  Galuppi  as  composerj  and  notice  to  the  reader,  which  begins: 

*'Ecco  un  componimento  poetico  di  cui  non  e'^  ancora  veduto  su  teatri  nostri 
Tesempio;  ma  che  non  lascia  per5  d'esser  giustificato  dalla  ragione,  e  dall'  uso." 

On  p.  8,  a  .substitute  aria,  "Se  mi  volete  oppressa"  (II,  12).  Schatz  3489 

Le  nozze  di  Peleo  e  di  Theti. 

Prologue  and  three  acts.  Text  by  Francesco  ButI,  music  by  Carlo  Caproli  del 
Violino.    Not  to  be  confused  with  Cavalli's  "Le  nozze  di  Teti  e  ai  Peleo." 

First  performed  at  Paris,  Salle  du  Petit-Bourbon,  April  14,  1654  {not  January  26, 
1654). 

Not  in  L.  of  C. 

—  Les  nopces  de  Pelee  et  de  Thetis.  Comedie  italienne  en  mu- 
sique,  entre-meslee  d'un  ballet  sur  le  mesme  sujet,  dans6  par  Sa 
Majesty. 

Paris,  RobeH  Ballard,  165 4.     43  p.     ^.?J«™. 

Prologue  and  three  acts.     Names  of  the  nobility  participating.    A  note  at  end  says: 

"Ce  qui  suit  est  la  comedie  italienne,  traduite  en  vers  frangois  par  un  autre  que 
par  celuy  qui  a  fait  ceux  du  ballet." 

The  text  of  the  "comedie"  does  not  follow  in  this  copy.  The  caption  title  on  p.  3 
reads: 

"Vers  du  ballet  royal,  avec  I'argument  de  chaque  scene  de  la  comedie,  qui 
donne  occasion  k  chaaue  entree  du  ballet." 

The  text  of  the  ballet  was  by  Benserade.  The  "comedie  italienne  en  musique," 
as  the  scene  by  scene  argument  proved,  was  not  identical  with  Cavalli's  "Le  nozze 
di  Teti  e  di  Peleo,"  text  by  Orazio  Persiani. 

First  performed  at  Paris,  January  26^  1654. 

Chouquet  and  others  confuse  Caproli's  opera  with  the  ballet  intermezzos  as  repre- 
sented by  this  entry.  The  composer  of  the  ballet  I  have  not  found  mentioned,  but 
Pruni&res  claims  that  Jean  Baptiste  de  Lully  collaborated.  ML  52.2. N67 


OPERA   LIBRETTOS  809 

Le  nozzi  di  Peleo  e  di  Theti — Continued. 

—  The  nuptials  of  Peleus  and  Thetis.  A  new  Italian  comedy, 
whence  the  preceding  mask  was  extracted ;  made  English  by  a  nearer 
adherence  to  the  original,  then  to  the  French  translation  .  .  . 

.    London,  Henry  Herringman,  1654.     2  p.  I.,  25  p.     21  i"^. 

Tkree  acta  and  prologue.  Obviously  a  translation  of  Buti's  text  by  James  Howell; 
who  is  not  mentioned.  Longb  241 

Le  nozze  di  Peleo  e  Teti,  ballet.     See  Cimarosa's  Artemisia. 

Le  nozze  di  Perseo  e  d'Andromeda,  baUet.     See  Casali's  Antigona. 

Le  nozze  di  Teti,  e  di  Peleo.     Opera  scenica  del  Signor  Oratio 
Persiani  .  .  . 
Venetia,  Giacomo  Sarzina,  1639.     108,  23  p.     14"'^. 

Three  acts,  with  prologae.  Author's  dedication  dated  Venice,  January  24,  1639. 
The  23  additional  pages  contain  "Breve  espositione  della  festa  teatrale  del  Signor 
Oratio  Persiani,  posta  in  musica  dal  Sig.  Francesco  Cavalli  da  recitarsi  nel  Teatro  di 
S.  Casciano.     L'opera  ^  intitolata  Le  nozze  di  Teti  e  di  Peleo."  Schatz  1748 

Le  nozze  disturbate.     L.  T,  of  Naumann's  La  villanella  incostante. 

Le  nozze  disturbate.  Dramma  giocoso  per  musica  del  Signor. 
Gaetano  Martinelli  Romano  da  rappresentarsi  nel  Teatro  Giustiniani 
di  San  Moisd  il  camovale  dell'  anno  1766. 

Venezia,  Modesto  Fenzo,  1766.     71  p.     14^''"'. 

Three  acts.     Cast,  scenario,  and  name  of  Paisiello  as  the  composer.     Schatz  7696 

Le  nozze  in  campagna.     Dramma  giocoso  di  Logolcardoni  Colodisce 
da  rappresentarsi  nel  Teatro  Giustiniani  di  S.  Moise  I'autunno  delF 
anno  1768. 
Venezia,  Modesto  Fenzo,  1768.     70  p.     15"". 

Three  acts.  By  Carlo  Goldoni,  according  to  Schatz  and  Wiel,  but  none  of  the 
arias  listed  in  Wotquenne's  Verzeichnis  under  Goldoni.  Cast,  scenario,  and  name  of 
Gregorio  Sciroli  as  the  composer.  Schatz  9782 

Le  nozze  in  commedia.  O.  T.  of  G.  Palomba's  text  II  medico 
parigino. 

Le  nozze  in  commedia.  Commedia  per  musica  di  Giuseppe  Pa- 
iomba  da  rappresentarsi  nel  Nuovo  Teatro  de'  Fiorentini  per  terz' 
opera  di  quest  anno  1781. 

Napoli,  n.  puhl,  1781.     70  p.     15'="'. 

Three  acts.     Cast  and  name  of  Pietro  G-uglielmi  as  the  composer.    Schatz  4254 

Le  nozze  in  contrast©.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Mois^  I'autunno 
dell'  anno  1779. 

Venezia,  n.  puhl.,  n.  d.     63  p.     18"^. 

Two  acts.  Dedication  by  Bertati,  cast,  and  name  of  Giovanni  Valentini  as  the 
composer.    ("La  musica  sark.")  Schatz  10582 

—  Le  nozze  in  contrast©.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1782.     109  p.     ISY"". 

Two  acts.  Giovanni  Valentini  is  mentioned  as  composer.  German  title-page, 
"Die  streitige  heurath,"  and  text  faces  Italian,  which  is  practically  the  same  as  in 
the  Venetian  version  of  1779. 

First  performed,  as  indicated,  1782.  Schatz  10583 


810  LIBEABY  OF  CONGRESS 

Le  nozze  in  contrasto — Continued. 

—  Le  nozze  in  contrasto.     Dramma  giocoso  per  musica  da  rap- 

Eresentarsi  in  Firenze  nel  Nuovo  Regio  Teatro  degl'  Intrepid!  detto 
la  Palla  a  Corda  nell'  autunno  del  1785  .  .  . 

Firenze,  Stamperia  Bonducciana,  1785.    52  p.,  [2]  I.     ITh'^^. 
'   Two  acts.    Cast  and  name  of  the  composer,  Giovanni  Valentini.    The  2  1.  con- 
tain substituted  matter  for  I,  7.  ML  48. A5    v.24 

Le  nozze  in  garbuglio.  Commedia  per  musica  di  G.  M.  D.  da  rap- 
presentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terz'  opera  di  qucsto 
corrente  anno  1793. 

Napoli,  n.  puhl,  1793.     39  p.     15<''^. 

Two  acts.  By  Giuseppe  Maria  Diodati.  Cast  and  name  of  Giacomo  Tritto  as 
the  composer.  Schatz  10473 

Le  nozze  in  villa.     Intermezzo  per  musica  da  rappresentarsi  nel 
Teatro  alia  Valle  degl'  illihi  Sigg.  Capranica  nel  carnevale  dell'  anno 
1792. 
Roma,  Michele  PuccineUi,  n.  d.     54  p.     16'^^. 

Two  acts.  Author  not  mentioned  and  imknown  to  Schatz.  Cast  and  name  of 
Silvestro  Palma  as  composer.  ML  50.2.N72P2 

Le  nozze  inaspettate.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  per  terza  opera  di  questo  corrente  anno  1793. 

Napoli,  1793.     56  p.     15^"^. 

Two  acts.  Cast  and  name  of  composer,  Gaetano  Andreozzi,  but  not  of  librettist, 
who  is  imknown  to  Schatz.  Schatz  208 

Numa,  dramma  per  musica  da  rappresentarsi  alia  Regia  elettoral 
corte  di  Dresda,  il  camovale  dell'  anno  MDCCXLIII. 
n.  i.,  n.  d.     {double)  5^,  [IJf]  p.     W"^. 

Three  acts.  By  Stefano  Benedetto  Pallavicini,  who  is  not  mentioned.  Argu- 
ment, scenario,  and  name  of  Johann  Adolph  Hasse  as  the  composer.  German  title 
page,  "Numa  .  .  .  Dresden,  gedruckt  .  .  .  bey  der  verwitt  .  .  .  Stoeseelin,"  and 
text  face  Italian.  The  fourteen  additional  pages  contain  Italian  and  German  text  of 
the  "  intermedio  Pimpinella  e  Marcantonio — Pimpemelle  und  Marcantonius," 
by  the  same  author  and  composer. 

Performed,  as  indicated,  January  14,  1743;  first  performed  at  Hubertusburg, 
Schlosstheater,  October  7,  1741.  Schatz  4548 

Numa  Pompilio.  Poemetto  drammatico  nel  felicissimo  giorno  nata- 
lizio  della  Sac.  Ces.  R.  Maestk  di  Leopoldo  I.  Augustissimo  impera- 
dor  de'  Romani. 

Pietro  Antonio  Bemardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  91-106.     16^"'. 

Argument.    The  composer  is  not  mentioned  by  von  Weilen. 

First  performed  at  Vienna,  Jvme  9, 1707,  as  indicated.  ML  49.A2B4 

►'Numa  Pompilio.     Drama  per  musica  da  rappresentarsi  nel  famoso 
Teatro  Grimano.     L'anno  MDCLXXIV.     Di  Matteo  Noris  .  .  . 
Venetia,  Francesco  Nicolini,  1674-     96  p.     i^**^"*- 
Three  acts.    Author's  dedication  dated  Venice,  January  11,   1674,   argument, 
notice  to  the  reader,  and  scenario.    The  composer,  Giovanni  Maria  Pagliardi,  is  not 
mentioned.  Schatz  7584 


OPERA   LIBRETTOS  811 

Numa  Pompilio  II  re  de  Romani.     Serenata  per  musica  da  can- 
tarsi  nel  Real  palazzo  di  liisbona  li  24  giugno  1 789  .  .  . 
[Lishona],  NeJla  stamperia  reale,  n.  d.     26  p.     lo'^'". 

One  act.  "Succinto  drammatico  componimento  "  by  Gaetano  Martinelli.  Argu- 
ment, cast,  and  names  of  the  composer,  Joao  de  Sousa  Carvalho,  and  the  author. 

SCHATZ  1672 

Numitore. 

36  p.  17^^.  (Rolli,  Componimenti  poetici,  Nuova  edizione,  Verona, 
G.  Tumermani,  17 44-) 

Three  acts.    Argument.    The  composer,  Giovanni  Porta,  is  not  mentioned. 
First  performed  at  London,  Haymarket,  April  2  (Fassini),  April  13  (Schatz),  1720. 
See  also  "Die  helden-muetige  schaefer  Romulus  und  Remus."        ML  49.A2R7 

La  nuova  della  pace,  ballet.     See  Cherubim's  Ifigenia  in  Aulide. 

La  nuova  Giannetta.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  in  Parma  nel  R.  D.  Teatro  di  corte  il  carnevale  delP  anno 
MDCXXXXVII  .  .  . 

Parma,  Carmignani,  n.  d.     vii,  4^;  U]  V-     17'^"'. 

Imprimatur  dated  February  5-6,  1787. 

Two  acts.  A  later  version  of  "L'incognita  perseguitata,"  by  Giuseppe  Petrosel- 
lini.  Cast  and  name  of  "Ferdinando  Robuschi  Colomese"  as  the  composer,  of 
whom  the  impresario  in  the  dedication  says : 

"la  carriera,  con  tan  to  applauso  intrapresa  dal  giovine  autor  della  musica,  fe  seg- 
nata  dalla  sovrana  munificenza."  Schatz  8841 

II  nuovo  convitato  di  pietra.  Dramma  tragicomico  da  rappresen- 
tarsi  nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell  anno 
MDCCLXXXVII. 

Venezia,  Modesto  Fenzo,  1787.     64  p.     18^"^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Francesco  Gardi  as  the  composer.  With  the  opera  were  performed  the  ballets, 
by  Antonio  Muzzarelli,  "II  Beverlei  o  sia  II  giouocatore  inglese"  (music  by  Pietro 
Dutillieu)  and  "La  locandiera  vivace  "  (composer  of  the  music  not  mentioned). 

Schatz  3540 

II  nuovo  D.  Chisciotte.     L.  T.  of  Leo's  II  fantastico. 

II  nuovo  Figaro.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  in  Parma  nel  R.  D.  Teatro  di  corte  il  carnevale  delP  anno 
MDCCXCIV  ... 

Parma,  Carmignani,  n.  d.     viii,  86  p.     18'''^. 

Four  acts.  A  slightly  altered  version  of  Lorenzo  da  Ponte's  "Le  nozze  di  Figaro." 
Impresario's  dedicatory  poem,  scenario,  and  name  of  Ferdinando  Per  (Paer)  as  the 
composer. 

On  p.  75-86,  preface,  ailment,  cast,  and  description  of  Giovanni  Monticini's  "II 
trionfo  di  Gustavo  rb  di  Svezia,  ballo  eroico-tragico  pantomimico  in  cinque  atti." 
The  composer  of  the  music  is  not  mentioned. 

First  performed  January,  1794,  as  indicated.  Schatz  7565 

II  nuovo  savio  della  Qrecia.  Dramma  giocoso  per  musica  di 
Domenico  Mantile  da  rappresentarsi  nel  Real  Teatro  del  Fondo  di 
Separazione  per  terz'  opera  del  corrente  anno  1796  .  .  . 

Napoli,  n.  puhl,  1796.     2  p.  I.,  47  p.     ISY'"- 

Two  acts.  Impresario's  dedication,  dated  November  4,  1796,  cast,  and  name  of 
the  composer,  Giuseppe  Farinelli.  On  p.  [3]-13,  argument,  cast,  and  description  of 
"Zulima  o  sia  La  famiglia  riunita,  ballo  pantomime  in  cinque  atti,  composto  e  diretto 
dal  Sig.  Lauchlin  Dusqueeney  ...  la  musica  ,  .  .  tutta  nuova,  scritta  dal  Signer 
Pleyel."  Schatz  3019 


812  LIBRARY  OF   CONGRESS 

The  nuptials  of  Peleus  and  Thetis.  See  Caproli's  Le  nozze  di 
Peleo  e  di  Theti. 

Les  nymphes.     Entree  in  Duval's  Les  genies. 

Les  nymphes  de  Diane,  op6ra  comique,  par  Mr.  Favart.     Nouvelle 
Edition. 
Paris,  Aux  depens  de  la  compagnie,  1755.     39  p.     19^^^. 

En  vaudevilles.  On  cover  of  this  copy  the  music  is  attributed  to  J.[ean]  B.[apti8tel 
Moulinghem  (Moulinghen),  who,  under  the  circumstances,  can  only  have  arranged 
the  music.  ML  50.2.N9M6 

—  Les  nymphes  de  Diane,  opera-comique  en  un  acte.  Represent 6 
pour  la  premiere  fois  tout  en  vaudevilles  sur  le  Theatre  de  rOp6ra- 
comique  de  la  Foire  S.  Laurent  le  22.  septembre  1755.  Par  M. 
Favart. 

Paris,  Duchesne,  1755.  66,  [8]  p.  7P<=™.  {Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  viii.) 

Cast.  The  [8]  p.  contain  eight  "Airs  choisis  des  Nimphes  de  Diane — Vaudeville" 
("Je  voulois  vamcre").  Favart's  musical  collaborator  is  not  mentioned  by  Font, 
who  says  that  the  opera  was  first  performed  at  Bruxelles  in  1747,  after  having  been  for- 
bidden for  performance  at  Paris,  Foire  St.  Laurent,  in  1741.  ML  49.A2F1 

—  Les  nymphes  de  Diane,  op6ra-comique  en  un  acte.  Repre- 
sent e  pour  la  premiere  fois  tout  en  vaudevilles  sur  le  Theatre  de 
rOp^ra-comique  de  la  Foire  St.  Laurent  le  22  septembre  1755. 

Paris,  la  veuve  Duchesne,  1766.     68  p.     19'="'. 

On  p.  55-68,  eight  "Airs  des  Nymphes  de  Diane."  Neither  the  author,  Favart,  is 
mentioned,  nor  the  arranger  of  the  airs,  etc.  Schatz  11502 

Oberon  oder  Koenig  der  elfen,  ein  romantisches  singspiel  in  drey 
aufzuegen  nach  Wieland.     Von  Friederike  Sophie   Seyler.     Herrn 
Schroeder,    Director    des    Hamburger    Theaters,    zugeeignet.     Die 
musik  ist  von  Paolo  Wranitzky.     Dritte  auflage. 
Hamburg,  Eerold,  1792.     95,  [1]  p.     15^"^. 

Page  95  incorrectly  numbered  79.  The  last  page  contains  instnictione  for  an  altered 
performance  of  the  third  act. 

The  dedication  is  dated  Schleswig,  July,  1788.  In  it  the  authoress  does  not  mention 
the  fact  that  Heinrich  Gottlieb  Schmieder  added  a  few  arias,  which  were  composed 
by  Carl  David  Stegmann. 

First  performed  at  Frankfurt  a/M,  Nationaltheater,  October  15,  1790,  and  at  Ham- 
bui^.  Theater  beim  Gansemarkt,  October  17,  1791.  Schatz  11112 

Obert  e  Melina,  ballet.     See  Mayr's  cantata  Temira  e  Aristo. 

L'obstacle  favorable.     See  Les  comediens  corsaires. 

Octavia.     See  Reiser's  Die  roemische  unrulie. 

Odervik,  ballet.     See  Zingarelli's  II  ritratto. 

GFodj  delusi  dal  sangue.  Drama  per  musica  ...  da  rappre- 
sentarsi  in  Dresda  nel  came  vale  1718. 

Dresda,  Giovanni  Riedd  &  Giovanni  Stoessel,  n.  d.     Unpaged.     21 '"". 

Three  acts.  Dedication  signed  by  the  author,  Antonio  Maria  Luchini,  and  dated 
Dresda,  Febraro,  1718,  argument,  cast,  scenario,  and  name  of  Antonio  Lotti  as  com- 
poser of  the  opera;  of  "Signer  Woulmyer"  as  cpmposer  of  the  ballet  music.  French 
title  page,  "La  haine  vaincue  par  la  force  du  sang,"  and  text  face  Italian.  Following 
the  text  of  the  opera  is  printed  that  of  the  three  "Intermedi  cantati  .  .  .  Dresde, 
chez  Jean  Riedel  &  Jean  Conrad  Stossel,  1718,"  called  "Mibenae  Flora."  These, 
too,  have  Italian  and  French  texts  on  opposite  ps^es.  Schatz  5707 


OPERA   LIBRETTOS  813 

GFodj  delusi  dal  sangue.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S,  Angelo  nella  fine  del  carnovale  1728. 

Venezia,  Marin  Rossetti,  n.  d.     4^  V-     ^4"'^- 

Three  acts.  By  Antonio  Maria  Lucchini,  who  is  not  mentioned.  Ailment,  cast, 
Bcenario,  and  names  of  Galuppi  as  the  composer  of  acts  I  and  III,  and  of  Giov. 
Battieta  Pescetti  of  act  II. 

First  performed  on  February  4,  1728.  Schatz  3521 

Gli  odii  fraterni.     A.  T.  of  Pacelli's  II  finto  Esati. 

L'odio  I'amor.  Drama  per  musica.  Da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimani  m  S.  Gio.  Grisostomo  I'anno  1703.  Di 
Matteo  Noris. 

Venezia,  Marino  Rossetti,  1703.     1  p.  I,  79  p.     15'='". 

Three  acts.  Preface  and  scenario.  The  composer,  Carlo  Francesco  Pollaroli,  is 
not  mentioned.  Schatz  8304 

L'odio  e  Famore.     Melodrama  di  Matteo  Noris  da  rappresentarsi  in 
Napoli  nel  Teatro  di  S.  Bartolomeo  in  quest,  anno  1704  .  .  . 
Napoli,  MicTiele  Luigi  Mvtio,  1704.     4  p.  I.,  64  p.     13^"^. 

Three  acts.  Dedication  by  Nicola  Serino,  cast,  scenario,  name  of  Giuseppe  [An- 
tonio Vincenzo]  Aldrovandini  as  composer,  and  notice  (by  Serino?)  to  the  reader, 
according  to  which  the  present  edition  is  an  altered  version  of  Noris'  libretto  "per 
I'aggiunzioni  di  rappresentanti  e  tra  per  la  variazione  d'arie."  It  is  also  stated  that 
the  music  of  the  following  arias  was  not  by  Aldrovandini  but  was  new:  "A  I'armi,  a 
I'armi"  (I,  2),  "Mi  f^  guerra,  e  mi  combatte"  (I,  3),  "Voi  piangete  6  luci  belle" 
(I,  6),  "Sapessi  almen  dov'^"  (I,  6),  and  many  others.  Their  composer  is  not  men- 
tioned. Schatz  136 

L'odio  placato.  Drama  per  musica  da  recitarsi  nel  Teatro  di  S. 
Angelo  I'anno  1730. 

Venezia,  Alvise  Valvasen^e,  1730.     ^7  p. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Argument,  notice  to 
the  reader,  cast,  scenario,  and  name  of  Galuppi  as  composer. 

First  performed,  as  indicated,  December  27,  1729.  Schatz  3490 

L'odio  vinto  dalla  costanza.     Dramma  per  musica  da  rappresen 
tarsi  in  Parma  nell'  Imperial-ducale  Teatro  il   carnovale  delr  anno 
1739  .  .  . 
Parma,  Gozzi,  n.  d.     48  p.     17'^™. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  by  the 
impresario,  Domenico  Maria  Creta,  dated  Parma,  January  24,  1739,  ailment,  cast, 
scenario,  and  note: 

"La  musica  fe  scelta  da  diversi  autori." 

The  text  is  perhaps  the  same  as  Antonio  Marchi's,  another  title  of  which  was  ' '  La 
costanza  trionfante  aegl'  amori  e  degl'  odii."  Schatz  11352 

L'odio  vinto  dalla  costanza.  L.  T.  of  Vivaldi's  La  costanza  trion- 
fante degl'  amori  e  degl'  odii. 

L'Odoacre.     Drama  per  musica  di  Novello  Bonis.     Da  rappresen- 
tarsi nel  Teatro  di  Sant'  Angelo.     L'anno  MDCLXXX  .  .  . 
Venetia,  Francesco  Batti,  1680.     60  p.     14'^'". 

Three  acts  (running  title  of  third  incorrectly  numbered  second).  Author's  dedi- 
cation dated  Venice,  January  4,  1679,  argument,  scenario,  and  notice  to  the  reader: 

"Doppo  il  mio  Dario  ravvitato  non  hebbi  altra  fortuna  di  servirti.  Hora  vedrai 
rOdoacre.  Compatiscilo  poich&  e  barbaro.  Ammolir^  le  sue  durezze  I'armonia  delle 
note  del  Signor  Giovanni  Varischino  nipote,  e  discepolo  di  quel  D.  Giovanni  Le- 
renzi ,  ch'immobiliace  la  fama  eul'  arco  de'  atupori."  Schatz  10593 


814  LIBRABY   OF  CONGRESS 

Odoacro,  prime  re  d'ltalia,  ballet.     See  Piccinni's  II  servo  padrone. 

•^Odoardo.  Drama  oer  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  I'anno  MDCXCVIII  .  .  . 

Venezia,  Girolamo  Alhrizzi,  1698.     6  p.  I.  (incl.  front.) ,  57  p.     14^^^. 

Three  acts.  Dedication  by  Apostolo  Zeno  as  author,  though  "Odoardo"  does 
not  appear  in  his  collected  works  nor  any  of  the  arias  in  Wotquenne's  Verzeichnis 
under  Zeno.  Argument,  and  scenario.  The  composer.  Marc'  Antonio  Ziani,  is  not 
mentioned. 

First  performed,  as  indicated,  carnival  1698.  Schatz  11191 

Oedip  zvL  Colonos.     Tr.  of  Sacchini's  Oedlpe  h,  Colone. 

Oedipe  a  Colone,  trag^die  lyrique  en  trois  actes. 
n.  i.,  n.  d.     p.  [l]-32.     18^"^. 

Three  acts.  On  p.  [1]  this  note:  "Le  poeme  est  du  C.  Guillard.  La  musique  de 
Sacchini."  C.  stands  obviously  for  Citoyen,  which  would  fix  the  date  of  this  edition 
as  1792  or  later. 

First  performed  at  Versailles,  Th6S.tre  de  la  Cour,  January  4,  1786,  and  at  Paris, 
Acad^mie  royale  de  musique,  February  1,  1787.  Schatz  9234 

—  Oedip  zu  Colonos.  Lyrisches  drama  in  drey  aufzuegen  zur 
beybehaltenen  musik  von  A.  Sacchini,  aus  dem  franzoesischen  ueber- 
setzt  von  C.  Herklots. 

Berlin,  n.  puhl.,  1798.     55  p. 

Cast  and  "Vorerinnerung." 

First  performed  at  Berlin,  Kgl.  National  Theater,  October  17, 1797.     Schatz  9235 

Die  oesterreichische  grossmuht  oder  Carolus  .V.     Auf  das  hoechst- 
erfreuliche    kroenungs-fest  ...  Caroli    VI.    erw^aehlten   roemischen 
kaeysers  ...  in  einem  musicalischen  schauspiele  auf  dem  OTossen 
Hamburgischen  Theatro  vorgestellet  am  tage  Caroli  MDCCXII. 
n.  i.,  n.  d:      Unpaged.     19'^^. 

Three  acts  and  epilogue.     Scenario  and  laudatory  "vorbericht."     Neither  the 
author,  Johann  Ulrich  Koenig,  is  mentioned,  nor  the  composer,  Reinhard  Kaiser. 
First  performed,  ae  indicated,  Jantiary  28,  1712.  Schatz  5108 

Ogus,  o  sia  II  trionfo  del  bel  sesso.  Dramma  giocoso  per  musica, 
da  rappresentarsi  nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1796.     22  p.  I.,  60  p.     16'"^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned  and  whose  title  originally 
was  "La  forza  delle  donne."  German  title-page,  "Ogus,  oder  Der  triumph  des 
schoenen  geschlechts,"  and  ecene-by-scene  synopsis  precedes  the  Italian  text.  Peter 
von  Winter  is  mentioned  as  the  composer. 

P^rst  performed,  as  indicated,  March  5,  1796;  at  Prague,  Nationaltheater,  1795. 

Schatz  11058 

Oithona:  A  dramatick  poem,  taken  from  the  prose  translation  of 
the  celebrated  Ossian,  as  performed  at  the  Theatre  Royal  in  the 
Hay-Market.     Set  to  musicK  by  M.  Barthelemon. 

London,  T.  Becket  and  P.  and  A.  de  Hondt,  1768.     23  p.     21'^^. 

Three  acts.    Author  not  recorded  by  Baker.  Lonoe  163 

L'Olandese  in  Italia.     Dramma  giocoso  in  musica  da  rappresen- 
tarsi nel  Teatro  da  rua  dos  Condes  nel  anno  1766  .  .  . 
Lisbona,  Pietro  Ferreira,  n.  d.     94  p.     15'^^. 

Incomplete,  p.  1-8  missing.     The  t.-p.  supplied  in  transcript. 
Three  acts.     Niccol6  Taesi  is  mentioned  as  the  author,  Giovanni  Marco  Rutini  as 
the  composer. 

First  performed  at  Florence,  Teatro  di  via  del  Cocomero,  spring  of  1765. 

Schatz  9190 


OPERA  LIBEETTOS  815 

An  old  fool  worse  than  any.     A.  T.  of  He  wou'd  if  he  cou'd. 

An  old  man  taught  wisdom :   or,  The  virgin  unmask'd.    A  farce. 
As  it  is  perform'd  at  the  Theatre-Royal,  hy  His  Majesty's  servants. 
By  Henry  Fielding,  Esq;  with  the  musick  prefix'd  to  each  song.     The 
second  edition. 
London,  J.  WatU,  1735.     39  p.     W^. 

One  act.  Cast  and  table  of  the  twelve  songs.  Ballad  opera,  the  airs  printed  in  the 
text,  with  their  titles.  Later  on,  the  piece  became  known  almost  exclusively  under 
the  alternative  title. 

First  performed  at  Drury  Lane,  1734  (Clarence);  January  6,  1735  (Tufts). 

ML  50.5.O42 

—  The  virgin  unmasked.  A  musical  entertainment,  in  one  act. 
By  Henry  Fielding,  Escj,  With  alterations.  As  performed  at  the 
Theatres-Royal  in  Drury-Lane,  and  Covent-Garden. 

London,  T.  Payne  and  son  [etc.],  1786,     27,  [5]  p.     21^"^. 

The  [5]  p.  contain  a  table  of  the  11  songs  and  a  four-pa^e  booklist  of  W.  Lowndes. 
Casts  of  1786,  with  the  N.  B.:  "Some  parts  of  this  entertainment  are  performed  only 
at  Drury-Lane,  and  other  passages  only  at  Covent-Garden."  Ballad  opera,  most  of 
the  airs  being  indicated  by  title.  Lonoe  97 

—  The  virgin  unmask'd.     By  Henry  Fielding,  Esq. 

[120]-141  p-  19'^'^.  {Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  U,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  (1782)  casts.     Ballad  opera.  Schatz  11753B 

The  old  woman  weatherwise,  an  interlude;   as  performed  at  the 
Theatre  Royal  in  Drury-Lane. 
London,  S.  Bladon,  1788.     18  p.     21^"^. 

One  act.  Cast.  Neither  the  author,  G.  Saville  Carey,  is  mentioned,  nor  the  com- 
poser (not  recorded  by  Schatz).  Genest  under  Drury  Lane  1769-70  says:  "Old 
women  weatherwise.  This  contemptible  interlude  is  attributed  to  G.  S.  Carey — it 
was  acted  at  D.  L.  in  the  course  of  1770."  Longe  251 

Olimpia,  ballet.     See  Winter's  Catone  in  Utica. 

Olimpia  placata.     L.  T.  of  Freschi's  Olimpia  vendicata. 

Olimpia  vendicata.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  Tanno  MDCLXXXII.  Di  Aurefio  Aureli  opera 
XXII  .  .  . 

Venetia,  Francesco  Nicolini,  1682.     55  p. 

Three  acts.  Author's  dedication  dated  Venice,  November  20, 1681,  author's  notice 
to  the  reader,  with  name  of  Giovanni  Domenico  Freschi  as  composer,  scenario,  and 
arguments  preceding  each  act.  Schatz  3352 

—  Olimpia  placata.  Drama  rappresentato  in  musica  nel  novis- 
simo  Teatro  ducale  di  Parma  .  .  .     Poesia  di  Aurelio  Aureli. 

Parma,  nella  Stamperia  ducale,  1687.     88  p.     16*^^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  and  author's  notice  to 
the  reader,  in  which  he  says: 

"La  brevity  del  tempo  stabilito  alle  recite  non  le  h^  permesso  di  poter  questa  prima 
volta  farsi  vedere  con  nuova  fatica.  Onde  6  stata  dalia  necessity  coetretta  h  portarti 
I'Olimpia  mio  drama  gi^  un  lustro  composto,  e  rappresentato  con  non  picciolo  agradi- 
mento  in  Venetia  .  .  .  h6  inserita  la  Vecchia,  che  nel  prime  drama  non  v'era,  per  il 
che  m'e  convenuto  riformarlo  in  gran  parte  con  mutar  totalmente  non  solo  il  suo  fine 
ma  cangiarli  ancora  il  primo  titolo  d'Olimpia  vendicata  in  Olimpia  placata.    Le  nuove 


816  UBRAHY   OF   CONGRESS 

Olimpia  vendicata — Continued. 

aggiunte  tutte  eono  state  poste  in  mueica  dalla  virtti  ammirabile  del  Sig.  D.  Bernardo 
Sabadini  .  .  .  rarmonia  delle  cui  note  avrk  aggiunto  nuovo  eplendore  alia  musica 
singolare  della  prima  Olimpia  composta  dal  Sig.  D.  Domenico  Freschi  ..." 

The  libretto  is  one  of  the  early  instances  in  which  not  only  the  "I'inventore  delle 
Bcene"  (in  this  case,  "Ferdinand.0  Galli  detto  il  Bibiena")  is  mentioned,  but  also  the 
"inventor  de  balli"  (Federico  Crivelli)  and  the  "inventore,  e  fabbricatore  degl' 
habiti"  (Gasparo  Torrelli).  Schatz  5359 

L'Olimpiade. 

[227]-297  p.  19<^.  (Pietro  MetcbstoMOyOperedrammatiche,  Venezia, 
Giuseppe  Bettinelli,  1733-37,  t.  1.) 

Three  acts  and  licenza.    Argument.    No  composer  is  mentioned.    ML  ^9.A2M4 

—  Olimpiade. 

Metastasio,  Poesie,  Parigi,  vedova  QuiTlau,*17S5,  t.  II,  IO4  p.     16*^, 
Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Olimpiade.  Dramma  rappresentato  con  musica  del  Caldara  la 
prima  volta  nel  giardino  dell  Imperial  Favorita,  alia  presenza  degli 
augusti  regnanti,  il  di  28  agosto  1733,  per  festeggiare  il  giomo  di 
nascita  delT  imperatrice  Elisabetta  .  .  . 

pi.,  [3]-120  p.  26'^'^.  {Pietro  Metastasio,  Opere,  t.  II, Parigi,  vedova 
Herissant,  1780.) 

Three  acts  and  licenza.    Argument.  ML  49.A2M44 

L'Olimpiade.     Drama  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  delF  anno  .MDCCLXXI V 
Venezia,  Modesto  Fenzo,  177 4.     62  p.     17'="'. 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  Pasquale 
Anfossi  as  composer,  but  not  of  librettist.  Between  the  first  and  second  acts  waa  per- 
formed "L'lpermestra  o  Le  Danaidi.  Ballo  tragico  pantomimo,  d'invenzione  e  com- 
posizione  di  Monsieur  Giovanni  Favier."  The  composer  of  the  music  is  not  men- 
tioned. A  detailed  description  of  the  ballet  on  p.  21-30. 
First  performed,  as  indicated,  December  26,  1774.     (Schatz.)  Schatz  246 

L'01im.piade.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassiano  il  carnovale  dell'  anno  1765. 
Venezia,  Modesto  Fenzo,  1765.     54  p.     18"^.     . 

Three  acts.  Argument,  cast,  scenario,  and  name  of  composer,  Ferdinando  Giu- 
seppe Bertoni,  but  not  of  the  librettist,  Metastasio.  Schatz  915 

Olimpiade.     Dramma   per   musica    da   rappresentarsi   nel   Teatro 
grande  aUa  Scala  di  Milano,  il  carnevale  dell   anno  1782  .  .  . 
Milano,  Gio.  Batista  BiancJii,  n.  d.     48  p.     15^'^. 

Three  acts.    By  Metastasio.     Dedication  ("per  I'apertura  delle  recite  del  carne- 
vale entrante"),  argument,  cast,  scenario,  and  name  of  composer,  Francesco  Bianchi. 
First  performed,  as  indicated,  December  26,  1781.  Schatz  1004 

L'Olimpiade.  Dramma  per  musica  da  rappresentarsi  in  Firenze 
nel  nuovo  Regio  Teatro  degl'  Intrepidi  detto  La  Palla  a  corda  nella 
primavera  del  1785  .  .  . 

Firenze,  Stamperia  Bonducdana,  1786.     1  p.  I.,  iv,  37  p.     16 Y™ • 
Two  acts.     By  Metastasio,  with  argument,  cast,  and  name  of  the  composer,  Gio- 
vanni Battista  Borghi  ("musica  nuova").    Two  ballets  by  Domenico  Ricciardi  were 
performed  with  the  opera,  one  of  which  was  composed  by  Gius.  Horban  and  was 
called  "Giasone  e  Medea." 

First  performed  at  Modena,  Teatro  Rongoni,  December  26,  1784.       Schatz  1235 


OPERA  LIBEETTOS  817 

L'Olimpiade.  Dramma  per  musica  da  lappresentarsi  nel  Regio 
Teatro  di  Torino  nella  primavera  del  1737  per  le  regie  nozze. 

Torino,  Pietro  Giuseppe  Zappata  ejlgliuolo,  1737.     4  V-  T"j'^6,  1  p. 

By  Metastasio.  Three  acts.  Ailment,  scenario,  cast,  and  name  of  the  com- 
poser, Giuseppe  Ferdinando  Brivio.  Alessio  Rasetti  is  mentioned  as  composer  of  the 
ballet  music.  Schatz  1326 

Olimpiade.  Dramma  rappresentato  con  musica  del  Caldara  la 
prima  volta  nel  giardino  dell'  Imperial  Favorita,  alia  presenza  degli 
augusti  regnanti,  il  di  28  agosto  1733,  per  festeggiare  il  giorno  di 
nascita  delT'  imperatrice  Elisabetta,  d'ordine  dell'  imperator  Carlo  VI. 
n.  %.,  n.  d.     pi.,  106  p.     17^^. 

Evidently  detached  from  an  edition  of  Metastasio's  works  not  in  the  L.  of  C, 
Three  acts  and  Licenza.    Argument.  ML  50.2. 05C2 

L'Olimpiade  del  celebre  Sig.  abate  Pietro  Metastasio  .  .  .     Dramma 
per  musica  da  rappresentarsi  nel  Pubblico  Teatro  di  Lucca  nell' 
autunno  dell'  anno  MDCCLXXXIV. 
Lucca,  Francesco  Bonsignori,  n.  d.     63  p.     14h'^' 

Two  acts.  Argument,  scenario,  cast,  and  name  of  the  composer,  Cixaarosa.  On 
p.  57-63  description  of  Antonio  Muzzarelli's  "La  liberazione  di  Castruccio  Castra- 
cane."     The  composer  of  the  music  is  not  mentioned. 

First  performed  at  Vicenza,  Nuovo  Teatro  Eretenio,  July  10, 1784.     Schatz  1960 

—  L'Olimpiade  del  celebre  Signor  abate  Pietro  Metastasio  .  .  . 
Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro  di  Vicenza 
I'autunno  MDCCXCIV. 

Vicenza,  Vendramin  Mosca,  n.  d.     ^8  p.     18*^^. 

Two  acts.  Dedication  referring  to  the  first  performance  in  1784,  argument,  cast, 
scenario,  and  name  of  Domenico  Cimarosa  as  composer.    ("La  musica  saril.") 

Schatz  11686 

L'01im.piade.     Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  camovale  del  1790.     Alia  presenza  di  S.  S.  R.  M. 
Torino,  Onorato  Derbssi,  n.  d.     viii,  51  p.     15^'^. 

Three  acts.  By  Metastasio.  With  argument,  cast,  scenario,  and  name  of  the 
composer,  Vincenzo  Federici.  On  p.  [47]-51  "Descrizione  de'  balli  inventati,  e 
composti,  come  pure  la  musica  de'  medesimi  dal  Signor  Gaspare  Angiolini"  with 
argument,  _  cast,  and  description:  (1)  "Sargine,"  (2)  "Lorezzo,"  (3)  "I  vincitori 
de^  giuochi  olimpici." 

First  performed  at  Turin,  as  indicated,  December  26,  1789.  Schatz  3046 

L'Olimpiade.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  a  S.  Samuele  nella  Fiera  dell'  Ascensione  dell'  anno  1745. 
n.  i.,  n.  d.     1  p.  I.,  48  p.     15'='^. 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser, Ignazio  Fiorillo. 

First  performed,  as  indicated,  Venice,  May,  1745.  Schatz  3205 

—  L'Olimpiade.  Drama  per  musica  da  recitarsi  sul  famosissimo 
Teatro  di  Braunsviga  neUa  fiera  d'estate  I'anno  1749. — Die  olym- 
pischen  spiele  .  .  . 

Wolfenhuettel,  Christian  Bartsch  wittwe  u.  erhen,  n.  d.  Unpaged. 
18^"^- 

Three  acts.     By  Metastasio.  Argument  (in  German  only),  scenario,  and  name  of 

the  composer,  Ignazio  Fiorillo.  German  text  faces  Italian.  Schatz  3202 

72251°— VOL  1—14 52 


818  LIBRARY   OF   CONGRESS 

L'Olimpiade.  Dramma  per  musica  del  Signore  abbate  Pietro  Meta- 
stasio  da  rappresentarsi  in  Siena  nel  Teatro  della  virtuosissima  Acca- 
demia  degl'  Intronati  nelF  estate  dell'  anno  1763  .  .  . 

Siena,  Bonetti,  1763.     68  p.     ISV"^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of 
Oaluppi  as  composer. 

First  performed,  as  indicated,  July  24, 1763;  at  Milan,  Regio  Ducal  Teatro,  Decem- 
ber 26,  1747.  ScHATZ  3496 

L'Olimpiade.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  MDCCLXVII  .  .  . 

Venezia,  Modesto  Fenzo,  J  767.     64  p.     17 Y'^. 

Three  acts.  By  Metaetasio,  who  is  not  mentioned.  Impresario's  dedication 
dated  Venice,  December  26,  1766,  argument,  cast,  scenario,  and  note:  "La  musica  h 
di  tre  celebri  maestri  di  capella."  These  were  Pietro  Guglielmi,  Antonio  Gaetano 
Pampani,  and  Francesco  Bmsa. 

WTiether  the  first  act  was  that  of  Guglielmi's  "L'Olimpiade,"  Naples,  1763,  or 
whether  it  wae  a  new  setting,  is  not  known.  Schatz  4316 

Olimpiade.  Dramma  per  musica  da  rappresentarsi  nel  Regio  elet- 
toral  Teatro  di  corte  nel  carnevale  dell'  anno  MDCCLVI.  La  musica 
6  del  Sig"".  Gio.  Adolfo  Hasse  .  .  . 

Dresda,  la  vedova  Stoessel  e  Giovanni  Carlo  Krause,  n.  d.  7  p.  I., 
idouhle)  91  p.     23<'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  and  scenario. 
German  title  page,  "Das  olympische  spiel,"  and  text  face  Italian. 

First  performed,  as  indicated,  February  16,  1756.  Schatz  4549 

—  L'Olimpiade.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1765  .  .  . 

Torino,  Gaspare  Bayno,  n.  d.     viii,  68  p.     W^^, 

Three  acts.  Argument^  cast,  scenario,  and  name  of  Joh.  Ad.  Hasse  as  the  com- 
poser. The  text  is  not  quite  the  same  as  in  the  original  Dresden  (1756)  edition.  For 
instance,  the  whole  scene  I,  4,  "Quanto  importuno  h  questo,"  has  been  dropped  as 
also  the  aria,  "Parto:  ma  so  che  degno,"  from  II,  2.  On  p.  67-68  brief  descriptions  of 
the  ballets  by  Francesco  Salomoni,  the  second  of  which,  music  by  Giuseppe  Antonio 
Le-Messier,  was  called  "I  cacciatori  burlati." 

First  performed,  as  indicated,  December  26,  1764.  Schatz  4550 

L'Olimpiade.  Dramma  per  musica  (Ja  rappresentarsi  nel  Teatro 
(lucale  di  Stutgard  festeggiandosi  il  felicissimo  giorno  natalizio  di 
Sua  Altezza  Serenissima  Carlo,  duca  regnante  di  Wirtemberg  e  Teck, 
etc.  La  poesia  e  del  Signor  abbate  Pietro  Metastasio  ...  La 
musica  e  nuovamente  composta  dal  Signor  Nicol6  Jonunelli  ...  I 
balli  sono  inventati  dal  Signor  Giovanni  Giorgio  Noverre  .  .  . 

Stutgard,  Cotta,  1761.     181,  [7]  p.     18'"^. 

Three  acts,  preceded  by  (17  p.)  "Prologo."  German  title  page,  "Die  olympische 
spiele,"  and  text  face  Italian.  Preceding  p.  72,  two  unnumbered  pages,  with  a  brief 
description  of  "I  capricci  di  Galatea,  ballo  pastorale."  The  7  add.  p.  contain  a 
description  of  "Admeto  ed  Alceste,  ballo  tragico."  The  composers  of  the  music  are 
not  mentioned.  Abert  says  that,  in  addition,  oetween  second  and  third  acts  Noverre's 
ballet  "Rinaldo,"  music  by  Rudolph,  was  performed. 

First  performed,  as  indicated,  February  11,  1761.  Schatz  4867 

—  L'Olimipiade.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  dell'  Ajuda  in  occasione  di  festeggiarsi  il  felicissimo  giorno 
natalizio  di  Sua  Real  Maesth,  I'augustissima  Signora  D.  Marianna 
Vittoria  .  .  .  nella  primavera  dell'  anno  1774, 

{Lishona},  Stamperia  Reale,  n.  d.     88  p.     IS'^™. 

Three  acts.     Argument,  scenario,  cast,  and  names  of  Metastasio  as  author,  of 
Niccol6  Jommelli  as  composer.    The  text  seems  to  follow  closely  that  of  1761. 
First  performed,  as  indicated,  March  31,  1774,  Schatz  4885 


OPEEA   LIBRETTOS  819 

L'Olinipiade,  dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassiano  I'autunno  dell'  anno  MCCLII  .  .  . 
[Venezia],  n.  puhl.,  n.  d.     1  p.  I.,  Jj.8  p.     16'^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, cast,  scenario,  and  name  of  Gaetano  Latilla  as  composer.  Schatz  5449 

L'Olimpiade,  ballet.     See  Meucci's  Telemaco. 

L'Olimpiade.  Dramma  per  musica  da  rappresentarsi  nel  famoso 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nell'  autunno  dell'  anno 
1738  .  .  . 

Venezia,  Marino  Rossetti,  1738.     69  p.     IS'''". 

Three  acts.  By  Metastasio,  who  is  not  mentioned;  neither  is  Pergolesi,  the  com- 
poser.    Domenico  Lalli's  dedication,  argument,  cast,  and  scenario. 

First  performed  at  Rome,  Teatro  Tor  di  Nona,  carnival  (January),  1735. 

Schatz  7904 

L'Olimpiade.     Dramma  da  rappresentarsi  ne'  Regi  Teatri  di  S.  M. 
il  re  di  Prussia.     Messo  in  musica  dal  Sign.  G.  F.  Reichardt  .  .  . 
Berlino,  Haude  e  Spener,  1791.     107  p.     16^"^. 

Three  acts.  German  title-pa^e,  "  Die  Olympiade  .  .  .vom  herm  abt  Metastasio," 
and  text  face  Italian.  Argument,  cast,  and  note  that  "molti  cambiamenti  furono 
fatti  al  dramma  del  Metastasio  si  per  commodo  della  musica,  che  per  quello  de'  Signori 
attori." 

First  performed  at  Berlin,  as  indicated,  on  October  3,  1791.  Schatz  8649 

Olimpiade.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Interinale  di  Milano  il  carnovale  dell'  anno  1778  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.  59,  24  p.  l^Y^- 
Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, cast,  scenario,  and  name  of  Antonio  Rossetti  as  the  composer.  The  24  p. 
contain  cast,  argument,  description,  and  name  of  Luigi  Gatti  ("mueica  tutta  nuova  ) 
as  composer  of  the  music  of  Innocenzo  Gambuzzi's  Germanico  in  Germania,  ballo 
eroico-pantomimo,"  in  five  acts,  the  argument  of  Gambuzzi's  "II  matrimonio  de' 
Groenlandeei,"  and  the  title  of  his  third  ballet,  "Giaccona." 

First  performed  December  27,  1777,  as  indicated.  Schatz  8885 

L'Olimpiade.     Dramma  per  musica  da  rappresentai*si  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  I'autunno  dell'  anno  MDCCLXXX\T. 
Venezia,  Modesto  Fenzo,  1786.     55  p.     17^"^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Sacchini  as  the  composer,  with  remark,  "alcuni  pezzi  di  musica  sono  di  altri 
celebri  maestri." 

First  performed  at  Padova,  Teatro  Nuovo,  June,  1763.  Schatz  9238 

—  L'Olympiade  ou  Le  triomphe  de  I'amiti^,  drame  li^roique  en 
trois  actes  et  en  vers,  m616  de  musique;  repr^sent^,  pour  la  premiere 
fois,  par  les  Com^diens  italiens  oridnaires  dxi  roi,  le  2  octobre  1777,  & 
k  Fontainebleau,  devant  Leurs  Majest6s,  le  24  du  ni^me  mois. 
Paris,  la  veuve  Duchesne,  1777.     2  p.  I.,  24  p.     W"^. 

Cast  and  names  of  Nicolas  Etienne  Framery  as  the  author  of  this  French  ver- 
sion, of  Sacchini  as  the  composer.  Schatz  9239 

L'01im.piade.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Benedetto  I'autunno  dell'  anno  1760. 
Venezia,  Antonio  Comino,  1760.     55  p.     15*^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Gregorio  Sciroli  as  the  composer.  Schatz  9783 


820  UBBABY  OF   CONGRESS 

L'Olimpiade.     Dramina  per  miiaica  da  rappresentarsi  nel  Teatro 
Giustiniani  di  S.  Mois6  il  camovale  dell'  anno  1747. 
Venezia,  Valvasense,  1747.     48  p.     15^"^. 

Three  acts.  By  Metaetaeio,  who  ie  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Scolari  as  the  composer.  Schatz  9797 

Olimpiade.     Dramina  per  musica  del  Sig.  abbate  Pietro  Metastasio, 
Poeta  Cesares.     Da  rappresentarsi  in  Verona  nel  nuovo  Teatro  dell' 
Accademia  filarmonica  nell'  autunno  dell'  anno  1758  .  .  . 
Verona,  Dionisio  Ramanzini,  n.  d.     51  p.     17^'^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of 
Tommaso  Trajetta  as  the  composer.     ("La  musica  e  tutta  nuova. ")    Schatz  10404 

—  Olimpiade.  Dramma  per  musica  da  rappresentarsi  in  Firenze 
nel  Teatro  di  via  della  Pergola  nell'  autunno  dell'  anno  1767  sotto  la 
protezione  di  Sua  Altezza  Reale  Pietro  Ijeopoldo,  arciduca  d'Au- 
stria  .  ,  . 

n.  %.,  n.  d.     vi,  60  p.     21 Y"^. 

Vignettes. 

Three  acts.  Ai^ument,  cast,  and  name  of  Tommaso  Traetta  as  composer.  The 
music  is  called  "tutta  nuova,"  which  possibly  means  that  this  is  a  second  setting  of 
the  text  by  Metastasio,  who  is  not  mentioned. 

First  performed  October  15,  1767,  as  indicated.  Schatz  10396 

Second  copy.     ML48.M2C 

L'Olimpiade.  Dramma  per  musica  di  Pietro  Metastasio,  poeta  di 
S.  M.  C.  C,  fra  grArcadi  Artino  Corasio.  Da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  nel  carnovale  dell'  anno  MDCCXXXIV. 

Venezia,  Marino  Rossetti,  1734.     72  p.     15"'^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  com- 
poser. Schatz  10774 

01im.pie,  trag6die  lyrique  en  trois  actes,  podme  du  c®"*  Guillard, 
musique  du  c®°  Kalkbrenner;  representee  pour  la  premiere  tois  h. 
Paris,  sur  le  Th^dtre  de  la  Republique  et  des  Arts,  le  18  frimaire 
an  7  .  .  . 

Paris,  Charles  Honel,  an  VII  [1798-99].     2  p.  I.,  40  p.     26'"^. 

First  performed,  as  indicated,  December  18,  1798.  Schatz  4998 

L'Olindo.  Commedia  per  musica*  di  Antonio  Palomba  Napoletano 
da  rappresentarsi  nel  Teatro  di  Forentini  nel  camevale  di  quest' 
anno  1753. 

Napoli,  Domenico  Lanciano,  1753.     83  p.     14Y'^- 

Three  acts.     Cast  and  (on  p.  [4])  the  remark: 

"La  musica  h  del  Signer  D.  Niccol6  Conti,  a  riserba  dell'  ultima  cavatina  di 
Masillo,  Finale  dell'  atto  secondo  e  I'intiero  terz  atto,  come  anco  la  sinfonia,  e  I'arie 
con  questo  segno  §,  che  sono  del  Sig.  D.  Matteo  Capranica,  ambo  maestri  di  cappella 
Napoletani."  Schatz  2208 

Olindo  e  Sofronia.     L.  T.  of  Andreozzi's  Sofronia  e  Olindo. 

L'Olympiade  da  rappresentarsi  in  musica  nel  Teatro  Nouvo  [!]  di 
corte. — nel  camovale  1764.  Trasposte  in  versi  tedeschi.  La  poesia 
e  del  Signor  abbate  Pietro  Metastasio. — La  musica  d  del  Sig.  Andrea 
di  Bernasconi  .  .  . 

Monaco,  Giov.  Giac  Votter,  n.  d.     211  p.     15'^^. 

Three  acts.  Argument.  German  title,  "Die  olympischen  spiel,"  and  text  face 
Italian. 

First  performed  at  Munich,  January  20,  1764.  Schatz  859 


OPERA   LIBRETTOS  821 

Die  Olympiade.     Tr.  of  Reichardt's  L'Olimpiade. 

I/Olympiade  ou  Le  triomphe  de  I'amitie.  French  version  of  Sac- 
chini's  Olimpiade. 

Das  olympische  spiel.     Tr.  of  Hasse's  Olimpiade. 

Die  olympische  spiele.     Tr.  of  Jonunelli's  L'Olimpiade. 

Die  olympischen  spiel.     Tr.  of  Bernasconi's  L'Olympiade. 

Die  olympischen  spiele.     Tr.  of  Fiorillo's  L'Olimpiade. 

L'ombra  di  Nino  ossia  L'impostore  scovei-to.  Da  rappresentarsi  nel 
Real  Teatro  di  S.  Cecilia,  per  la  prima  opera  nelF  autunno  di  quest' 
anno  1796  ..  . 

Palermo,  Stamperia  Valenza,  n.  d.     4^  p.     14h'^"^- 

Two  acts.  The  author,  Michelangelo  Prunetti,  is  not  mentioned.  Impreeario'B 
dedication,  cast,  and  name  of  Francesco  Ruggi  as  the  composer. 

First  performed  at  Naples,  Teatro  del  Fondo,  1794.  Schatz  9145 

L'ombre  du  cocher  poete.  Prologue  des  deux  pieces  suivantes. 
Represents  par  les  Marionettes  ^trangeres  a  la  Foire  de  S.  Germain 
1722  .  .  . 

Below  the  title  this  Avertissement: 

"Les  auteurs  de  I'Opera  comique,  voyant  encore  une  fois  leur  spectacle  ferm^. 


§lu8  animez  par  la  vengeance  que  par  un  esprit  d'interet,  s'aviserent  d'acheter  une 
ouzaine  de  marionettes,  &  de  loiier  une  loge,  oil,  comme  les  assi^gez  dans  leurs 
demiers  retranchemens,  ils  rendirent  encore  leurs  armes  redoutables.     Leurs  ennemis 


poussez  d'une  nouvelle  fureur,  firent  de  nouveaux  efforts  centre  Polichinelle  chan- 
tant;  mais  ils  n'en  sortirent  pas  k  leur  honneur." 

—  Le  remouleur  d'amour.  Piece  d'un  acte.  Representee  par 
les  Marionettes  etrangeres  a  la  Foire  de  S.  Germain  1722. 

—  Pierrot  Romulus,  ou  Le  ravisseur  poli.  Representee  par  les 
Marionettes  etrangeres  k  la  Foire  de  S.  Germain  1722.  Cette  piece 
est  une  parodie  de  la  tragedie  de  Romulus  que  Ton  joiioit  en  ce 
tems-lk. 

Le  Theatre  de  la  foire,  Paris,  1724,  t.  v,  3  pi.,  {47]-140  p.     17^""'. 

The  plays  in  t.  v.  were  written  by  Le  Sage,  Fuzelier,  d'Omeval,  according  to  a 
note  on  2d  p.  1.  of  t.  iv.  Largely  en  vaudevilles.  The  airs,  selected  or  composed  and 
arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table 
dee  airs."  ML  48.L2V 

Omphale,  tragedie.  Represents  par  I'Academie  royale  de  musique 
I'an  1701.  Les  paroles  de  M.  de  la  Mothe,  &  la  musique  de  M. 
Destouches.     LIV.     opera. 

n.  i.,  n.  d.    front.,  p.  277-344  {Recueil  general  des  opera,  t.  vii,  Paris, 

1703.)     14'"^ 

Detached  copy.  Five  acts  and  prologue,  with  dedicatory  "Epistre"  to  the  duke 
of  Burgundy. 

First  performed,  as  indicated,  November  10,  1701.  Schatz  2549 

Second  copy.    ML  48. R4 

—  Omphale,  tragedie,  reprSsentSe  pour  la  premiere  fois  par 
I'AcadSmie  royale  de  musique,  en  1701.  Reprise  en  1721  &  en  1733. 
Remise  au  Theatre  le  14  Janvier  1752. 

Paris,  Aux  depcns  de  VAcademie  chez  la  V.  Delormel  &fils,  1752. 
60  p.     24'^'^. 

With  cast.    Author  and  composer  are  mentioned  on  p.  2.  Schatz  2549A 


822  LIBRARY  OF   CONGRESS 

Omphale — Continued. 

—  Fanfale,  parodie  d'Omphale,  en  cinq  actes;  avec  des  divertisse- 
ments. Par  Mrs.  Favart  &  MarcouviUe.  Representee  pour  la 
premiere  fois  par  les  Com6diens  italiens  ordinaires  du  roi,  le  mercredi 
8  mars  1752. 

Paris,  N.  B.  Duchesne,  1759.     60,  [4]  p.     W"^.     (Theatre  deM. 
Favart,  Paris,  Duchesne,  1763-77,  t.  I.) 

Cast.  En  vaudevilles.  Many  of  the  aire  are  printed  in  the  text.  The  arranger  of 
the  music  is  not  mentioned  by  Font.  The  [4]  p.  contain  "Privil^e  du  roi"  and  a 
"Catalogue  de  parodies  &  opera  comiques."  ML  49.A2F1 

—  La  fileuse,  parodie  d'Omphale,  par  Mr.  Vad6.  Representee  pour 
la  premiere  fois  sur  le  Theatre  de  1  Opera  comique  lo  8  mars  1752. 

La  Haye,  Pierre  Gosse,  1760.  38,  [1]  p.  W"^.  (Vade,Oeuvres,La 
Haye,  1760,  t.  I.) 

One  act,  en  vaudevilles.  The  added  page  contains  the  air  of  the  vaudeville,  "Si 
I'amant  qui  vous  rend."  ML  49.A2V2 

—  Ija  fileuse,  parodie  d'Omphale,  representee  pour  la  premiere  fois 
sur  le  Theatre  de  I'Opera-comique,  le  8  mars  1752. 

Paris,  la  veuve  Duchesne,  1766.     32  p.     19''^. 

One  act.  On  p.  29-30,  the  "Vaudeville  de  La  fileuse:"  "Si  I'amant  qui  vous  rend 
hommage."    The  author,  Jean  Joseph  Vad6,  is  not  mentioned.  Schatz  11492 

—  Hercule  filant.  Parodie  d'Omphale.  Comedie  representee  pour 
la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du  Roi,  le  jeudi 
15.  may  1721. 

Les  parodies  du  Nouveau  Theatre  italien,  Nouv.  ed.,  Paris,  Bria^son, 
1738,  t.  II,  [41]-86  p.     16^"^. 

One  act.  Louis  Fuzelier  mentioned  in  t.  I  as  author.  The  airs  and  vaudeville 
used  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs"  (60  p.). 

ML  48.P3 

Omphale,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau-platze 
zum  erstenmale  im  jahre  1724  aufgefuehret. 

{Hamburg],  Caspar  Jalchel,  n.  d.      Unpaged.     IS'^'". 

Prologue  and  five  acts.     Cast,  scenario,  and  notice  to  the  reader,  who  is  informed: 

"Es  hat  zwar  dem  hiesigen  Schau-platze  bissher  an  allerhand  abwechslungen,  so 
wohl  in  ansehung  des  innhaltes  der  opem  als  auch  der  music,  taenze,  kleidungen,  ver- 
wandlungen  und  anderen  zierraten  nicht  gemangelt;  ob  aber  jemahLs  alhier  ein  werk 
hervor  getreten ,  dass  so  viele  und  so'weit  von  einander  entfemete  veraenderungen  in 
sich  gehalten  ais  das  gegenwaertige,  daran  moegte  wohl  gez^eifelt  werden.  Seinen 
ursprung  nimmt  es  von  Mr.  de  la  Motte  .  .  .  Gleich  wie  nun  in  itztgedachtem  [the 
text]  ein  bestaendiger  wechsel  herrschet,  also  iet  auch  in  der  musicalischen  ausarbei- 
tung  solches  in  acht  genommen  und  der  hauptinnhalt  nach  italiaenischer  was  aber  zu 
den  aufzuegen  gehoeret,  nach  franzoesischer  art  eingerichtet  worden." 

The  reader  is  further  informed  that,  for  the  sake  of  brevity,  the  music  was  cut  in 
three  places,  besides  in  the  last  scene,  "damit  das  spiel  ein  ireudiges  ende  nehme," 
as  was  also  done  in  France.  The  absent  translator  is  said  to  have  reported  that  his 
translation  is  literal,  except  for  the  interpolation  of  arias  of  his  own  make  in  imitation 
of  Italian  models,  or  excisions  in  order  to  better  balance  the  "Odaischen  saetze"  or 
"wenn  er,  da  ihm  in  der  gedruckten  franzoesischen  music  etwas  von  dem  originale 
abweichendes  in  die  augen  gefallen,  diesem  mehr,  als  jenem  nachzugehen  ursache 
gefunden." 

The  German  vereion  was  made  by  the  composer  Georg  Philipp  Teleznazin,  who  ia 
not  mentioned.  Schatz  10265 


OPERA   LIBRETTOS  823 

On  ne  s'avise  jamais  de  tout,  opera-comique,  repr6sent6  a  Ver- 
sailles devant  Leurs  Majestes,  le  mercredi  2  d^cembre  1761.  Et 
ci-devant  sur  le  TheMre  de  la  Foire  St.  Laurent,  le  lundi  14  septembre 
1761.  Par  M.  Sedaine.  La  musique  de  M.  M  *  *  *  [Mon- 
signy].     Toisieme  [!]  Edition  augment 6e. 

Avignon,  Louis  CJiamheau,  ITG^.     35  p.     19'^'^. 

Caat  of  September  14, 1761.  Schatz  6578 

—  On  ne  s'avise  jamais  de  tout,  opera-comique,  par  M.  Sedaine. 
Represent e  par  les  Com^diens  franpois  de  la  cour  sur  le  Nouveau 
Theatre  de  S.  A.  E.  de  Saxe  h  Dresde,  1766. 

[Bresde],  George  Conrad  Walther,  n.  d.     60  p,     18""^. 

Monsiguy  is  not  mentioned.  Schatz  11729 

—  On  ne  s'avise  jamais  de  tout,  opera  comique,  en  im  acte  en 
prose,  m^le  de  musique;  par  Mr.  Sedame.  Represente  pour  la  pre- 
miere fois  sur  le  Theatre  de  la  Foire  St.  Laurent,  le  14  septembre  1761. 

Paris,  Claude  Herissant,  1776.     Jfi  p.     17^"^. 

On  p.  [40]-46,  "Ariettes  et  vaudevilles."  "Un  chanteur  n'est  pas  vm.  Caton," 
"Une  nlle  est  un  oiseau,"  "  Voua  qui  croyez  que  dee  tendres."  Music  by  Monsigny, 
who  is  not  mentioned.  Schatz  11728 

—  Man  sieht  niemals  alles  voraus,  ein  singspiel  in  einem  aufzuge 
aus  dem  franzoesischen  uebersetzt  mit  musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1772.     6Jf.  p.,  10 

p.  {folded  music).     16^^^. 

Johann  Heinrich  Faber's  version.  The  10  p.  of  music  (bass  and  voice)  contain: 
"Lise  kann  nicht  mehr  lang  verweilen,"  "Ailes,  waa  ich  nur  erblicke,  "Junge 
maedchen  sind  fuerwahr,"  "Ihr,  die  ihr  meint."  Schatz  6579 

Het  onderaardsch   gr  ^elf .     A.  T.  of  Dalayrac's  Camille. 

L'onesta  trionfante.     A.  T.  of  the  ballet  La  sposa  in  equivoco. 

Der  onkel  aus  Amsterdam.     Tr.  of  Cimarosa's  H  pittore  parigino. 

Onorio.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  uelF  autunno  dell'  anno 
MDCCXXIX  .  .  . 

Venezia,  Carlo  Buonarigo,  n.  d.     1  p.  I.,  69  p.     IS'^. 

Three  acts.  Dedication  signed  by  Domenico  Lalli,  scenario,  cast,  and  notice  to 
the  reader  (with  name  of  Francesco  Ciampi  as  composer)  which  says: 

"Da  una  penna  fu  ideata  la  presente  drammatica  composizione,  e  da  un'  altra 
intieramente  verseggiata." 

Schatz  records  as  authors  LaUi  and  Giovanni  Boldini.  Schatz  1874 

Onorio  in  Roma.     Dtama  da  rappresentarsi  in  musica  nel  famosis- 
simo Teatro  di  S.  Gio.  Grisostomo  Panno  1692  .  .  . 
Venetia,  Nicolini,  1692.    front.,  67  p.     14^'^. 

Three  acts.  Dedication  dated  Venice,  February  2,  1692,  with  the  initials  of  the 
author,  Giovanni  Matteo  Giannini,  argument,  scenario,  and  notice  to  the  reader  with 
the  remark: 

"E  stata  ideata  in  momenti:  sceneggiata  in  ore:  verseggiata  in  meno  di  un  giomo: 
Reso  armoniosa  dal  Signor  Carlo  [Francesco]  Polaroli  in  poco  piti  d'una  settimana. 
Non  dico  fa  vole:  Lo  creda  chi  vuole;  ma  h  cosi  in  verity.'*  Schatz  8305 


824  LIBRABY  OF   CONGRESS 

L'opera.     Entree  in  Campra's  Les  festes  v6nitiennes. 

Opera  buffa.     Ein  komisches  singspiel  in  zwey  akten. 

n.  i.,  n.  d.     p.  [95]-218.     (C.  F.  Bretzner,  Singspiele,  Leipzig,  1796.) 

The  composer,  Georg  Ernst  Gottlieb  Kallenbach,  is  not  mentioned. 

ScHATz  4999 

L'opera  comique,  opera-comique  en  un  acte,  en  prose  et  ariettes, 
par  J.  S^gur  le  jeune,  et  Em,  Dupaty;  repr^sent^  pour  la  premiere 
tois  sur  le  Th^ltre  de  I'Op^ra  comique  national,  rue  Favart,  le  21 
messidor  an  6  de  la  Repubiique  [July  9,  1798]. 

Paris,  Huet,  an  VI.  [1797-98]     55  p.     19^^. 

Cast.    The  composer,  P.  A.  D.  Delia  Maria,  is  not  mentioned.      ML  50.2.O6D2 

—  L'opera  comique,  op6ra  comique  en  un  acte,  en  prose  et  ariettes; 
par  J.  S^gur  le  jeune,  et  Em.  Dupaty ;  musique  de  Domenico  Delia 
Maria.  Represents,  pour  la  premiere  fois,  sur  le  ThS&tre  de  I'OpSra- 
comique-national,  rue  Favart,  le  21  messidor  an  VI  de  la  Repubiique. 

Toulouse,  Brouilhiet,  an  septieme  [1798-99].     2If.  p.     WV'^. 

Cast.  ML  50.2.O6D22 

L'opera  comique  assiege.     Piece  d'un  acte.     Par  M"  le  S    *     * 
&  d'Or    *     *     Representee  k  la  Foire  Saint  Germain  1730  .  .  . 
Le  TUdire  de  la  foire,  Paris,  1731,  t.  mi,  pi,  [403}-436  p.     17'="'. 

By  Le  Sage  and  d'Omeval.  Largely  en  vatidevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Qillier,  are  printed  at  the  end  of  the  volume  in 
the  "Table  des  airs."     Below  the  title  the  A vertissement : 

"Cette  piece  fut  faite  k  I'occasion  d'un  nouveau  pr<  c^s  que  lea  Com^diens  fran^ois 
s'awisferent  d'intenter  k  I'Op^ra  comique,  &  dans  leq  "el  ils  eurent  le  dementi." 

First  performed  March  26,  1730.  t  ML  48.L2VII 

L'opera  en  province.     Parody  of  Gluck's  Armide. 

L'opera  in  prova  alia  moda.     Drama  giocoso. 

Amsterdam,  Enrico  Boussiere,  1753.     205,  [3]  p.     15*=^. 

French  title  page,  "La  r^p^tition  ordinaire  de  l'opera,"  and  text  face  Italian. 
Three  acts  with  cast,  followed  by  three  acts  with  cast  and  argument  of  "Urganostocor, 
tragedia  tragichissima  ma  di  lieto  fine,"  this,  too,  with  Italian  text  and  French  trans- 
lation. The  3  additional  p.  contain  substitute  arias.  Neither  the  author,  Giovanni 
Fiorini,  is  mentioned,  nor  the  composer,  Gaetano  Latilla.  The  following  avviso 
precedes  the  text: 

"Non  essendo  possibile  d'eeeguire  I'intero  libro  in  ima  sola  sera,  si  b  giudicato 
bene  di  spartirlo  in  quattro  recite;  nella  di  cui  1.  La  prova  intiera,  colla  prima 
azzione  della  tragedia.  Nella  2.  La  stessa  prova  colla  seconda  azzione  della  tragedia. 
Nella  3.  I  medesimi  atti  della  prova  colla  terza  azzione  della  tragedia.  4.  La  scena 
unica  del  terzo  atto  della  prova,  e  le  tre  azzioni  della  tragedia  ..." 

First  performed  at  Amsterdam,  1753;  at  Venice,  Teatro  S.  Mois^,  carnival,  1751. 

ScHATz  5450 

L'opera  nuova.  Dramma  giocoso  per  musica  di  Giovanni  Bertati 
da  rappresentarsi  nel  Teatro  Giustimani  in  S.  Mois6  per  la  seconda 
opera  di  camovale  I'anno  1781. 

Venezia,  n.  puhl.,  n.  d.     62  p.     17''^. 

'Two  acts.    Cast  and  name  of  Matteo  Bauzzizii  as  the  composer.        Schatz  8613 

L'opera  seria.     O.  T.  of  Calsabigi's  text  La  critica  teatrale. 


OPEKA   LIBRETTOS  825 

L'opera  seria.  Dramma  giocoso  per  musica  da  rappresentarsi  in 
Firenze  nel  Teatro  di  via  del  Cocomero,  nella  primavera  dell'  anno 
1771   .  .  . 

[Firenze],  Ant.  Giiiseppe  Pagani,  n.  d.    front.,  1  p.l.,  64  p.     ISY™'- 

Three  acts.  Neither  the  author,  Ranieri  de'  Calsabigi,  nor  the  composer,  Florian 
Leopold  Gassmann,  is  mentioned.  Scenario  and  dedication.  The  opera  is  a  satire 
on  the  foolish  practices  of  composers,  rhymesters,  stars,  impresarios,  etc.,  and  the 
libretto  is  dedicated  to  them  in  words  that  leave  nothing  to  be  desired  in  bluntness. 

The  front,  is  a  portrait  by  An.  Piattoli,  engraved  by  F.  Gregori,  of  Pietro  Leopoldo 
I,  arciduca  d 'Austria. 

First  performed,  according  to  Schatz,  at  Vienna,  Teatro  di  Cort6,  1769. 

ScHATz  3623 

The  operator.     A  ballad  opera. 
London,  Printed  for  the  author,  1740.     2  p.l.,  36  p.     22""^. 

One  act.  The  airs  of  the  10  songs  not  even  indicated  by  title.  Author  not  recorded 
by  Tufts,  who  says:   "intended  to  satirize  Dr.  Taylor,  an  oculist."  Longe  128 

Die  operisten  in  Nanking.  Tr.  of  Alessandri's  La  compagnia 
d'opera  a  Nanchino. 

Opemverwalter  von  den  Canarischen  inseln.  A.  T.  of  Leo's 
Der  impresarius. 

Das  opfer  der  Nymphen,  ein  vorspiel.  Am  geburtsfeste  des 
koenigs  von  Preussen,  den  24.  januar  1774  auf  dem  Deutschen 
Theater  zu  Berlin  aufgefuehret.  • 

Berlin,  George  Ludewig  Winters  wittwe,  n.  d.     11  p.     20^'^. 

One  act.  Neither  the  author,  Carl  Wilhelm  Ramler,  nor  the  composer,  Johann 
Abraham  Peter  Schulz,  is  mentioned.  Schatz  9725 

Das  opfer  der  treue.  Ein  vorspiel  mit  gesaengen.  Aufgefuehrt 
am  geburtstage  Seiner  Majestaet  des  koenigs,  den  24  jenner  1776 
von  der  Waeserschen  Schauspielergesellschaft  in  Breslau. 

Breslau  und  Leipzig,  Christian  Friedrich  Gutsch,  1 779.     16  p.    1 5  J <^'". 

One  act.  Neither  the  author,  Karl  Emil  Schubert,  is  mentioned,  nor  the  composer, 
Franz  Andreas  Holly.  Schatz  4771 

Das  opferfest.  A.  T.  and  L.  T.  of  P.  v.  Winter's  Das  unterbrochene 
opferfest. 

I  opr0rt  vand  er  godt  at  fiske.  Tr.  of  Sarti  Fra  i  due  litigant  i  il 
terzo  gode. 

L'oracolo,  ballet.     See  Nasolini's  II  trionfo  di  Clelia. 

L'oracolo  di  Velleda.  Poemetto  drammatico  nel  giomo  del  glorio- 
sissimo  nome  della  Sacra  Real  Maestk  di  Amalia  Willelmina  regina 
de'  Romani. 

Pietro  Antonio  Bemardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  45-64-     -^^i*""- 

Argument.    The  composer  is  not  mentioned  by  von  Weilen. 

First  performed  July  10,  1706?  ML  49.A2B4 

L'oracolo  in  Messenia.  Dramma  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  nel  carnovale  dell'  anno  1738. 

Venezia,  Marino  Rossetti,  n.  d.     70  p.     14¥^- 

Three  acts.  Later  version  of  "Merope,"  by  Apostolo  Zeno,  who  is  not  mentioned. 
Argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  composer. 

Schatz  10775 


826  LIBRARY   OF   CONGRESS 

L'oracolo  in  sogno.  Drama  in  musica  da  rappresentarsi  nel  Teatro 
di  Sant'  Angelo  Tanno  1700.     Poesia  di  Francesco  Silvani  .  .  . 

Venezia,  Nicolini,  1700.     60  p.     IJ^Y"^. 

Three  acts.  Silvani's  dedication,  dated  Venice,  January  11,  1700,  argument,  cast, 
scenario,  and  notice  to  the  reader,  who  is  informed  by  Silvani  that  he  was  forced  to 
mutilate  his  text  so  much  "ch'egli  6  appena  riconoscibile  per  quello,  che  recitato  in 
Mantova,  ebbe  la  fortuna  d'incontrare  il  compatimento  di  quella  Serenissima  Altezza, 
che  h^  voluto  clementissimamente  rimimerarlo  col  dichiararmi  euo  Servidore 
Attuale  ..."  ScHATz  11353 

Composer  not  mentioned,  and  unknown  to  Schatz. 

Oraklet.  Et  syngespil  i  to  handlinger.  Indrettet  til  det  Danske 
Theaters  Brug  efter  det  franske  af  Saint  Foix  og  det  tydske  af 
Gellert. 

n.  i.,  n.  d.     44  p.     17'^. 

Paolo  Scalabrini  is  mentioned  as  the  composer.    Author  unknown  to  Schatz. 

First  performed  at  Copenhagen,  Courttheater,  April  23,  1776.  Schatz  9517 

Gli  Orazi  e  i  Curiazi,  ballet.     See  Basili's  II  ritorao  d'Ulisse. 

Gli  Orazi  e  i  Curiazi.  Tragedia  per  musica  del  S^nor  Antonio 
Sografi,  poeta  del  nobilissimo  Teatro  la  Fenice  e  del  Teatro  comico 
Sant'  Angelo  composta  per  il  teatro  sudetto  per  il  carnovale  1797. 

Venezia,  Stamperia  Valvasense,  n.  d.     70  p.     16^'^'^. 

Three  acts.  Cast  and  name  of  the  composer,  Cimarosa.  ("La  musica  tutta 
nuova.")  On  p.  61-70,  argument,  cast,  and  detailed  description  of  Lorenzo  Pan- 
zieri's  "Cha-Gian  in  Dely  ballo  eroico  in  cJnque  atti."  The  composer  of  the  music 
is  not  mentioned.     The  second  ballet  was  called  "I  morti  fatti  sposi." 

First  performed  at  Venice,  La  Fenice,  December  26,  1796.  Schatz  1961 

Gli  Orazi  e  I  Curiazi.  Tragedia  per  musica  del  Signor  Sografi  da 
rappresentarsi  nel  nobilissimo  Teatro  La  Fenice  I'autunno  1798. 

Venezia,  Valvasense,  n.  d.     4^  V-     17'^™'. 

Three  acts.  Cast  and  name  of  Marcos  Portugal  as  the  composer  ("La  musica  tutta 
nuova ").  On  p.  [25]-28,  cast,  argument,  and  name  of  Vittorio  Trento  as  the  composer 
of  the  music  of  Salvatore  Vigano's  ballet,  "Giorgio  principe  della  Servia,  ballo  eroi- 
comico  pantomime." 

First  performed  at  Ferrara,  Teatro  Comunale,  September  2,  1798  (Schatz  and 
Carvalhaes),  Schatz  8442 

Orazio.     Dramma  giocoso  per  musica. 

Venezia,  Modesto  Fenzo,  1748.     57  p.     14Y'^- 

Three  acts.  Scenario  and  name  of  Pietro  Auletta,  composer,  but  not  of  Ifbrettist, 
Antonio  Palomba  (Schatz). 

First  performed  at  Venice,  Teatro  di  S.  Angelo,  spring,  1748.  Schatz  500 

Orazio.     O,  T.  of  Deller's  II  maestro  di  cappella. 

Orazio.     Opera  bemesca  in  musica  da  rappresentarsi  in  Venezia 

nel  Teatro  a\  S.  Moise  nelU  autunno  dell'  anno  1743. 

Venezia,  Girolamo  Bortoli,  174s.     66  p.  Unci,  front.)     ISY'^- 
Three- acts.    By  Antonio  Palomba,  who  is  not  mentioned.     Cast,  scenario,  and 

names  of  "Gaetano  Latilla  e  Signor  Pargolesi"  (Pergolesi)  as  composers.    See  Per- 

golesi's  "  II  maestro  di  musica. 

Latilia'e  "Orazio"  was  first  performed  at  Rome,  Teatro  Valle,  spring  of  1738. 

Schatz  5466 


OPERA  LIBRETTOS  827 

■^Orazio.     Drama^er  musica  da  rappresentarsi  nel  famosissimo  Teatro 
Grimano  di  San  Gio.  Grisostomo.     L'anno  MDCLXXXVIII  .  .  . 

Venetia,  Francesco  Nicolini,  1688.     71  p.     14'^'^. 

Three  acts.  Dedication  dated  Venice,  January  16,  1688,  and  signed  "F.  A.  Ia" 
Neither  the  author,  Vincenzo  Grimani,  is  mentioned,  nor  the  composer,  Giuseppe 
Felice  Tosi.  Notice  to  the  reader,  argument.  The  "Intermedii"  are  mentioned  m 
the  nature  of  "Gioco  di  soldate  con  lotte,  e  epadoni,"  the  first  act,  " Combattimento 
de  tre  Orazij  e  tre  Curiazij,"  second  act,  etc.  Schatz  10377 

Orazio  Curiazo.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  a  S.  Samuelle  per  la  fiera  dell'  Ascenj??  l'anno  1746  .  .  . 
[Venezia],  n.  pyhl.,  n.  d.     Jfi  p.     15^'^. 

Three  acts.  Argument,  scenario,  cast,  and  Ferdinando  Bertoni's  name  as  "di- 
rettore  della  musica,"  not  as  composer.  Librettist  not  mentioned  and  unknown  to 
Schatz.  Schatz  924 

Orbecch,   baUo  eroico  favoloso.     See  Fioravanti's  Gl'inganni  for- 
tunati. 
» 
Oreste.     Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro  di 
S.  Carlo  nel  di  13  agosto  1783  per  festeggiarsi  la  nascita  di  S.  M.  la 
regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1783.     55  p.     15'''^. 

Three  acts.  Luigi  Serio  is  mentioned  as  author  of  this  "nuovo  dramma"  in  the 
dedication  dated  Naples,  August  13,  1783.  Argument,  cast,  scenario,  and  name  of 
Cimarosa  as  composer.  On  p.  10-15  argument,  cast,  and  detailed  description  of 
Gio.  Antonio  Cianianelli's  "II  trionfo  di  Alessandro  o  sia  La  disfatta  di  Dano,  ballo 
eroico  in  quattro  atti  ...    La  musica  h  tutta  nuova  del  Sig.  Mattia  Stabingher." 

Schatz  1966 

L'Oreste.  Dramma  serio  in  musica  da  rappresentarsi  nel  Regie 
Teatro  della  nobile  Academia  dei  Costanti  della  citt^  di  Pisa  nella 
prima  vera  dell'  anno  1798. 

Fxsa,  Stamperia  Pieraccini,  n.  d.     38  p.     17'^^. 

Two  acts.  "La  poesia  h  del  Sig.  D.  F.[rancesco]  G.[onella]  autore  del  Ritomo  di 
Serse,  della  Lodoiska  ...  La  musica  h  del  cele*bre  Sig.  Giuseppe  Moneta  ..." 
Cast.  Schatz  6555 

Oreste.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1766  .  .  . 

Torino,  Onorato  Derossi.     viii,  52,  [2]  p.     17"'^. 

Date  of  publication,  if  any,  torn  off. 

Three  acts.  A  later  version  of  "Ifigenia  in  Tauride"  by  Mattia  Verazj,  who  is 
not  mentioned.  Argument,  cast,  scenario,  and  names  of  Carlo  Monza  as  the  com- 
poser of  the  opera,  and  of  Giuseppe  Antonio  Le  Messier  as  the  composer  of  the  music 
for  Giovanni  Battista  Marten's  ballets  "Bradamante  e  Ruggero"  and  "Amor  Cor- 
earo."  Schatz  6611 

Oreste  o  sia  La  morte  di  Clitennestra,  ballet.  See  Giordani's  Fer- 
nando nel  Messico. 

Oreste  o  sia  La  morte  de  Clitennestra,  ballet.  See  Rust's  II  baron 
di  Terra  Asciuta. 

Oreste  e  Pilade.     O.  T.  of  Agricola's  I  Greci  in  Tauride. 


828  LIBRARY  OF  CONGRESS 

L'Oreste  in  Sparta.     Drama  primo  per  musica  del  dottor  Porapeo 

Luchesi  ... 

Reggio,  Prospero  Vedrotti,  1697.     88  y.     15^"^. 

Three  acts.  Dedication  dated  Reggio,  April  29,  1697,  notice  to  the  reader  with 
the  name  of  Carlo  Francesco  Pollaroli  as  the  composer  ("nuovo  saggio  del  suo  spiri- 
toso  talento  nella  musica"),  cast,  and  scenario.  On  p.  87-88  the  "Arie  proprie  de' 
signori  virtuosi":  "Pill  che  preghi  meno  intendo"  (i,  3),  "Vezzoeetto  nume  alato" 
(I,  7),  "Chi  h  rubello  ad  amor"  (I,  28),  and  "Delizie  de  I'alma"  (III,  21). 

ScHATz  8306 

Orestes :  a  dramatic  opera.  As  it  is  acted  at  the  Theatre-Royal  in 
Lincoln's  Inn-Fields.     Written  by  Mr.  Theobald  .  .  . 

London,  John  WatU,  1731.     4  p.  l,  77,  [2]  p.     19'"^. 

Cast.     Five  acts,  prologue,  and  epilogue  by  Henry  Fielding,  in  which  the  line 

occurs:    "Love  for  soft  hearts,  and  musick  for  soft  brains.       Why  this  drama 

with  its  negligible  few  songs,  etc.,  is  called  an  opera  is  difficult  to  see.  The  com- 
poser is  not  mentioned  and  is  not  recorded  by  Schatz. 

First  performed,  as  indicated,  April  3,  1731.  Lokoe  191 

Le  orfane  svizzere.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  S.  Moisd  I'autunno  deU'  anno  1770  deU' 
abbate  Pietro  Chiari. 

Venezia,  Antonio  Graziosi,  1770.     52  p.     13^"^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  the  composer, 
Antonio  Boroni.  Innocente  Gambuzzi's  ballets,  composers  not  mentioned,  were 
performed  with  the  opera,  "La  pescatrice  fedele"  and  "II  mercato  d'Amacari  Da- 
naee."  Schatz  1248 

L'orfanella  americana.  Commedia  per  musica  in  quattro  atti  di 
Giovanni  Bertati  da  rappresentarsi  nel  Teatro  in  S.  Moise  per  la 
prima  opera  dell'  autunno  1787. 

Venezia,  Gio.  Baitista  Casali,  n.  d.     56  p.     18'^'^. 

Four  acts.     Cast  and  name  of  Pasquale  Anf ossi  as  composer.  Schatz  270 

L'orfanella  americana.     Dramma  giocoso  per  musica,  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  puhl.,  1790.     119  p.     UV"^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Composed  by  Friedrich 
Christopher  Gestewitz,  as  appears  from  the  libretto.  German  title  page,  "Die 
verwaiste  Amerikanerin,"  face  the  Italian. 

First  performed,  as  indicated,  in  January,  1791.  Schatz  3796 

L'orfano,  ballet.     See  Tarchi's  Giulio  Sabino. 

L'orfano  cinese.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  di  S.  Benedetto  la  fiera  dell'  Ascensione  dell'  anno 
MDCCLXXXVII. 

Venezia,  Modesto  Fenzo,  1787.     72  p.     W"^. 

Three  acts.  Cast,  scenario,  and  name  of  composer,  Francesco  Bianchi.  Librettist 
imknown  to  Schatz.  On  p.  33-36,  description  of  Antonio  Muzzarelli's  ballet,  "Ulisse 
al  Monte  Etna."  Neither  of  this  nor  the  second  ballet,  "L'amante  del  studio,"  is  the 
composer  mentioned . 

First  performed,  according  to  an  avviso  (p.  3),  at  the  same  theatre  during  carnival 
(January  30),  1787.  Schatz  979 

L'orfano  della  China,  ballet.     See  Bertoni's  Cajo  Mario. 

L'orfano  nella  China,  ballet.     See  Bianchi's  Eurione. 


OPEBA   LIBRETTOS  829 

Orfeo. 

[363]-394j>-  17'^.  {RoUi,  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  17 44-) 

Three  acts.  According  to  Bumey  "a  new  pasticcio  .  .  .  the  airs  .  .  .  chiefly- 
selected  from  the  works  of  Hasse,  Vinci,  Araja  and  Porpora."  From  the  six 
"Favourite  Songs"  published  by  Walsh  we  know  that  Araja  composed  "Felice  ai 
df  sereni"  (III,  5)  and  Vinci  "E  follia,  se  nascondete"  (III,  4),  which  is  but  a  para- 
phrase of  Metastasio's  text  in  his  "Catone  in  Utica."  The  aira  "Vaga  stella  palli- 
dita"  headed  by  Walsh  as  composed  by  Porpora,  does  not  seem  to  be  in  RoUi's 
text  of  1744. 

First  performed  at  London,  Haymarket,  March  2,  1736.  ML  49.A2R7 

Orfeo.     L.  T.  of  Bertoni's  Orfeo  ed  Euridice. 

Orfeo.  Abbr.  T.  of  Gluck's  Orfeo  ed  Euridice.  See  the  third  act  of 
his  Le  feste  d'Apollo. 

Orfeo.  Tragedia  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Berlino  per  il  felicissimo  giorno  natafizio  della  Sacra  Real  Maesta  di 
Sofia  Dorotea,  regina  madre  .  .  . 

Berlino,  Haude  e  Spener,  1752.     92,  [3]  p.     17'="'. 

Three  acts.  Leopoldo  de  Villati  is  mentioned  as  the  author,  and  Carl  Heinrich 
Graun  as  the  composer.  Haude  &  Spener's  privilege,  argument,  and  scenario.  Grer- 
man  title-page,  "Orpheus,"  and  text  face  Italian. 

First  performed,  as  indicated,  March  27,  1752.  Schatz  4115 

—  Orfeo.  Tragedia  per  musica. — Orpheus,  ein  musicalisches  trauer- 
spiel. 

Hamburg,  Conrad  Jacob  SpieringJc,  1764-     63  p.     17'=^". 

Three  acts.  Neither  the  author,  Leopoldo  de  Villati,  nor  the  composer,  Carl  Hein- 
rich Graun,  is  mentioned.     German  text  faces  Italian. 

Performed  at  Hamburg,  Theater  b.  Gansemarkt,  1764.  Schatz  4109 

Orfeo,  ballet.     See  Paisiello's  La  disfatta  di  Dario. 

L'Orfeo.     Drama  per  musica  nel  Teatro  Vendramino  h,  S.  Salvatore. 
Di  Aurelio  Aureli.     Opera  decima  settima  .  ,  . 
Venetia,  Francesco  Nicolini,  1673.     72  p.     14'=™'. 

Prologue  and  three  acts.  Author's  dedication,  dated  Venice,  December  14,  1672, 
argument,  scenario,  and  name  of  Antonio  Sartorio  as  the  composer.      Schatz  9483 

—  Orpheus,  in  einer  italiaenischen  opera  auf  dem  Schau-platz  zu 
Braunschweig  vorgestellet  und  daraus  m  das  teutsche  uebersetzet. 

Braunschweig,  CJiristopJi  Friedrich  Zilliger,  1690.      Unpaged.     15'=^. 

Prologue  and  three  acts.  A  "Symbolum"  by  the  translator,  "Johann  Kristof 
Lorber,  pasted  on  the  leaf  preceding  the  title  page.  He  is  r  ot  mentioned  in  the  text, 
nor  is  the  composer.  According  to  Schatz,  it  is  "probably"  Antonio  Sartorio'e 
"Orfeo"  in  a  German  version  (with  alterations)  of  Aureli's  text. 

Evidently  performed  at  Brunswick,  1690.  Schatz  9484 

Orfeo  a  torto  geloso  overo  Amore  spesso  inganna.  Drama 
per  musica  da  rappresentarsi  nel  Teatrino  di  Savoia  I'anno 
MDCXCVII  .  .  . 

Bologna,  Pier- Maria  Monti,  n.  d.    front.,  67  p.     13it'^. 

Three  acts.  Dedication  signed  by  Giacomo  Maggi,  and  dated  Turin,  April  20, 1697. 
Argument  and  scenario.  Schatz  attributes  the  music  to  Antonio  Sartorio  and  the 
text  to  Aurelio  Aureli,  neither  of  whom  is  mentioned.  As  a  matter  of  comparison,  so 
little  of  Aureli's  "Orfeo"  text  (Venice,  1672;    music  by  Sartorio)  appears  in  this 


830  LIBRARY   OF   CONGRESS 

Orfeo  a  torto  geloso — Continued. 

Bologna  edition  that  thev  are  practically  two  different  librettos.  For  instance,  in  the 
original,  I,  6  begins,  "Aristeo,  che  t'affligge,"  and  the  aria  is,  "Al  foco  d'amore," 
whereas  in  this  Bologna  libretto  these  words  open  the  eleventh  scene  of  the  first  act, 
and  the  aria  is,  "Amor  spietato  arciere." 

First  performed  at  Bologna,  Teatro  Formagliari,  carnival,  1695.         Schatz  9485 

Orfeo  e  Euridice.  Ballet,  music  by  Le  Messier,  See  Galuppi's  La 
clemenza  di  Tito. 

Orfeo  ed  Euridice.     Dramma  per  musica  da  rappresentarsi  nel 

nobil  Teatro  di  San  Benedetto  di  Venezia  nell'  estate  dell'  anno 
MDCCLXXVI. 

Venezia,  Modesto  Fenzo,  1776.  xzvii  p.     20^'^"^. 

One  act.  Argument,  cast,  scenario,  and  name  of  composer,  Ferdinand©  Giuseppe 
Bertoxd,  but  not  of  the  librettist,  Ranieri  de'  Calsabigi.  The  opera  had  been  pre- 
viously performed  at  the  sailie  theatre  during  carnival  (January)  of  the  same  year 
(1776),  as  appears  from  the  libretto  "Aristo  e  Temira  e  Orfeo  ed  Luridice."  (Schatz, 
934-935.)  According  to  the  preface  of  the  latter,  "Orfeo"  had  first  been  performed 
at  Vienna,  but  this  can  refer  only  to  Gluck's  setting,  Vienna,  1762. 

First  performed,  as  indicated,  June  3,  1776.  The  libretto  of  Bertoni's  opera  was 
also  printed,  and  performed  together  with  Joh.  Simon  Mayr's  "Temira  e  Aristo" 
(Venezia,  Stampena  Valvasense,  1795,  p.  [29]-51  [Schatz  6203]).  Schatz  916 

—  Orfeo.  Dramma  per  musica  con  li  balli  analoghi  da  rappresen- 
tarsi nel  Regio  Teatro  di  Berlino. 

Berlino,  Haude  e  Spener,  [1788].     63  p.     W'^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  the  composer,  Bertoni,  and 
the  librettist.  It  is  stated  that  the  Italian  text  is  by  Calsabigi  "mit  einigen  zu  der 
jezigen  auffiihrung  anbefohlnen  einschaltungen."  Reichardt  is  mentioned  as  the 
composer  of  these  interpolations.  German  title-page,  "Orpheus,"  and  text  face 
Italian. 

First  performed  at  Berlin,  Kgl.  Opemtheater,  January  31,  1788.  Schatz  917 

Orfeo  ed  Euridice,  ballet.     See  Gazzaniga's  La  disfatta  de'  Mori. 

Orfeo,  ed  Euridice.  Azione  teatrale  per  musica  da  rappresentarsi 
nel  Teatro  privilegiato  vicino  alia  Corte  nell'  autunno  del  1762. 

Vienna,  Ghelen,  n.  d.     [34]  p.     19'^'^. 

T.-p.  preceded  by  half-title  with  quotation  from  Virgil.  Text  of  first  act  headed, 
of  the  two  other  acts  followed,  by  vignettes.  On  t.-p.  above  imprint  Orpheus  resting 
under  a  tree  with  his  lyre. 

Argument,  scenario,  cast,  and  names  of  "Cav.  Cristofano  Gluck"  as  composer,  of 
Gaspero  Angiolini  as  "inventore  e  direttore  de'  balli,"  a  brief  description  of  which 
follows.     The  author  of  this  famous  libretto.  Ranieri  de'  Calsabigi,  is  not  mentioned. 

First  performed,  as  indicated,  October  5,  1762.  ML  50.2. 07G4 

—  Orfeo.  Forms  third  part  of  Gluck's  Le  feste  d'ApoUo,  Parma 
(1769).  Schatz  3897 

—  Orfeo  ed  Euridice  e  Aristo  e  Temira,  drammi  per  musica  da 
rappresentarsi  in  Bologna  nel  Nuovo  Pubblico  Teatro  nella  prima- 
vera  dell'  anno  MDCCLXXI. 

Bologna,  Sassi,  n.  d.     32,  32,  vii,  [1]  p.     20'^. 

One  act.  By  Calsabigi,  who  is  not  mentoined.  Argument,  cast,  and  name  of 
Gluck  as  the  composer. 

Of  the  one  act  Aristo  e  Temira"  Carlo  Monza  is  given  as  the  composer  after  the 
argument  and  cast.  Conte  De  Salvioli,  the  author,  is  not  mentioned.  At  the  end  a 
description  of  Giovanni  Favier's  "Gli  amori  di  Marte,  e  di  Venere  o  la  Furina  di 
Vulcano  nell'  isola  di  Lenno.  Ballo  eroico  pantomimo."  The  composer  of  the 
music  is  not  mentioned.  Schatz  3934 


OPERA   LIBRETTOS  831 

Orfeo,  ed  Euridice— Continued. 

—  Orpheus  and  Eurydice,  a  musical  drama  in  imitation  of  the 
ancient  Greek  theatrical  feasts.  As  performed  at  the  King's  Theatre 
in  the  Haymarket.  The  poetry  by  the  celebrated  councellor  Calsa- 
bigi  with  additions  and  alterations  by  Signor  A.  Andrei. 

London,  J.  Jarvis,  1785.     55  p.     23'^'^. 

Argument,  cast,  explanation  of  the  ballets,  and  autobiographic  captatio  benevolen- 
tiae  by  the  "Orpheus"  Giusto  Ferdinando  Tenducci,  dated  May  7,  1785.  If  he 
therein  says  "  I  have  resolved  humbly  to  present  .  .  .  that  same  Orpheus,  which  was 
BO  much  applauded  at  Florence  "  and  where  he  had  sung  the  same  part,  he  not  only 
contradicts  himself  later  on  but  on  p.  [8]  shows  that  the  London  version  was  a  pasticcio 
of  the  worst  sort : 

"The  music  by  cav.  Christopher  Gluck:  with  the  additions  of  the  late  celebrated 
John  Christian  Bach:  and  with  the  choice  of  several  favorite  pieces  of  Mr.  Handel. 
The  whole  (with  many  new  additions  and  alterations)  imder  the  direction  of  Signor 
Pasquale  Anfossi." 

English  text  faces  the  Italian.  Schatz  3926 

—  Orpheus  und  Euridice.     Eine  tragische  oper  in  drey  acten. 
458-481  p.     Cramer's  Magazin  der  musik,  Feb.  21,  1785.     17"'^. 
According  to  a  footnote  thid  translation  was  by  Johann  Joachim  Eschenburg. 
First  used  at  a  concert  at  Breslau  in  the  Zwinger,  August  29,  1770  (Schatz). 

Schatz  3912 

—  Orphee  et  Euridice,  drame-h^roique  en  trois  actes,  represents, 
pour  la  premiere  fois,  par  I'Academie-royale  de  musique,  le  mardi 
2  aolit  1774. 

Paris,  Et  se  vend  a  Marseilles,  chez  Suhe  et  Laporte,  1775.  28  p. 
19^^"^. 

Cast  and  argument  with  remark: 

"M.  Calzabigi  est  I'auteur  du  poeme  italien.  On  a  suivi  aussi  litt^ralement  qu'il 
6toit  possible  I'original  dans  la  traduction:  Ce  foible  ouvrage  semble  exiger  plus 
d'indulgence  qu'aucun  autre,  par  I'extrdme  difficult^  d'adapter  la  poesie  franfaise 
h.  la  musique  expressive  d'un  op^ra,  qui  a  d4j^  ^t6  repr^sent^  avec  succfes  sur  les 
principaux  theatres  de  I'Europe." 

Moline  is  mentioned  as  translator,  Gluck  as  composer.  ML  50.2.O7G45 

—  Orphee  et  Euridice,  op6ra  k  grand  spectacle  .  .  .  par  Mr  le 
chevalier  Gluck. 

Paris,  Veuve  Duchesne,  1782.     32  p.     20"'^.. 
Three  acts.    Bv  Pierre  Louis  Moline,  who  is  not  mentioned. 

ML  48.M2H 

—  Roger-Bontenis  et  Javotte,  parodie  d'Orphee  et  Euridice,  pi^ce 
en  un  acte,  m^lee  d'ariettes,  par  ^IM.  Moline  e  D'Orvigny  representee 

•pour  la  premiere  fois  par  les  ComSdiens  italiens  ordinaires  du  roi,  le 
samedi  13  mai  1775. 

Paris,  la  veuve  Duchesne,  1775.     32  p.     19'='^. 

On  p.  32  the  air  of  "Eh,  messieurs!  laissez-vous  toucher."  The  composer,  resp. 
arranger,  of  the  music  not  recorded  by  CI.  &  L.  and  Schatz.  Schatz  11510 

Orfeo  ed  Euridice — Orphee  &  Euridice,  ballet.  See  Jommelli's  La 
Didone  abbandonata. 

Orfeo  ed  Euridice,  ballet.     See  Mizliweczek's  II  Bellerofonte. 

Orfeo  ne'll  inferi — Orph6e  aux  enfers.  See  Campra's  Le  camaval 
de  Venise. 


832  LIBRARY  OF   CONGRESS 

Orfeo  sul  Monte  Rodope,  ballet.     See  Insanguine's  Medonte. 

Oriana.     Tr.  of  Handel's  Amadigi  di  Gaula. 

Origille.  Opera  bemesca  in  musica  da  rappresentarsi  nel  Teatro 
di  S.  Mois^  I'autunno  dell'  anno  1744. 

Venezia,  Pietro  Bassaglia,  1744-     4^  P-     HV^- 

Three  acts.  By  Antonio  Palomba,  who  is  not  mentioned.  Notice  to  the  reader, 
scenario,  cast,  and  note  "La  mueica  &  di  diversi  autori,"  who  are  not  mentioned. 
Antonio  Palella  is  known  as  one  of  them.  Schatz  7713 

L'origine  degli  amori  di  Marc  Antonio  nell'  arrivo  di  Cleopatra 
in  Tarso,  ballet.     See  Anfossi's  Ezio. 

L'Orimonte.     Drama  per  musica  del  Co.  Nicolo  Minato  .  .  . 

Venetia,  Vdluasense,  1660.     100  p.  (incl.  front.)     14''^. 

Three  acts,  with  prologue.  Author's  dedication,  dated  Venice,  February  20,  1650, 
argument,  notice  to  the  reader,  and  scenario.  Without  name  of  the  composer,  Pietro 
Francesco  Cavalli. 

First  performed,  as  indicated,  at  the  Teatro  S.  Cassiano.  Schatz  1723 

Orion,  tragedie  representee  par  I'Academie  royale  de  musique,  I'an 
1728.  Paroles  de  M.  Pellegrm.  Musique  de  M.  de  la  Coste.  CIX. 
opera. 

n.  i.j  n.  d.  14'^'^-  pi-,  189-252  p.  (Recueil  general  des  opera, 
t.  xiv,  Paris,  1734.) 

Detached  copy.  Five  acts  and  prologue.  Schatz  gives  as  joint  author  Joseph  de 
Lafont. 

First  performed,  as  indicated,  February  17,  1728.  Schatz  5355 

Second  copy.    ML  48. R4 

Orion  oder  Der  fuerst  und  sein  hofnarr.     Ein  hofgemaelde  in  vier 
aufzuegen  fuer  das  k.  k.  priv.  Schikanedersche  Theater  frey  bear- 
beitet  von  Joachim  Perinet  .  .  .     [vignette]. 
Wien,  n.  puhl,  1798.     4  p.  l,  103  p.     16'"^. 

Sentimental  dedication  to  the  public  of  Vienna,  without  name  of  Ignaz  Xaver, 
ritter  von  Seyfried,  as  the  coniposer. 

First  performed  at  Vienna,  Theater  auf  der  Wieden,  January  8,  1798. 

Schatz  9858 
* 

L'Orione.  Dramma  di  Francesco  Melosio  da  Cittk  della  Pieve. 
Fatto  rappresentare  nel  Teatro  Regio  di  Milano  Fanno  1653  .  .  . 

Venetia,  n.  puhl,  1653.     72  p.     13^"^- 

Pages  3-4  appear  to  be  missing.  Presumably  they  contained  the  dedication,  the 
ailment,  and  possibly  the  name  of  the  composer,  Pietro  Francesco  Cavalli. 

First  performed,  as  indicated,  in  June,  1653.  Schatz  1740 

L'Oristeo.     Drama  per  musica  di  Giovanni  Faustini  Favola  ottava. 

Venetia,  Gio.  Pietro  Pinelli,  1651.     80  p.     UY"^- 

Three  acts,  with  prologue.  Author's  dedication  and  argument.  Pietro  Francesco 
Cavalli,  the  composer,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Apollinare,  carnival,  1651.      Schatz  1752 

—  L'Oristeo  travestito.  Favola  dramatica  per  musica  di  Giovanni 
Faustini  .  .  .     [coat  of  arms] 

Bologna,  Giacomo  Monti,  1656.     92  p.     14""^. 

Three  acts,  with  prologue.  Dedication  by  Pier'  Antonio  Cerua,  dated  Bolo^a, 
January  2,  1656,  argument,  and  notice  to  the  reader,  who  is  informed  that  this  is 


OPERA   LIBRETTOS  *  833 

L'Oristeo — Continued. 

FauBtini's  Oristeo,  but  much  altered,  "per  coei  dirCi  mascherato."  As  a  jnatter  of 
fact,  the  first  eleven  scenes  of  both  are  practically  identical,  then  I,  12  in  Bologna 
begins,  "Qual  rumor,"  whereas  Venice  has  "Pargoletti  germani,"  and  the  differences 
become  too  numerous  for  enumeration,  though  the  original  text  is  not  lost  sight  of. 
For  instance.  III,  1  in  the  Venice  ed.,  "Dove,  dove  m'aggiro,"  has  become  III,  4  in 
the  Bologna  ed.  The  composer  of  "quest'  operetta,"  as  it  is  called  in  the  dedication, 
is  not  mentioned,  but  most  likely  was  Cavalli,  except,  of  course,  for  the  new  text.  The 
matter  is  summed  up  in  these  words:  "Condona  cortese  la  multiplicity  de  gli  episodii 
aggionti  per  dilettarti,  e  compatisci  le  digressioni  talora  soverchie,  necesaane  per6  nel 
diversificarsi  le  scene,  e  multiplicarsi  le  machine."  Schatz  1724 

Orithia.     Favola  scenica  del  conte  Maiolino  Bisaccioni  .  .  . 
Venetia,  Milochi,  1650.     72  p.     l^Y"^. 

Prologue  and  three  acts.  Author's  dedication,  dated  February  1,  1650,  notice  to 
the  reader,  argument,  and  scenario.  The  composer,  Gaspare  Sartorio,  is  not  men- 
tioned. Schatz  9497 

Orlando.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  I'autuno  dell'  anno  ^IDCCXXVII. 

Venezia,  Marino  Rossetti,  1727.     60  p.     15"'^. 

Three  acts.  By  Grazio  Braccioli,  who  is  not  mentioned.  (Somewhat  altered 
version  of  his  ' '  Orlando  f  urioso. ' ')  Cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the 
composer.  Schatz  10776 

Orlando  finto  pazzo.  Drama  P.  musica  da  rappresentarsi  in  S. 
Angelo  I'autunno  1714  del  dottor  Grazio  Braccioli  .  .  . 

Venetia,  Marino  Rossetti,  n.  d.     72  p.     ISY"^. 

Three  acts.  Author's  dedication,  dated  Venice,  November  10,  1714,  argument, 
cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  composer.  Not  the  same  text  as 
"Orlando."  Schatz  10777 

Orlando  furioso.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Arciducale  di  Mantova  il  camovale  dell'  anno  MDCCXXV  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     52  p.     16'^'^. 

Three  acts.  By  Grazio  Braccioli,  who  is  not  mentioned.  Impresario's  dedication, 
arguifient,  cast,  scenario,  and,  name  of  Orazio  Polarolli  as  the  composer. 

Schatz  8257 

Orlando  furioso.  Dranmia  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Angelo  Tautunno  del  1713.     Del  dottor  Grazio  Braccioli  .  .  . 

Venezia,  Marino  Rossetti,  1713.     71  p.     14Y'^. 

Three  acts.  Author's  dedication  dated  Venice,  November  7,  1713,  ailment, 
cast,  scenario,  and  name  of  Giovanni  Alberto  Ristori  as  the  composer.    Schatz  8818 

Orlando  generoso.     O.  T.  of  Steffani's  Der  grossmuethige  Roland. 

Orlando  Paladino.  Dranmia  eroicomico  per  musica,  da  rappre- 
sentarsi nel  Teatro  Elettorale. 

Dresda,  n.  publ.,  1792.     115  p.     15^"^. 

Three  acts.  By  Nunziato  Porta,  who  is  not  mentioned.  German  title  page, 
"Ritter  Roland,"  and  text  face  Italian.  Joseph  Haydn  is  mentioned  as  the  com- 
poser. 

First  performed  at  Dresden,  Churfuerstl.  Theater,  November  28, 1792;  at  Esterhaz, 
August,  1782.  Schatz  4612 

Orlina  ossia  La  famiglia  riunita,  ballet.  See  Zingarelli's  Carolina  e 
Mexicow. 

72251°— VOL  1—14 53 


834  LIBRARY   OP  CONGRESS 

L'Ormiiido.     Favola  regia  per  musica  di  Giovanni  Faustini  .  .  . 

Venetia,  Francesco  Miloco,  1644-     95  p.     l^*^. 

Three  acta  with  prologue.  Author's  dedication  and  argument.  Without  name  of 
the  composer,  Pietro  Francesco  Cavalli. 

First  performed  at  Venice,  Teatro  di  S.  Caasiano,  carnival,  1644.       Schatz  1725 

Onnisda.     O.  T.  of  Zeno's  Cosroe  text. 

Onuisda. 

Apostolo  Zeno,  Poesie  drammaticTie,  Venezia,  1744}  i-  '^'^j  V-  ^^-     19'^'^- 

Three  acts  and  licenza.    Argument.     No  composer  is  mentioned.     In  the  "Cata- 

logo  "  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1721.    See  below. 

The  text  is  preceded  (on  p.  xiv)  by  count  Gozzi,  the  editor's  prefatory  comment  on  the 

vidfisitudes  of  librettos,  etc.  ..."  ML49.A2Z3 

—  Ormisda.     Pubblicato  per  la  prima  volta  in  Vienna  1721. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1786-86,  t.  v,  p.  167- 

256.     21'^'^. 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

Ormisda.  Dramma  per  musica,da  rappresentarsi  nella  Cesarea  corte 
per  il  nome  gloriosissimo  della  Sac.  Ces.  e  Catt.  Real  Maestk  di  Carlo 
Vl  .  .  .  L'anno  MDCCXXI,  La  poesia  d  del  Sig.  Apostolo  Zeno 
...     La  musica  e  del  Sig.  Antonio  Caldara. 

Viennad^  Austria,  Gio.  Pietro  Van  Ghelen,n.d.     4P-^-)82p.     15*^^. 

Three  acts  and  licenza.  Argument  and  scenario.  Niccola  Matteis  is  mentioned 
as  composer  of  the  ballet  music. 

First  performed,  as  indicated,  November  4,  1721.  Schatz  1501 

Ormisda.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Tron 
a'  San  Cassiano  nel  carnovale  dell'  anno  1728. 
Venezia,  Marino  Rossetti,  1728.     60  p.     15"'^. 

Three  acts.  By  Apostolo  Zeno.  Argument,  cast,  scenario,  and  name  of  the  com- 
poser, "Bartolamio  Comans"  [Cordans].  Schatz  2226 

L'Ormonda  costante.     A.  T.  of  Grossi's  L'Artaserse. 

Omospade. 

Apostolo  Zeno,  Poesie  drammaticlie,  Venezia,  1744,  t-  '^h  P-  [281]-363 
p.     19""^. 

Three  acts  and  licenza.  Argument.  No  composer  is  mentioned.  Inthe*'Cata- 
logo  "  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1727.  {See  below.) 

ML  49.A2Z3 

—  Omospade.     Pubblicato  per  la  prima  volta  in  Vienna  1727. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  vii,  p.  82. 

21"^. 

Three  acta  and  licenza.    Argument.    No  composer  is  mentioned.      ML  49.A2Z4 

Omospade.  Dramma  per  musica,  da  rappresentarsi  nella  Cesarea 
corte  per  il  nome  gloriosissimo  della  Sac.  Ces.  e  Catt.  Real  Maest^  Carlo 
VI  .  .  .  L'anno  MDCCXXVIL  La,  poesia  ^  del  Sig.  Apostolo 
Zeno  ...     La  musica  e  del  Sig.  Antonio  Caldara  .  .  . 

Vienna  d' Austria,  n.  publ.,  n.  d.     4  V-  ^^  ^^>  t^l  V-     l^'^'^- 
Three  acts  and  licenza.    Argument  and  scenario.     Niccola  Matteis  is  mentioned  as 
composer  of  the  ballet  music. 

First  performed,  as  indicated,  November  4,  1727.  Schatz  1503 


OPERA   LIBRETTOS  •  835 

L'oro  fa  tutto.  Dramma  giocoso  per  music  a  da  rappresentarsi  nel 
Teatro  alia  Scala  rautunno  dell'  anno  1793  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     68,  [5]  p.     16^™^. 

Two  acts.  By  Angelo  Anelli,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  scenario,  and  name  of  Ferdinando  Per  (Paer)  as  the  composer. 

With  the  opera  were  perfofmed  the  ballets  "La  contadina  astuta "  and  "Mastino 
della  Scala,"  by  Giuseppe  Banti.  Of  the  first,  music  by  Vittorio  Trento,  the  8 
imnumbered  p.  contain  prefatory  note,  cast,  and  description  of  the  four  acts. 

SCHATZ  7521 
Second  copy.    ML  48.A5    v.  1 

—  L'oro  fa  tutto.  Dramma  giocoso  per  musica,  da  rappresentarsi 
nel  Teatro  Elettorale. 

Bresda,  n.  pull,  1795.     127  p.     15^"^. 

Two  acts.  Paer  is  mentioned  as  the  composer,  but  Anelli  is  not  mentioned.  Ger- 
man title  page,  "Geld  ist  die  loosung,"  and  text  face  Italian.  Schatz  7522 

Ore  non  compra  amore  o  sia  II  barone  di  Mosca  bianca.  Dramma 
giocoso  per  musica  da  rappresentarsi  nel  nobilissimo  Teatro  Venier 
in  San  Benedetto  I'autunno  dell'  anno  1794. 

Venezia,  Modesto  Fenzo,  1794.     78  p.     18^"^. 

Two  acts.  By  Angelo  Anelli,  who  is  not  mentioned,  and  who  based  his  text  on 
Bertati's  "La  villanella  rapita."  Cast,  scenario,  and  name  of  the  composer,  Luigi 
Caruso.  Between  the  acts  were  performed  Giuseppe  Trafieri's  ballet," Lo  sposalizio 
de'  Morlacchi."    The  composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  November  26,  1794.  Schatz  1649 

L'Orode.  Drama  per  musica  da  recitarsi  nel  Teatro  di  Casale  Tanno 
1675  .  .  . 

Milano,  Lodovico  Monza,  n.  d.     93  p.     iJ^h^'^- 

Three  acts.  Dedication,  notice  to  the  reader,  mentioning  Sig.  Marchese  Giacomo 
Natta  as  author,  the  latter's  notice  to  the  reader,  informing  him  that  the  opera  was 
originally  intended  for  performance  by  the  "cavalieri  .  .  .  per  loro  divertimento," 
and  that  "Pietro  P&olo  Fomi,  mastro  di  capella  ineigne  del  duomo  di  Casale,"  com- 
posed the  music.    Argument,  and  scenario.  Schatz  3301 

L'Oronta.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Bartolomeo  in  questo  camovale  dell'  anno  1728  .  .  . 
Napoli,  Francesco  Ricdardi,  1728.     60  p.     l^Y'^- 

Three  acts  and  (on  p.  21-26,  38-43)  the  two  intermezzi  "Perichitta  e  Bertone.  ' 
Authors  of  the  texts  not  mentioned,  of  the  intermezzi  unknown  to  Schatz,  of  the 
opera  given  by  him  as  Claudio  Nicola  Stampa.  Dedication,  argument,  scenario, 
casts  and  name  of  Francesco  Mancini  as  composer.  On  p.  60  "aria  di  Perichitta" 
*'Io  per6  non  son  di  quelle"  substituted  for  Dolce  straldel  dio  bambino"  in  tie 
first  intermezzo.  ML  50.2.O7M2 

Oronte.  Draijima  di  tre  atti  per  musica.  Rappresentato  per  la 
prima  volta  in  Venezia  il  carnovale  dell'  anno  MDCCXL. 

Carlo  Goldoni,  Opere  teairali,  Venezia,  Zatta  ejigli,  1788-95,  v.  36, 
[14S]-203  p.     18^"^. 

As  "Oronte  rh  de'  Sciti"  with  music  by  Galuppi,  first  performed  at  Venice,  Teatro 
Grimani  di  S.  Grisostomo,  December  26,  1740.  PQ 

L' Oronte  di  Menfi.  Drama  per  musica  da  rappresentarsi  nel 
famoso  Teatro  Formagliari  I'anno  1676  di  Tomaso  Stanzani.  Seconda 
impressione  con  aggiunta. 

Bologna,  per  Verede  di  Domenico  Barbieri,  n.  d.     71,  [1\  p.     13^'^. 

Three  acts.  Argument,  scenario,  and  notice  to  the  reader,  with  name  of  Petronio 
Franceschini  as  composer.  Schatz  3318 


836  LIBRARY   OF   CONC.RESS 

Oronte  re  de'  Sciti.     O.  T.  of  Galuppi's  Oronte. 

Orontea,  regina  d'Egitto.  Drama  musicale  del  Sig.  dottor  Gia- 
cinto  Andrea  Cicognini  .  .  . 

Venetia,  n.  puhl.,  n.  d.     72  p.     14"^. 

Prologue  and  three  acts.  Published  after  1649  (see  next  entry)  by  Bartolomeo 
Lupardi,  the  Roman  bookseller,  who  speaks  in  his  dedication  of  "la  presente  operetta 
deir  Orontea  regina  d'Egitto,  di  nuovo  peregrina,  e  vagante  per  mezo  delle  stampe." 
The  composer,  Marc'  Antonio  Cesti,  is  not  mentioned. 

First  performed  as  "Orontea"  at  Venice,  Teatro  di  SS.  Apoetoli,  carnival,  1649. 

ML  50.2.O73C2 

^-  Orontea,  regina  d'Egitto.  Drama  musicale  del  dottor  lacint' 
Andrea  Cicomiiii  .  .  .  Fatto  rappresentare  dal  Sign.  Gio.  Battista 
Abbatoni  in  Torino. 

Torino,  Bartolomeo  Zavatta,  1662.     1  p.l.,  69,  [3]  p.     18^'''^. 

Three  acts,  with  prologue.  Impresario's  dedication,  scenario,  but  without  the 
name  of  the  composer,  Marc'  Antonio  Cesti.  The  three  additional  pages  contain 
"Aggionte  nell'  opera  dell'  Orontea:"  Act  I,  11,  "Qual  vaneggiante  ardire,"  with 
aria,  "Credere  k  lemine  h  vanity."  Act  II,  1.  "Dimmi  Amor,  che  t'h6  fatt'  io;" 
II,  5  (Creonte),  "Odami  il  mondo  tutto  amo  Alidoro.  Ah!  I'amerai  si,  m^  con  tuo 
danno;"  II,  12,  "Un  dolcissimo  sorriso."  Act  III,  4,  "Trionfa  mia  core;"  III,  7, 
"Da  me  che  pih  volete;"  III,  22,  "Giovinetti  lascivi."  It  is  said  in  the  dedication 
that  "il  presente  drama  musicale"  met  with  applause  "in  tutte  le  parti  d'ltalia." 

SCHATZ  1781 

Orphee.     Entr6e  in  Grenet's  Le  triomphe  de  I'harmonie. 

Orphee,  tragedie  en  musique,  representee  par  L' Academic  royale  de 
musique.     Suivant  la  copie  impnm^e  h,  Paris. 

[Amsterdam,  Antoine  Schelte],  1690.     4^  p.  (incl.  front.)     i5J<^"». 

Prologue  and  three  acts.  Neither  the  author,  Du  Boullay,  is  mentioned,  nor  the 
composer,  Louis  de  Lully. 

First  performed,  as  indicated,  April  8, 1690.  ML  50.2.O75L9 

Orphee,  tragedie  representee  par  I'Academie  royale  de  musique  I'an 
1690.  Les  paroles  de  M.  Du  Boulay,  &  la  musique  de  M.  Louis  de 
Lully.     XXV.  opera. 

n.  i.,  n.  d.  ^4"™-  front,  1-50  p.  {RecueH  general  des  opera,  t.  iv, 
Pans,  1703.) 

Detached  copy.    Three  acts  and  prologue. 

First  performed,  as  indicated,  April  8, 1690.  Schatz  5783 

Second  copy.    ML  48. R4 

Orphee  aux  enfers.     See  Campra's  Le  camaval  de  Venise. 

Orphee  et  Euridice.     Tr.  T.  of  the  ballet  Orfeo  ed  Euridice. 

Orphee  et  Euridice.     See  Gluck's  Orfeo  ed  Euridice. 

Orphee  et  Euridice.  M61o-drame  en  im  acte,  en  prose  par  Mons. 
Duplessis,  au  service  de  S.  A.  R.  le  due  de  Panne.  Musique  de  M""* 
Par.     1791. 

n.  %.,  n.  d.     [17]  p.     IS""^. 

Printed  in  a  most  unusual  manner,  in  three  parallel  columns,  the  first  containing 
musical  indications,  as,  for  instance,  "Musique  frissonante  &  plaintive,  "  or  "Quelques 
coupe  d'archet,  "  with  figures  referring  to  the  respective  place  in  the  prose  text;  the 
second  containing  indications  of  diiree  (duration),  as,  for  instance,  "6  secondes"  or 
"2  minutes  " ;  the  third  containing  the  prose  text. 

First  performed,  as  indicated,  at  Parma,  Teatrino  di  Corte.  Schatz  7550 


OPEEA   LIBRETTOS  837 

L'orpheline  villageoise.     A.  T.  of  Fridzeri's  Les  deux  miliciens. 

Orpheus,  burletta.     See  Barth^lemon's  A  peep  behind  the  curtain. 

Orpheus.  Ein  singspiel  in  drey  aufzuegen,  von  L.  In  musik gesetzt 
von  Friedrich  Benda. 

n.  i.,  1785.     22  p.     15^"^. 

Name  of  author  unknown  to  Schatz. 

First  performed  at  Berlin,  at  a  concert  in  January,  1785.  Schatz  766 

Orpheus.     Tr.  of  Bertoni-Reichardt's  Orfeo. 

Orpheus.     Tr.  of  Graim's  Orfeo. 

Orpheus. 

First  performed  in  five  acts,  text  by  Friedrich  Christian  Bressand,  music  by  Kei- 
ser,at  the  Courttheatre,  Brunswick,  1798,  under  the  above  title,  according  to  Schatz. 
Repeated  (with  alterations)  in  two  parts  of  three  acts  each  at  Bnmswick  in  1699  as 
"Die  sterbende  Eurydice,"  resp.  "Die  verwandelte  leyer  des  Orpheus."  Then  at 
Hamburg,  Opemhaus  beim  Gansemarkte,  1702,  as  follows: 

—  Die  sterbende  Eurydice  oder  Orpheus  erster  theih  In  einem 
singespiel  auff  dem  Hamburgischen  Schau-platz  vorgestellet. 

Hamhurg,  Conrad  Neumann,  n.  d.     Unpaged.     18^™'. 
Three  acts.    Neither  the  author,  Friedrich  Christian  Bressand,  nor  the  composer, 
Reinhard  Keiser,  is  mentioned.  Schatz  5106 

—  Orpheus,  ander  theil.  In  einem  singe-spiel  auf  dem  Hambur- 
gischen Schau-platz  vorgestellet. 

Hamhurg,  Conrad  Neumxinn,  n.  d.     Unpaged.     18'^'^. 
Three  acts.    Without  name  of  the  author,  Bressand,  or  Keiser,  the  composer. 

Schatz  5107 

—  Die  biss  in  und  nach  dem  todt  unerhoerte  treue  des  Or- 
pheus, [vignette]  In  einem  singe-spiel  auf  dem  grossen  Ham- 
burgischen Schau-platze  vorzustellen.     Im  jahr  1709. 

Hamhurg,  JoTi.  Nic.  Gennagel,  n.  d.     Unpaged.     18^""*. 

Five  acts.  Scenario  and  name  of  Reinhard  Keiser  as  the  composer.  The  author, 
resp.  translator,  Friedrich  Christian  Bressand,  is  not  mentioned.  The  Italian  text 
has  been  added  to  many  of  the  arias. 

In  the  very  nature  of  the  case,  this  five-act  version  is  not  a  mere  condensation  of 
the  version  in  two  parts  of  three  acts  each.  For  instance,  scenes  I,  1-6,  in  Schatz 
5106  are  not  in  Schatz  5105.  I,  3  of  the  latter,  "Ach,  Aristaeus,  welch  verkehrter 
blick,"  and  I,  4,  "Dein  fiir  mich  dunckles  wort,"  are  the  same  as  I,  6^  and  I,  7,  in 
Schatz  5106.  In  the  latter  I,  8  (the  last  scene  of  the  act),  has  the  ana,  "Bey  mir 
wancken,"  which  is  not  in  the  corresponding  scene  I,  5,  of  Schatz  5105.  _  This  is 
followed,  as  last  of  the  act,  by  scene  I,  6,  "Angenehmste  liebeskertzen,"  with  aria, 
"Dolce  mia  vita — Angenehmstes  leben,"  which  scene  is  not  in  Schatz  5106.  The 
second  act  is  the  same  in  both  versions,  but  after  that  the  differences  become  very 
numerous  again.  It  is  curious  to  see  that,  whereas  the  fourth  act  begins  with  "Lass 
Orpheus  die  vemunfft,"  etc.,  in  Schatz  5105,  this  whole  scene  is  made  part  of  III,  11, 
in  Schatz  5106.  The  first  scene  in  Schatz  5107  in  common  with  Schatz  5105,  seems 
to  be  the  latter's  IV.  7,  "Schoner  ort,  gliickseelgo  felder"  (chorus)  which  is  the  first 
scene  of  second  act  in  Schatz  5107.  Schatz  51C5 

The  masque  Orpheus  and  Euridiee. 

See  act  III,  scene  2  of  Martin  Bladen's  tragi-comedy,  "Solon  or  Pliilosophy  no 
defence  against  love,"  London,  R.  Smith,  1705,  p.  28-SS. 

No  performance  recorded  by  Clarence.  Longe  79 


838  LIBRABY   OF   CONGRESS 

Orpheus   and   Burydice.     With   the    pantomime   entertaimnent. 
As  acted  at   the   Theatre-Royal  in  Lincoln's-Inn-Fields.     By  Mr. 
Henry  Sommer  .  .  . 
London,  C.  Corhett,  1740.     mii,  28  'p.     77J<^. 

One  act.  In  his  preface  the  author  refutes  the  charges  of  plagiarism  brought  by 
"Mr.  Hill  the  apothecary"  against  the  impresario,  Mr.  Rich.  Sommer  says  that  he 
wrote  the  piece  eleven  years  ago,  and  that  in  1734  he  had  occasion  to  submit  it  to  Rich, 
who  then  described  to  him  the  plan  of  his  own  entertainment  of  the  same  title,  with 
the  "several  tricks  and  escapes  which  he  intended  to  introduce.  The  same  season 
(1734)  Sommer  made  overtures  to  Mr.  Fleetwood,  who,  however,  could  only  offer  to 
take  the  piece  for  the  season  following,  and  to  purchase  several  of  Sommer's ' '  modules," 
which  oner  he  rejected.  Thereupon  he  entered  into  negotiations  with  Mf.  Giffard, 
who,  in  1736,  agreed  to  produce  the  piece 

"and  the  modules  were  carried  to  Lincoln 's-lnn-Fields  Play-house,  in  order  to  be 
got  up  with  all  expedition.  And  Mr.  Giffard  judging  the  pantomime  part  was  long 
enough  without  the  addition  of  a  serious,  because  there  was  so  great  a  variety,  declined 
playing  this  as  being  too  expensive. 

"In  January',  towards  the  latter  end,  the  harlequinade  of  my  piece  was  performed 
with  applause  ...  I  have  reason  to  hope  that  Mr.  Hill  will  not Ibe  so  hardy  to  say,  I 
have  borrow'd  any  thing  from  his  ..." 

The  composer,  John  Frederick  Liampe,  not  mentioned,  and  not  recorded  by  Schatz. 

LONGE  199 

Orpheus  and  Eurydice.     Tr.  of  Gluck's  Orfeo  ed  Euridice. 

Orpheus  der  zweyte,  A  pasticcio,  principally  by  Dittersdorf.  See 
his  "  Die  lie  be  im  narrenliaiise." 

Orpheus  og  Euridice.  Et  syngespil  i  tre  acter.  Poesien  er  af 
C  D.  Biehl.  Musiquen  af  lir.  Nauman.  Paa  regisseur  Hansens 
Forlag. 

Ki0benhavn,  Johan  Friderich  Morihorst,  1790.     Ifi  'p.     IG*^^. 

First  performed  at  Copenhagen,  Kongl.  Theater,  Januarj'  31, 1786.     Schatz  7052 

—  Orpheus  und  Euridice.  Eine  tra^ische  oper.  Nach  dem 
daenischen  von  Carl  Friediich  Cramer.  Die  musik  vom  herrn  capell- 
meister  Naumann. 

Kiel  und  Hamhurg,  hey  dem  verfasser,  n.  d.  xxxi,  [1],  54  p.  15^^, 
The  first  seventeen  p.  of  tht'  "Vorrede"  bring  quotations  from  Virgil  and  Ovid,  to 
show  the  origin  of  the  plot.  Then  Carl  Friedrich  Cramer,  the  author  of  the  German 
text,  dwells  at  length  on  the  dramaturgic  problems  presented  by  the  theme  of  Orpheus 
and  Euridice,  and  finally  he  points  out  wherein  and  why  his  text  differs  from  the 
Danish  original.  On  p.  xxvi  particularly  he  gives  his  reasoas  for  weakening  still  more 
than  the  Danish  original  the  impression  of  a  "ganz  grundloser  eigensiun"  in  the 
mere  "Frauenzimmer"  Euridice.  This  "Vorrede"  is  well  worth  reading.  Cramer's 
Tr.  also  in  his  Magazin  d.  Musik,  1786,  p.  1085-1145.  Schatz  7053 

Orpheus  und  Eurydice.     Tr.  of  Gluck's  Orfeo  ed  Euridice. 

Orpheus  und  Euridice.     Tr.  of  Namnann's  Orpheus  og  Euridice. 

Gli  Orti  Esperidi. 

[S19]-356  p.  19''^.  (Pietro  Metastasio,Operedrammatiche,  Venezia, 
1733-37,  V.  3.) 

Two  parts.    No  composer  mentioned. 

First  performed  with  music  by  Porpora  at  Naples,  Real  Palazzo,  August  28, 1721. 

ML  49.A2M4 


OPERA  LIBEETTOS  839 

Gli  Orti  Esperidi — Continued. 

—  Gli  Orti  Esperidi. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1765,  t  ix,  [Wl]-146  p. 

Two  parts.  ML  49.A2M42 

—  Gli  orti  Esperidi. 

[J,.7]-86  p.  26^^^.  (Metastasio,  Opere,  t.  x,  Parigi,  vedova  Heris- 
sant,  1782.) 

Two  parts.  ML  49.A2M44 

Gli    Orti    Esperidi.     Serenata    per   musica    da    cantarsi  .  .  .  per 
celebrare  il  felicissimo  giomo  natalizio  di  Sua  Maestk  fedelissima 
I'augusta  D.  Marianna  Vittoria  regina  madre  nella  primavera  dell' 
anno  1779. 
[LisboTia],  Stamperia  reale,  n.  d.    30  p.     16"^. 

Two  parts.  Cast  and  names  of  Metastasio  as  auth(Mr,  of  Jeronymo  Francisco  de 
Lima  as  composer. 

First  performed,  as  indicated,  March  31, 1779.  Schatz  5620 

Gli  orti  Esperidi.  Drama  per  musica  del  Signore  abate  Pietro 
Metastasio  da  cantarsi  nella  Keal  Villa  di  Queluz.     Nell*  anno  1764. 

Lishona,  Stamperia  Sosiana,  n.  d.    23  p.     16Y™'' 

Two  parts.  "Luciani  Xavier"  (Luciano  Xavier  doe  Santos)  is  mentioned  as 
the  composer.  Schatz  9396 

The  airs,  duets,  choruses  and  argument  of  the  new  ballet  pantomime, 
(taken  from  Ossian)  called  Oscar  and  Malvina;  or  The  hall  of 
Fingal.  As  performed  at  the  Theatre-Royal,  Covent-Garden.  The 
third  edition. 

London,  T.  CadeU,  1791.     19  p.     18'^'^. 

Cast.  According  to  Grove's  Diet.,  William  Beeve  completed  William  Shield's 
unfinished  music. 

First  performed  August  20, 1791  (Clarence),  October  20  (Genest).    LoNas  218 

Oscar  e  Malvina,  ballet.     See  Trento's  Bianca  de'  Eossi. 

Osiride,  dramma  per  musica,  in  occasione  delle  felicissime  nozze  di 
S.  A.  S.  il  principe  Antonio,  duca  di  Sassonia,  etc.  e  di  S.  A.  R.  la 
principessa  Carolina,  figlia  di  S.  M.  il  vh  di  Sardegna.  Del  Sigr. 
Caterino  Mazzolk  .  .  . 

Dresda,  n.  pull.,  1781.     4  p.  l,  79  p.     W"^. 

Two  acts  and  Licenza.  Argument  and  name  of  Johann  Gottlieb  Naiunann  as  the 
composer.    German  title  page,  "Osiris,"  and  text  face  Italian. 

First  performed  as  indicated,  October  27,  1781.  Schatz  7054 

Osiris.     Tr.  of  Nairniann's  Osiride. 

Osiris.     Entree  in  Rameau's  Les  f^tes  de  I'Himen  et  de  rAn^iour. 

Osmanns  serail.     Tr.  of  Ghinassi's  II  serraglio  di  Osmano. 

Osmane.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  1784  .  .  . 

Venezia,  Modesto  Fenzo,  1784.     51  p.     17i^"\ 

Three  acts.  By  Gaetano  Sertor,  who  is  mentioned  as  author  and  Giuseppe  Gior- 
dani  as  the  composer.    Author's  dedication,  argument,  cast,  and  ecenano.    On  p. 


840  LIBRARY  OF  CONGRESS 

Osmane — Continued. 

2S-29  ca*>t  and  description  of  "Giasone  e  Medea.  Ballo  eroico-tragico  d'invenzione 
del  celebre  Sig.  Noverre  rimesso  in  ecenadal  Sig.  Veetris;  datoin  Venezia  dal  Sig.  Le 
Picq;  e  adeeeo  rimesso  in  Bcena  dal  Sig.  Domenico  Le  Fevre,"  whoee  ballet  "Gli 
amori  di  Mirtillo  con  Silvanzia"  was  alec  i)erfonned.  The  composers  of  the  music 
are  not  mentioned.  Schatz  3848 

L'ospedale  de'  pazzi,  ballet.  See  Giordani's  Don  Mirtillo  con- 
trastato. 

Ottaviano  Ces.  Augusto.     Melodrama  da  rappresentarsi  nel  Teatro 
ducale  dell'  Altezza  Serenissima  di  Mantova.     L'anno  MDCLXXXII. 
Venetia,  Francesco  Nicolini,  1682.     1  p.  I.,  60  p.     M*^^. 

Three  acts.  Argument,  cast,  scenario,  and  notice  to  the  reader  with  the  name  of 
Giovanni  Legrenzi  "novo  Anfione  del  nostro  secolo"  as  the  composer  and  stating 
that  the  author  of  "L'Annibale  in  Capua,  11  Tito,  11  Genserico  &  I'Eraclio  "is  also 
the  author  of  this,  which  accordingly  would  be  count  Nicola  Beregani. 

Lacks  the  p.  1.  (an  ornamental  t.-p.)  which  is  in  our  second  copy  (ML  50.2.P78L3.) 
First  performed,  as  indicated.  May,  1682.  Schatz  5537 

L'Ottavio.  Commedia  per  mnsica  di  Grennarantonio  Federico  Napo- 
letano.  Da  recitarsi  nel  Teatro  de'  Fiorentini  nell'  invemo  di  questo 
anno  1733  ..  . 

Napoli,  Nicola  di  Biase,  n.  d.     57  p.     i^i""** 

Three  acts.  Impresario's  dedication,  caat,  and  name  of  Gaetano  Latilla  as  the 
composer.  Schatz  5452 

Otto.     Tr.  of  Handel's  Ottone. 

Ottocaro,  ballet.     See  Nicolini's  II  trionfo  del  bel  sesso. 

Ottone.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  "Grisostomo  if  carnovale  dell'  anno  1740. 

Venezia,  Marino  Rossetti,  1740.     4^  p.     U""". 

Three  acts.  By  Antonio  Salvl,  who  is  not  mentioned.  Argument,  cast,  scenario 
and  name  of  Gennaro  d'  Alessandro  (Alessahdri)  as  composer.  Schatz  157 

Ottone. 

Three-act  opera  by  Georg  Friedrich  Handel.    Text  was  an  altered  version  by 
Nicola  Francesco  Haym  of  Stefano  Benedetto  Pallavicini's  "Teofane." 
First  performed  at  London,  Haymarket,  January  12, 1723. 
Not  in  L.  of  C. 

—  Otto,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau-platze 
vorgestellet  im  jahr  1726. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.  Unpaged. 
19^'^'^. 

Three  acts.  Argument,  name  of  Georg  Friedrich  Handel  ah  the  composer.  The 
arias  are  printed  with  Italian  and  German  texts.    The  translator,  Glauche,  is  not 

mentioned.  Schatz  4482 

t 

Ottone.  Tragedia  per  musica  fatta  da  rappresentarsi  nel  Teatro  di 
S.  Gio.  Grisostomo.     L'anno  MDCXCIV  .  .  . 

Venetia,  Nicolini,  1694.     84  p.  (inel.  front).     16""^. 

Five  acts.  Dedication  by  the  author,  conte  Girolamo  Frigimelica  Roberti,  notice 
to  the  reader,  scenario,  and  arguments  preceding  each  act.  The  composer,  Carlo 
Francesco  Pollaxoli,  is  not  mentioned.  Schatz  8307 


OPEBA  LIBBETTOS  «  841 


^  Ottone  il  Grande. 


m 

Teatro  de'  S.  S.  Gio.  e  Paolo  ranno  MDCLXXXIII  di  Frencasco 
Valsini    .  .  . 

Venetia,  Francesco  Nicolini,  1683,     60  p.     HY"^- 
Three  acts.    Author's  dedication  (dated  December  5,  1682),  notice  to  the  reader^ 
argument  but  without  name  of  the  composer,  Paolo  Biego.     Francesco  Valsim 
stands  for  Francesco  Silvani,  who  calls  this  "il  prime  parte  della  mia  penna." 

SCHATZ  1015 

Our  way  in  France.     A.  T.  of  Fontainebleau. 

The  Oxford  act,  a  new  ballad-opera.     As  it  was  perform'd  by  a  com-        y^ 
pany  of  students  at  Oxford  .  .  .     The  second  edition.  / 

Londan,  L.  GuUiver,  1733.    2  p.  I.,  U  p.     W"^. 

Three  acts.  Table  of  the  37  songs,  the  airs  of  most  of  which  indicated  by  title  in 
the  text.    Author  not  mentioned,  and  not  recorded  by  Clarence.  Longe  49 

The  Oxford  roratory.     A.  T.  of  The  ragged  uproar. 

La  pace.     See  M.  Curzio. 

La  pace  fra  la  virtu  e  la  bellezza. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  vii,  [3S7]S62  p. 
16""^. 

One  act.  ML  49.A2M42 

—  La  pace  fra  la  virtu  e  la  bellezza.  Azione  teatrale,  scritta  dalP 
autore  in  Vienna  per  ordine  sovrano,  I'anno  1738,  ed  eseguita  la 

frima  volta  con  musica  del  Predieri  nella  grande  anticamera  dell' 
mperial  residenza  .  .  .  per  festeggiare  il  giorno  di  nome  di  S.  A.  R. 
Maria  Teresa,  arciduchessa  d' Austria,  poi  Imperatrice  regina. 

[369]-392  p.  26'^^.  {Pietro  Metastasio,  Opere,  t.  in,  Parigi,  vedova 
Herissant,  1780.) 

One  act.  ML  49.A2M44 

La  pace  fra  le  tre  dee.  Festa  teatrale,  scritta  dall'  autore  in 
Vienna  I'anno  1765  per  uso  della  Real  corte  cattolica,  in  occasione 
dellefelicissimenozzedelleLoroAltezzeRealiD.  Carlo  diBorbone  .  .  . 
e  Donna  Luisa  di  Borbone  ... 

[211]-232  p.  26<^^.  (Metastasio,  Opere,  t.  xi,  Parigi,  vedova  Heris- 
sant, 1782.)  ML  49.A2M44 

La  pace  fra  Tolomeo  e  Seleuco.  Drama  per  musica  da  rappresen- 
tarsi  nel  famoso  Teatro  Grimano  di  S.  Gio.  Gnsostomo  I'anno  1691  ... 

Venetia,  Nicolini,  1691.     front.,  64  p.     H"^^- 

Three  acts.  Dedication,  with  the  initials  of  the  author,  Adriano  Morselli,  argu- 
ment, notice  to  the  reader,  with  the  name  of  Carlo  Francesco  PoUaroli  as  the  com- 
poser, and  scenario.  Schatz  8308 

—  II  Seleuco.  Drama  per  musica  d' Adriano  Morselli  da  rappresen- 
tarsi  nel  famosissimo  Teatro  di  Torre  di  Nona  I'anno  MDCXCIII  .  .  . 

Roma,  Gio.  Francesco  Buagni,  1693.    front.,  72  p.     13'='^. 

Three  acts.  Dedication  by  the  bookseller,  Francesco  Leone,  argument,  cast,  and 
scenario.  The  composer.  Carlo  Francesco  Pollaroli,  is  not  mentioned.  A  consid- 
erably altered  version  of  Morselli's  "I^a  pace  fra  Tolomeo  &  Seleuco."  For  instance, 
the  latter  begins,  "  Per  beltslnon  vista  mai;"  "II  Seleuco  "begins,  "Non  vedutaancor, 
m'impiaga;"  and  scenelll,  "Dal  pin  fugace  usciti,"  has  become  scene  IV. 

Schatz  8309 


842  LIBRARY   OF   CONGRESS 

La  pace  generosa.  Drama  per  musica  da  recitarsi  nel  famoso 
Teatro  di  S,  Salvatore  Tanhd  1700.     Poesia  di  Francesco  Silvani  .  .  . 

Venetia,  Nicolini,  1700.     83,  [1]  p.     l^Y"^. 

Imprint  at  end. 

Three  acta.  Author's  dedication,  dated  Venice,  February  10,  1700,  argument, 
notice  to  the  reader,  caat,  and  scenario.  The  composer,  Marc  Antonio  Ziani,  is  not 
mentioned.  Schatz  11192 

La  pace  per  amore.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Giustiniano  di  S.  Mois^  I'anno  1719. 

Venezia,  Marino  Rossetti,  1719.     55  p.     15'^'^. 

Three  acts.  By  conte  Angelo  Schietti.  Argument,  cast,  and  scenario,  but  without 
the  names  of  the  composers,  Giuseppe  Maria  Buini  and  Fortunato  CheUeri,  or  of  the 
librettist.  Schatz  1400 

—  II  nemico  amante.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  MoisS.     L  anno  1724  .  .  , 

Venezia,  Mario  Rossetti,  n.  d.     4^  p.     15'^'^. 

Three  acts.  Argument,  cast,  and  scenario.  A  "ristampa  "  of  "La  pace  peramore," 
as  appears  from  the  impresario's  dedication : 

"Havendo  rissoluto  di  fare  novamente  rappresentare  nel  Teatro  Giustiniano  di 
S.  Alois6  il  drama  presente,  che  nello  etesso  gl  anni  decorsi  sotto  altro  titolo  riport6 
I'applauso  universale,  come  anco  lo  consegui  in  altre  citUl  d'ltalia  per  esser  parto  di 
penna  erudita,  e  benissimo  nota  ..." 

The  alterations  are  numerous.  For  instance,  I,  7  now  has  the  aria,  "Nel  giardin  di 
piante  adomo,"  instead  of ' '  Quando  arricchito,"  and  1, 8  "  La  mia  fiamma  vk  dicendo  " 
instead  of  "Ingegnoso  e  pur  Amore."  Neither  the  composers,  Buini  and  Chelleri, 
are  mentioned,  nor  Schietti,  the  author.  Schatz  1401 

The  padlock:   A  comic  opera:   As  it  is  performed  by  His  Majesty's 
servants,  at  the  Theatre  Royal  in  Drury-Lane.     A  new  edition  [title 
vignette]. 
London,  W.  Griffin,  n.  d.     vi,  [2],  31  p.     19""^. 

Two  acts.  By  Isaac  Bickerstaffe,  who  is  not  mentioned.  Cast,  dedication  to  the 
King  of  Denmark,  in  which  Bickerstaffe  says: 

"It  is  my  lot  to  produce  the  only  new  dramatic  performance,  while  this  kingdom 
is  honored  with  Your  Majesty's  presence.  I  lay  it  at  your  feet,  as  a  mark  of  hommage 
from  the  English  stage," 

and  preface,  in  which  Bickerstaffe  mentions  as  source  of ' '  this  petty  drama  "  Cervantes' 
novel,  "The  jealous  husband,"  thanks  the  artists  who  performed  it,  especially  Mrs. 
Ame,  "our  best  English  singer,"  and  says: 

"The  music  of  this  piece  being  extremely  admired  by  persons  of  the  first  taste  and 
distinction,  it  would  be  injustice  to  the  extraordinary  talents  of  the  young  man  who 
assisted  me  in  it,  was  I  not  to  declare,  that  it  is,  under  my  direction,  the  entire  com- 
position of  Mr.  Dibdin,  whose  admirable  performance  in  the  character  of  Mungo, 
does  so  much  credit  to  himself  and  me  ... 

First  performed  October  3, 1768,  as  indicated.  Longe  4G 

—  The  padlock.     In  two  acts.     By  Mr.  Isaac  Bickerstaff. 
[266]-289  p.     19'^™.     {Collection  of  the  most  esteemed  farces  and 

entertainments,  Edinhurgh,  1792,  t.  iii.) 

Drury-Lane  and  Edinburgh  (1783.)  casts.  Schatz  11753 

Padmani  e  Mirda,  ballet.     See  Minoja's  Tito  nelle  Gallic. 

Padmani  e  Mirda,  ballet.     See  Monza's  Enea  in  Cartagine. 

II  padre  crudele.     A.  T.  of  the  ballet  Tancredi. 

Padre  e  figlio  rivali  sconosciuti.  A.  T.  of  the  ballet  Tamar  e 
Selimo. 


OPERA   LIBBETTOS  843 

II  padre  e  il  figlio  rivali.  The  father  and  the  son  rivals;  a  comic 
opera  as  |)erform'd  at  the  King's  Theatre  in  the  Hay-Market.  The 
music  entirely  new  by  Signor  Tomaso  Giordani,  a  NeapoUtan  com- 
poser. 

London,  W.  Griffin,  Dec.  1769.     67,  [1]  p.     19^"". 

Three  acts.  Made  up,  as  app>ears  from  the  notice  to  the  reader,  by  Giovanni 
Gualberto  Bottarelli  from  the  "Incognita  perseguitata,"  by  Petrosellini  and  Casori'e 
' '  Amore  industrioso  " : 

"The  merit  of  invention,  I  do  not,  therefore,  presume  to  claim;  but  the  reduction 
of  one  complete  drama,  from  two  imperfect  and  confused  ones,  with  five  principal 
actors,  and  three  inferiors  who  all  contribute  to  accomplish  the  action,  is  the  produce 
of  my  own  industry." 

Cast.     English  text  faces  Italian.  Schatz  3851 

II  paese  della  Cucagna. 

[5\-51  p.     16^^"^.     {Carlo  Goldoni,  Opere  drammcUiche  giocose,  t.  iii, 
Torino,  1767.) 
Three  acts.    First  composed  by  Galuppi  as  below.  ML49.A2G6 

—  II  paese  della  Cuccagna.     Dramma  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  Ugli,  1788-95,  v.  44> 
[£8r]-338  p.     18'='^. 

PQ 

II  paese  della  Cuccagna.     Dramma  giocoso  per  musica. 

Vienna,  Gi.  Torruiso  de  Trattnem^  1770.      Unpaged.     16^. 

Three  acts.  Author  (Carlo  Goldoni)  and  composer  (unknown  to  Schatz)  not 
mentioned. 

First  performed  at  Vienna,  1770.  Schatz  11354 

II  paese  della  Cuccagna.  Commedia  per  musica.  Di  Polisseno 
Fegejo,  Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  Giustiniani  di 
S.  Moise.     Per  la  fiera  dell'  Ascensione  I'anno  1750. 

Venezia,  Modesto  Fenzo,  1750.     front.,  48,  [2]  p.     15^^. 

Three  acts.  By  Goldoni.  Galuppi,  the  composer,  is  not  mentioned.  Cast  and 
scenario.  The  two  additional  pages  contain  the  substitute  arias  "Innocente  eai,  che 
Bono"  (I.  5),  "Ad  ogni  bel  diletto "  (1, 11),  "Se  ne  avesse  milleintomo"  (III,^),  and 
"Imparare  non  voglio  (III,  10). 

First  performed,  as  indicated,  May  7,  1750.  Schatz  3492 

Le  palais  de  Flore.  Ballet.  Danse  k  Trianon  le  [blank  6.1  Janvier 
1689.     Suivant  la  copie  imprim^e,  a  Paris. 

[Amsterdam,  Antoine  Schelte],  1689.     24  p.,  inch  front.     IS^*^. 

Five  entries.    Argument,  beginning; 

"Le  roy,  entre  les  autres  marques  de  son  extreme  satisfaction  au  retour  de  Mon- 
seigneur  le  Dauphin,  a  voulu  luy  donner  une  feste  dans  cet  agreable  palais  que  Ton 
a  tant  de  raison  de  nommer  le  Palais  de  Flore  .  .  ." 

Neither  the  author  nor  the  composer  is  mentioned  by  de  La  Valli^re,  or  in  modem 
reference  books.  ML52.2.P2 

II  palazzo  d'Osmano.     L.  T.  of  Gazzaniga's  II  seraglio  d'Osmano. 

Palaemon  ein  schaeferspiel  mit  ge^aengen  in  zween  akten  von  J. 
W.  A.  Schoepfel. 

Frankfurt  und  Leipzig,  Christian  Gottlieb  Hertel,  1774-  ^h  ^^^> 
[;i  p.     17'='^. 

The  xxii  p.  contain  a  "Vorrede"  dated  Leipzig,  March  22,  1774,  which  throws 
a  curious  side  light  on  the  author's  esthetic  creed.  He  be^ns  with  a  dissertation  on 
taste  regretting  that  the  preference  of  Germans  for  "die  franzoeaische  jacke"  and 


844  LIBRARY   OF   CONGRESS 

Palaemon — Continued. 

"den  Frack"  "dee  Englaenders"  in  literary  matters.  He  then  launches  into  an 
esthetic  comparison  between  the  merits  (ana  popularity)  of  the  "Singspiel"  and  of 
comedy  and  tragedy.  He  finally  champions  the  "  Schaef erspiel "  and  finds  fault 
with  those  who  call  "Daa  schaeierspiel  .  .  .  hixngespinnst,  leere,  traeumerey  und 
das  zeitalter,  in  welchem  die  handlung  vorgeht,  ein  Ding,  daa  nie  wirklich,  sondem 
immer  nur  in  den  koepfen  der  dichter  exbtirt  hat."  Not  recorded  by  Schatz.  No 
composer  known  to  me.  ML  50.2. P16 

Pallade  trionfante  in  Arcadia.  Dramma  pastorale  per  musica  da 
rappresentarsi  nel  Teatro  Grimani  di  S.  Samuele.  H  camovale  dell' 
anno  1714  .  .  . 

Venezia,  Marino  Rossetti,  1714-    4^  P-     HV^- 

Three  acts.  Tommaso  Ristori'a  dedication,  argument,  scenario,  and  name  of 
Giovanni  Alberto  Ristori  as  the  composer.  The  author,  conte  Otto  Mandelli,  is  not 
mentioned.  Schatz  8819 

II  palladio  conservato.  Componimento  drammatico  rappresentato 
in  musica  nell'  Imperial  corte  il  di  4.  novembre  1735  per  festeggiare  il 
glorioso  nome  di  Carlo  VI  .  .  . 

[lS\-24  p.  19*^^.  (Pietro  Metastasio,  Opere  drammatiche,  Venezia, 
Giuseppe  BeUinelli,  1733-37,  v.  4.) 

One  act.    Ailment.     No  composer  mentioned.  ML49.A2M4 

—  II  palladio  conservato. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1765,  t.  vii,  [259\-278  p. 
IG'^. 

One  act.  ML49.A2M42 

—  II  palladio  conservato.  Azione  teatrale,  allusiva  alle  vicende 
di  quel  tempo,  scritta  dall'  autore  in  Vienna  I'anno  1735  .  .  .  e  rap- 
presentata  la  prima  volta  con  musica  del  Reiitter  negli  intemi  privati 
appartamenti  dell'  Imperial  Favorita  dalle  Altezze  Reali  di  Maria 
Terese  .  .  .  dell'  arciduchessa  Marianna  di  lei  sorella,  e  da  una  dama 
della  Cesarea  Corte,  per  festeggiare  il  di  primo  d'ottobre,  giomo  di 
nascita  dell'  imperatore  Carlo  VI. 

[341]-358  p.  26'^'^.  {Pietro  Metastasio,  Opere,  t.  v,  Parigi,  vedova 
Eerissant,  1780.) 

One  act.    Argument.  ML49.A2M44 

n  palladio  conservato,  dramma  per  musica  da  cantarsi  neUa  Real 
Villa  di  Queluz  il  giorno  di  S.  Pietro  del'  anno  de  1771.  Autore  delle 
paroUe  il  Signore  abbate  Pietro  Metastasio.  La  musica  6  del  Signore 
Luciano  Xavier  dos  Santos. 

Lishona,  Stamperia  Sosiana,  n.  d.    3  p.  l.j  I4  p*     16*^. 

One  act.    Argument. 

First  performed,  as  indicated,  October  19, 1771.  Schatz  9397 

Palma,  ou  Le  voyage  en  Grece,  op^ra  en  deux  actes;  repr^sent^ 
poiu"  la  premiere  fois  sur  le  Thei,tre  de  la  rue  Feydeau,  le  5  rructidor 
an  6.  [Aug.  22,  17981     Par  P.  E.  L.  .  .  .     Musique  de  Plantade. 

Paris,  Au  Bureau  dramatique,  an  VII  [1798-99]    39,  [1]  p.    20'^'^. 

Cast.    By  Pierre  Edouard  Lemontey.  ML50.2.P2P4 


OPERA   LIBRETTOS  845 

La  palma  d'amore.  Favoletta  dramatica  del  Sig.  Francesco  Bemi, 
rappresentata  nel  Teatro  di  S.  Lorenzo  in  Ferrara  con  musica,  e 
macchine  in  occasione  delle  nozze  de  gl'illustrissimi  Signori  Co.  Fran- 
cesco Miria  estense  Mosti,  e  D.  Caterina  Pia  di  Sauoia.  Nel  camevale 
deU'  anno  1650  e  da  Gio.  Bascarini  dedicata  alii  medesimi. 

Ferrara,  Giuseppe  Gironi,  1650.     ^  p.  I.,  62  p.     19^*^^. 

Dedication  and  notice  to  the  reader,  in  which  the  author  eays: 

"Questo  componimento  fu  destinato  al  teatro,  non  alia  Btampa.     Nacque  per  la 
musica,  non  per  la  lettura  " 
in  less  than  nine  days.     The  customary  protesta  in  this  notice  is  neatly  turned: 

"Credi  ^ure,  che  versarebbe  il  proprio  eangue,  come  Christiano,  chi  ha  sparso 
quest'  inchiostro,  come  poeta." 

The  composer,  Andrea  Mattioli,  is  not  mentioned.  Schatz  6104 

Palmira.     Tr.  of  Salieri's  Palmira,  regina  di  Persia. 

Palmira  di  Tebe.  Serenata  per  musica  da  cantarsi  nella  Real  Villa 
di  Queluz  per  celebrare  il  felicissimo  giomo  natalizio  del  Serenissimo 
Signore  D.  Giuseppe  principe  del  Brasile  li  21  agosto  1781. 

[Lishona],  Stamperia  reale,  n.  d.     88  p.     IS*^. 

One  act.  Gaetano  Martinelli  is  mentioned  as  author,  Luciano  Xavier  di  Santi  [dos 
Santos]  as  composer.    Argument  and  cast.  Schatz  9399 

Palmira,  koemgin  von  Persien.  Tr.  of  Salieri's  Palmira,  regina 
di  Persia. 

Palmira  regina  di  Persia.  Dramma  eroi-comico  da  rappresentarsi 
negl'  Imperiali  Regi  Teatri  di  corte  I'anno  1795. 

Vienna,  Mattia  Andrea  Schmidt,  n.  d.     62  p.     IS'^. 

Two  acts.  Giovanni  de  Gamerra  is  mentioned  as  the  author,  Antonio  Salieri  as 
the  composer. 

First  performed  at  Vienna,  Kamthnerthortheater,  October  14,  1795. 

Schatz  9305 

—  Palmira,  regina  di  Persia.  Dranmia  eroi-comico  da  rappresen- 
tarsi nel  Teatro  Elettorale  di  Sassonia. 

Dresda,  n.  publ.,  1797.     127  p.     i(?^"».      . 

Two  acts.  Antonio  Salieri  is  mentioned  as  the  composer,  but  the  author,  Giovanni 
de  Gamerra,  is  not.  The  text  follows  the  original  closely.  German  title-page, 
"Palmira,  koenigin  von  Persien,"  and  text  face  Italian. 

First  performed  at  Dresden,  as  indicated,  March  18, 1797.  Schatz  9306 

—  Palmira,  eine  grosse  oper  in  vier  aufzuegen;  aus  dem  italiaen- 
ischen  des  K.  K.  nofdichters  Gamera,  uebersezt  von  Schlotterbek, 
herzogl.  hofdichter.  Die  musik  ist  vom  kapellmeister  Salieri.  Auf 
dem  grossen  herzogl.  Theater  zu  Stuttgart  zum  erstenmale  aufge- 
fuehrt  bei  gelegenheit  der  festlichen  heimfuehrung  Ihrer  Koenigl. 
Hoheit,  der  frau  erbprinzessin  Charlotte  Auguste  Mathilda. 

StuttgaH,  gehrueder  Maeniler,  1797.    2  p.  l,  73,  [1]  p. 

Cast,  aigument,  and  "anmerkung,"  which  reads,  in  part: 

"Die  verse  dieser  oper  sind  nach  dem  rhytmus  des  italienischen  originals  und  der 
Salierischen  musik  uebersezt,  einige  wenige  stellen  ausgenommen,  welche,  da  die 
launen  des  kompositeurs  mich  zu  sehr  fesselten,  in  der  partitur  anders  lauten." 

Fii-st  performed,  as  indicated,  April  7, 1797.  Schatz  9307 


846  LIBRABY  OF   CONGRESS 

Palmire,  ballet  h^roique  en  un  acte;  repr^ent6  devant  Leurs 
Majestfe,  h.  Fontainebleau,  le  24  octobre  1765. 

[Paris],  Christophe  BaMard,  1765.  32  p.  20^"^.  '{Journal  dea 
Spectacles,  t.  ii,  Paris,  1766.) 

One  act.  Cast  and  names  of  Chamf  ort  (de  Chanfort)  as  author  of  the  text,  of  Bernard 
de  Bury  as  the  composer  of  the  music,  and  of  Laval  p^re  et  fils  as  "  composers  "  of  the 
balletfi.    On  p.  [21]-32,  cast  and  program  of  (by  the  same  authors) : 

—  La  vengeance  de  Taniour,  ou  Diane  et  Endimion,  pantomime 
h6roique,  en  trois  actes;  ex6cut6  devant  Lenrs  Majesty,  h,  Fontaine- 
bleau, "k  la  suite  de  Palmire. 

[Paris],  Christophe  Ballard,  1766. 

ML  48.J7 

Pandolfo.     L.  T.  of  Hasse's  H  tutore. 

D  Pandolfo.  Commedia  per  musica  da  rappresentarsi  in  Venezia. 
Nel  Teatro  Grimani  a  S.  Samuele  I'autunno  deU'  anno  1745. 

Vene^,  Antonio  Mora,  1745.     46  p.     16*^. 

Three  acts.  Giuseppe  Scolaxl  is  mentioned  as  the  composer.  A  prefcitory  note 
informs  us: 

"Essendosi  accinto  un  poeta  incognito  a  ridure  in  cinque  soli  personaggi  la  Com- 
media in  commedia  giS,  rappresentata  in  varii  teatri;  Dopo  aver  con  tale  idea  scritti 
alcuni  versi  cangi6  peneiero,  e  piii  agevole  gli  fu  di  scriver  questa,  che  ti  presento, 
dove  di  quella  non  v'e  se  non  la  scena  appunto  della  Commedia,  che  si  nnge  alia 
presenza  di  Pandolfo,  ma  diversamente  condotta.  Ti  serva  I'avviso  per  sapere  come 
eiavi  entrata  I'accennata  scena,  quando  essendo  tutto  il  resto  nuovo  ..." 

ScHATz  9798 

Pandolfus  en  Zerbina  of  De  meid  meesteres.  Tr.  of  Pergolesi's 
La  serva  padrona. 

I  panduri  accanipati,  ballet.  Bee  Fugnani's  Tamas  Koulikan  nell 
India. 

Pane  e  Siringa,  ballet.    See  Piccinni's  La  pescatrice. 

Pantaleone  e  Carlotta.     O.  T.  of  Hasse's  La  finta  Tedesca. 

Panurge  dans  I'isle  des  lantemes,  com^die-lyrique,  en  trois  actea 
et  en  vers,  representee,  pour  la  premiere  fois,  par  1  Acad^mie  royale 
de  musique,  le  mardi  25  Janvier  1785. 

n.  i.,  n.  d.     48  p.     21'''^. 

Cast,  name  of  GrStry  as  the  composer,  and  Avertissement.  The  author,  resp. 
authors,  Etienne  Morel  de  Chefdeville  and  the  comte  de  Provence  (later  Louis  XVIII) 
are  not  mentioned.  A  note  on  p.  [2]  says:  "Les  paroles  sent  de  M.  M  *  *  *." 
The  Avertissement  reads  in  part: 

"On  n'ignore  point  les  preventions  qui  subsistent  encore  contre  le  genre  comique, 
BUT  le  Th6&tre  de  I'Op^ra;  mais  on  sait  aussi  que  le  public  ne  se  laisse  point  entratner 
par  les  opinions  particuli^res,  et  qu'il  applaudit  au  genre  qui  Tamuse  comme  k  celui 
qui  I'intlresse  ..."  ML  50.2.P25G7 

D  Paolo  Emilio.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  Canalreggio  I'anno  MDCLXXXXIX  .  .  . 

Venetia,  Gio.  Battista  Tramontin  a  i  Frati,  n.  d.     4^  V-     IS^'^- 
Three  acta.    Anonymous  dedication,  ailment,  and  notice  to  the  reader.    Neither 
the  author,  Francesco  Rossi,  nor  the  composer,  Pietro  Romolo  Pignatta,  is  men- 
tioned. SCHATZ  8170 


I  OPERA   LIBRETTOS  847 

Die  parforcejagd.     A.  T.  of  Karoline. 

Die  parforsjagd.     A.  T.  of  Maier's  Wallrad  und  Evchen. 

II  Paride,  opera  musicale  dedicata  alle  Serenissime  Altezze  di  Chris- 
tiano  Ernesto,  marggravio  di  Brandenburgo  .  .  .  et  Erdmude  Sofia, 
principessa  di  Sassonia  .  .  .  nella  celebratione  delle  loro  nozze  di 
Gio.  Andrea  Bontempi,  Perugino. 

Dresda,  MelcUor  Bergen,  1662.     [266]  p.     27^"^- 

Five  acts.  By  the  composer,  whose  dedication  is  dated  Dresden,  November  3, 
1662.    Scene  by  scene  argument  and  notice  to  reader,  in  which  Bontempi  says: 

"II  mio  poetare  non  ei  stende  piii  oltre,  che  nel  formar  qualche  soggetto  apparte 
nente  alia  musica,  e  ci6  piii  per  uso  de'  miei  proprii  componimenti,  che  de  gl'  altnii;- 
piu  per  mancanza  de'  poeti,  che  per  professione  .  .  .  Alcimi  lieci  poetici,  (ee  pur 
tali  Bono)  da'  quali,  con  liinga  serie  di  versi,  si  cagiona  la  proUssita  de  recitativi,  che 
mi  coetituiece  partiale,  pivi  della  poesia,  che  della  musica,  eon  nati  e  dalla  brevitsl 
della  tessitura,  per  la  disimione  degl'  atti,  e  perche,  havendo  dovuta  esser  tradotta 
in  lingiia  tedesca,  per  intendimento  diquei,  che  non  hanno  cognitione  della  favella 
italiana,  h  da  credere,  che  la  lettura  habbia  da  eesere  il  principale  oggetto:  massima- 
mente  dove  simili  componimenti,  non  hanno  fatto  ancora  spettacolo  di  se  stessi,  fra 
iluminosi  eplendori  del  teatro.  Onde  ne  viene  in  conseguenza  che  se  quest'  opera, 
non  havra  tessiture  artificiosOj  accident!  improvisi,  varieta  di  metri,  frequenza  d'in- 
ventioni,  brevity  di  recitativi,  speesezza  di  canzonette,  inganni,  viluppi,  disciogli- 
menti,  eottigliezze,  capricci,  motti,  all^orie,  metafore,  sentenze,  traslati,  e  final- 
mente  tutti  quegli  abbeUimenti,  che  debbono  havere  i  drami  musicali,  composti  per 
allettare  &  adulare  il  genio  del  secolo;  non  havr^  ne  meno  spettatori  nauseati,  come 
altrove,  dalla  frequenza  di  tante  e  tante  opere,  che  rascoltino  .  .  .  [Then  speaks 
of  his  ambition  and  intention  to  write  an  opera  totally  different  from  all  others.] 

"Non  h  comedia;  poiche  la  materia,  che  contiene,  non  h  tratta  da  attioni  civiU  e 

Srivate.  Non  6  tragedia;  poiche  non  eeprime,  ne  conclude  casi  atroci,  e  miserabili. 
[on  k  tragicomedia;  poiche  non  partecipa,  ne  della  comedia,  ne  della  tragedia. 
Dovrebl'  esser  drama;  ma_  la  quanta  del  soggetto,  e  della  tessitura,  non  anmiette 
ragionevolmente  I'imposition  di  questo  nome.  Sarei  per  nominarla,  Erotopegnio 
Misicale  {EpwxoTzal-jfycov  musicum;  quod  est  Indus  de  amore,  ad  musicam  pertinens) 
ma  per  esser  nome  inusitato,  quantunque  fondato  su  la  ragione,  no  so  se  sia  (lettore) 
per  sodiefarti  ..." 

At  the  end  of  the  libretto  of  the  opera  a  note  by  the  translator  and  list  of  errata. 
German  title  page,  "Paris,  ein  gedicht  zur  musica,"  and  text  face  Italian.  The 
libretto  of  the  opera  is  followed  by  a  number  of  prose  monologues  addressed  to  the 
"Hochverstandige  richter"  in  German  by  Nimrod,  Sol,  Mars,  Diana,  Venus,  etc. 
Apparently  an  allegorical-mythological  pageant  followed  the  opera.  The  "Cartel 
zum  ballet  des  Pamassee"  with  an  address  by  "Fama"  ends  the  volume.  The  per- 
formances of  Bontempi's  ambitious  work  took  place  at  Dresden,  November  3  and  13, 
1662.  ScHATZ  1209 

Paride.  Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Grimani  di  S.  Gio.  Grisostomo.     II  camovale  deU'  anno  1720. 

Venezia,  Mariano  Rossetti,  1720.     72  p.     IJ^Y'^- 

Five  acts.  By  Francesco  Muazzo,  who  is  not  mentioned.  Argument,  notice  to 
the  reader,  cast,  scenario,  and  name  of  Giuseppe  Maria  Orlandini  as  the  composer. 
According  to  the  author,  this  text  was  originally  "in  his  tender  years  "  written  for  hia 
own  pleasure  as  a  tragedy.  Upon  eusgeetion  of  his  friends  he  remodelled  it  into  the 
text  for  an  opera,  adding  arias  and  '^er  le  convenienze  della  scena  modema  .  .  . 
di  bel  nuovo  alcune  picciole  scene."  Schatz  7345 

Paride  ed  Elena.  Dramma  j)er  musica  da  rappresentarsi  in  Napoli 
nella  nobUe  Accademia  di  musica  dedicato  a'  Signori  cavalieri  che  la 
compongono. 

Napoli,  Vincenzo  Mazzola-Vocdla,  1777.    6  p.  I.,  4I  V-    31*^^. 

Five  acta.  The  author,  Ranieri  de'  Calsabi^,  is  not  mentioned.  Argument, 
scenario  and  prefatory  remarks  by  the  marchese  di  Corleto  (dated  Naples,  December 
17,  1777),  which  reads  aa  follows: 


848  UBBABY   OF   CONGBESS 

Paride  ed  Elena — Continued. 

"L'aver  io  promossa  in  Napoli,  e  stabilita  con  succesao  una  unione  di  cavalieri 
dilettanti  di  musica,  mi  ha  fatto  lusdngare  di  ricavame  non  solo  un'oneato,  e  nobile 
divertimento,  ma  ben'anche  di  far  rivivere  il  gusto  in  questo  gener6,  che  pare  sia 

auasi  assopito.  Infatti  la  mage:ior  parte  de'  forestieri  intendenti  rimangono  stupiti 
i  non  trovare  nelle  orchestre  di  Napoli  n6  I'esattezza,  nh  I'espressione;  e  tan  to  piil 
che  mantenendosi  ne'  conaervatorii  una  continua  sorgente  di  musica,  sembra  che 
quest'arte  dovease  nella  nostra  citt^  portarai  al  piu  eccelao  grado  di  perfezione.  Ma 
il  numero  immense  dei  profesaori,  che  ne  ha  avvilite  le  paghe,  e  la  moltiplicit^  delle 
muaiche,  nata  appunto  dalla  poca  spesa  che  importano,  nan  prodotta  corrispondente- 
mente  la  sazieta  negl'i  aacoltanti,  e  la  svogliatezza  dell'  arte  nei  profesaori.  Chi 
crederebbe  mai  che  un  buon  soprano  canti  per  la  miserabile  paga  ai  dieci  carUni? 
E  che  sia  solo  per  metji.  plena  una  chiesa,  dove  fra  scelti,  e  numersoi  cori  d'istrumenti, 
si  sente  cantare  un  mottetto  all'  incomparabile  Aprile,  o  a  Cafarelli?  Queste  neces- 
sarie  conseguenze  dell'  attuale  sistema  armonico  di  Napoli,  sono  da  altra  parte  sin- 
tomi  troppo  chiari  della  decadenza  di  un'  arte,  che  ha  sempre  formate  uno  de'  preggij 
ed  omamenti  della  nazione.  Ho  creduto  dunque  che  eccitando  I'emulazione  nei 
professori,  ed  il  genio  nella  nobiltk,  si  potesae  por'  reargine  al  torrente  della  corruz- 
zione,  che  minaccia  alia  musica  la  totale  rovina.  Non  ho  trovato  un  mezzo  piti 
adattato  per  riuscirvi,  quanto  quelle  di  formare  la  detta  unione  di  nobilt^,  dove  suU' 
eaempio  delli  stesai  cavalieri  dilettanti  si  animano  i  profesaori  a  distinguersi,  e  colla 
Bcelta  delle  migliori  composizioni  si  risveglia  generalmente  il  gusto,  e  la  paasione  per 
la  musica.  A  queato  fine  ho  volute  ancora  adoprarmi,  con  far  eseguire  nella  nostra 
accademia  il  tanto  rinomato  Paride  del  cavalier  Cristofaro  Gluch  (Gluck),  del  quale 
fe  Buperfluo  decantame  i  preggi  a  chi  deve  sentirlo.  L'eapresaione  della  musica  con- 
naturale  al  detto  compositore,  brilla  ancor  maggiormente  in  questa  sua  opera,  dove 
non  trovando  egli,  come  nell'  Alceste  passioni  violenti  da  maneggiare^  ha  intrapreso 
di  far  spiccare  il  contraposto  dei  caratteri  di  Paride,  e  di  Elena,  esprimendo  in  essi 
I'indole  delle  due  nazioni  Frigia,  e  Spartana;  essendo  rimarchevole,  che  nell'  adat- 
tarsi  alia  ruvidezza,  e  semplicit^.  di  quest'  ultima,  si  sostenga  meravigliosamente, 
senza  punto  cader  nei  triviale.  Se  non  mi  fosse  pienamente  nota  Tabilita  dei  profes- 
aori, che  con  tanta  cura  si  sono  scelti  per  servizio  della  nostra  accademia,  temerei  con 
ragione  del  succesao  di  una  composizione  cost  delicata,  e  che  merita  la  maggior  esat- 
tezza  nell'  eaecuzione;  ma  queata  volta  mi  luaingo,  non  ostante  I'aaaenza  del  com- 
positore; che  dice  lo  stesso  cavalier  Gluch  essere  del  pari  necessario  per  il  buon  regola- 
mento,  che  la  presenza  del  sole  nelle  opere  della  natura;  sia  il  Paride  eseguito  in 
mode,  da  fame  spiccare  tutta  I'arte,  e  le  bellezze  .  .  . 

First  performed  at  Vienna,  Burgtheater,  November  3,  1770.  ML  50.2.P27G5 

Paride  in  Ida.  Drama  per  musica  da  rappresentarsi  nei  Teatro  di 
S.  Angelo  I'autunno  dell'  anno  1706. 

Venezia,  Marino  Rossetti,  1706.     52  f.     IJ^Y^. 

Three  acts.  Argument  and  scenario.  Neither  the  author,  Francesco  Mazzari,  nor 
the  composers,  Luigi  Manza  and  Agostino  Bonaventura  Colletti,  are  mentioned. 

First  performed  at  Parma,  Teatro  Ducale,  1696,  Schatz  5917 

II  Pariggino  in  Italia.  Intermezzo  in  musica  da  reppresentarsi  nei 
nobile  Teatro  Tron  Veronese  a  San  Cassiano  il  camovale  dell'  anno 
1784  .  .  . 

Venezia,  Modesto  Fenzo,  1784.     /fi  p.     16^"^. 

Two  acts.  Cast,  scenario,  and  name  of  composer,  Lorenzo  Baini.  Librettist 
unknown  to  Schatz.    Not  identical  with  "II  finto  Parigino."  Schatz  553 

Paris.     Tr.  of  Bontempi's  II  Paride. 

Der  Pariser  mahler.     Tr.  of  Cimarosa's  II  pittor  parigino. 

II  Parnaso  accusato  e  difeso. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  vii,  [279]-306  p. 

IQcm 

One  act.  ML49.A2M42 


OPERA   LIBRETTOS  849 

II  Pamaso  accusato  e  difeso — Continued. 

—  II  Pamaso  accusato,  e  difeso.  Componimento  dranunatico, 
scritto  dair  autore  in  Vienna  I'anno  1738  .  .  .  ed  eseguito  la  prima 
volta  con  musica  del  Reiitter  nella  gaUeria  dell'  Imperial  Favo- 
rita  .  .  .  per  festeggiare  il  di  28  d'Agosto,  giorno  di  nascita  dell' 
imperatrice  Elisabetta. 

[3591-380  p.  26*="*.  (Pietro  Metastasio,  Opere,  t.  v.,  Parigi,  vedova 
Herissant,  1780.)  ML49.A2M44 

II  Parnaso  confuso.  Festa  teatrale,  scritta  .  .  .  dall'  autore  in 
Vienna,  e  rappresentata  la  prima  volta  con  musica  del  Gluck  negl' 
intemi  appartamenti  dell'  Imperial  soggiorno  di  Schonbrunn  dalle 
AA.  RR.  di  quattro  arciduchesse  d'Austria  ...  in  occasione  delle 
nozze  deUe  SS.  RR.  MM.  di  Giuseppe  II  d'Austria,  e  di  Maria  Giuseppe 
di  Baviera,  ,  .  .  I'anno  1765. 

[3451-368  p.  {Metastasio,  Oyere,  t.  viii,  Parigi,  vedova  Herissant, 
1781.) 

One  act.  ML49.A2M44 

II  Parnaso  confuso  del  Sig.  ab.  Metastasio  P.  Ces.,  azione  teatrale 
rappresentata  in  musica  nell'  interno  della  imperiale  corte  in  occa- 
sione delle  felicissime  nozze  delle  Sacre  Reali  Maestk  di  Giuseppe  II 
d'Austria  e  di  Maria  Gioseffa  di  Baviera;  R^  e  regina  de'  Romani. 

Milano,  Giuseppe  Cairoli,  1765.     19  p.     17'^'^. 

One  act.    The  composer,  Gluck,  ia  not  mentioned. 

First  performed  at  Schonbrunn,  January  24,  1765.  Schatz  3936 

Parodie,  tragi-comedie.  Reprfeentee  pour  la  premiere  fois,  par  lea 
Comediens  italiens  ordinaires  du  roi,  le  23.  mai  1723. 

Les  Parodies  du  Nouveau  Thedtre  italien,  Nouv.  ed.,  Paris,  1738, 
t  a,  [207]-250  p.     16Y^. 

One  act.  By  Fuzelier  {see  t.  I).  The  airs  and  vaudeville  used  are  printed  at  the 
end  of,the  volume  in  the  "Table  des  airs "  (60  p.).  ML48.P3 

La  parodie  au  Parnasse*  opera-comique  en  un  acte.  Represents 
pour  la  premiere  fois  siu-  le  Theatre  del 'Opera-comique  de  la  Foire 
Saint  Germain  le  20  mars  1759  .  .  . 

Paris,  Duchesne,  1759.  53,  [2]  p.  19<=^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t  mii.) 

The  [2]  p.  contain  lists  of  plays,  etc.;  p.  50-53,  four  airs.  One  act.  Cast.  Prose 
and  vaudevilles.  Font  does  not  mention  Favart's  musical  collaborator.  Numerous 
footnotes  give  the  key  to  the  personal  allusions,  etc.,  in  the  text.  The  preface  of  the 
"Theatre  (t.  I,  p.  xxvi)  save  about  this  play: 

"Satyre  ing^nieuse  &  tres  fine.  M.  Favart  n'avoue  point  cette  pi^ce,  telle  qu'elle 
est  imprim^e  ici,  quoique  le  fond,  le  quadre,  la  plus  grande  partie  des  couplets,  & 
presque  tons  les  details  lui  appartiennent.  Ufi  anonyme  ayant  eu,  on  ne  sgait  com- 
ment, une  copie  de  cet  opera-comique,  reprdsente  en  1740  sous  le  titre  de  La  barriere 
du  Parnasse  ou  de  La  muse  chansonniere,  &  ne  sgachant  pas  que  M.  Favart  en  ^toit 
I'auteur,  crfit  pouvoir  se  I'approprier.  II  y  insera  la  critique  des  ouvrages  dramatiques 
qui  paroissoient  alors,  critique  un  peu  trop  vive,  &  qu'assurement  M.  Favart,  qj^ui  n'y 
est  pas  m(5nag6  lui-m6me  au  sujet  de  Petrine,  ne  se  seroit  pas  permise.  La  scene  de 
Diogeno  est  une  personnalit<^,  &  Ton  n'en  trouvera  dans  aucune  des  productions  de 
notre  auteur.  On  avoit  judicieusement  retranch^  cette  scene  2i  la  representation: 
elle  n'auroit  pas  dii  reparoitre  ici.  ML49.A2F1 

72251°— VOL  1—14 54 


860  LIBRARY  OF  CONGRESS 

Parpagnacco.     Intermezzi  comici  musicali  da  rappresentarsi  nel 
Teatro  Tron  di  San  Cassano  il  camovale  dell'  anno  MDCCVIII. 
Venezia,  Marino  Rossetti,  1708.     12  p.     15^'="'. 

Three  intermezzi.  Neither  the  author,  Pietro  Pariati,  nor  the  composer,  Carlo 
Francesco  Gasparixd,  is  mentioned. 

First  performed  at  Venice,  with  the  opera,  "Flavio  Anicio  Olibrio,"  carnival,  1707. 

ScHATz  3575 

—  Pollastrella  &  Parpagnacco. 

Under  this  title,  with  Italian  and  German  texts,  Pariati's  Intermezzi,  as  composed 
by  Gasparini  (though  he  is  not  there  mentioned),  form  part  of  the  unpaged  libretto 
of  Riccardo  Broschi's  opera,  "Adriano  in  Siria"  (Stuccarda,  1737).  Some  differences 
are  noticeable.  For  instance,  the  first  aria,  "Che  piacere  che  diletto,"  supplanted 
"Non  si  vanti  di  beM."  Schatz  1338 

—  L'astrologo.  Intermezzi  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  il  camovale  1731. 

[At  end]  Venezia,  Carlo  Buonarigo,  17S1.     [12]  p.     W^"^. 

Three  intermezzi.  A  somewhat  altered  version  of  "Parpa^acco."  For  instance, 
the  aria  in  the  third  intermezzo  is  now  "lo  eono  guerriero,  instead  of  "Sogle  donne 
amar  e  disamar,"  and  "Di  Venere  il  monte,"  in  the  second,  has  replaced  "Da  questa 
linea  io  vedo."     Neither  Pariati  nor  Gasparixd  mentioned.  Schatz  3590 

Partenope.  Festa  teatrale,  scritta  .  .  .  dall'  autore  in  Vienna,  e 
rappresentata  la  prima  volta  con  musica  dell'  Hasse  .  .  .  per  cele- 
brare  i  regi  sponsali  di  Ferdinando  IV  di  Borbone  .  .  .  e  di  Maria 
Giuseppa  arciduchessa  d' Austria,  nell'  autunno  dell'  anno  1767. 

[SSl]-390  p.  26'^"'.  (Metastasio,  Opere,  t.  ix,  Parigi,  vedova 
Herissant,  1781.) 

Two  parts.    Argument.  ML49.A2M44 

La  Partenope.  Drama  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  in  San  Gio.  Crisostomo.  II  camovale  dell' 
anno  MDCCVII. 

Venezia,  Marino  Rossetti,  n.  d.     59,  [1]  p.     l^Y^- 

Three  acts.  By  Silvio  Stampiglia  (not  mentioned).  Somewhat  altered  from  the 
Naples  (1699)  edition  of  the  text,  as  appears  from  the  publisher's  notice  to  the  reader: 
Chi  hi  dovuto  per  un  grande  comandamento  ridurlo  all'  uso  di  queste  scene  h.h. 
eervata  religiosamente  I'intentione  del  celeberrim«  autore,  che  I'hi  composto,  non 
alteratovi  punto  I'ordine  delle  scene,  nh  con  accrescervi  del  suo,  ne  con  lo  scemarvi 
COB  'alcuna  di  cio  ch'ha  ritrovato  nell'  esemplare  etampato  in  Napoli  I'anno  1699,  che 
f^  il  prime,  in  cui  fu  rappresentato.  Solamente  vi  h6  levati  gl'intramezzi,  ed  alcune 
ariette  a  titolo  della  voluta  brevita  nel  luogo  delle  c[uali  hi  posto  due  versi  di  recita- 
tive.   Alcime  altre  nh  ha  mutate  per  accommodarsi  alia  musica  .  .  ." 

Argument,  cast,  and  scenario,  but  without  the  name  of  the  composer,  Antonio 
Caldara.  On  the  last  page  "Opere  musicali  nin'  ora  stampate  in  Venezia  da  Antonio 
Bortoli  .  .  ." 

First  performed  at  Venice,  as  indicated;  at  Napios,  January,  1699.    Schatz  1495 

Partenope.  Drama.  Da  rappresentarsi  nei  Fegio  Teatro  di  Hay- 
market. 

Londra,  Tomaso  Wood,  1730.     77,  [1]  p.     18'^.  ' 

Three  acts.  Neither  the  author,  Silvio  St^Ty'^iia,  nor  the  composer,  Georg 
Friedrich  Handel,  is  mentioned.  Arj^Uxnent  and  cast.  English  title,  "Parthe- 
nope,"  and  text  face  Italian.  The  additional  page  contains  the  additional  aria 
"Seguaci  di  Cupido"  for  the  last  scene  of  the  opera. 

First  performed  February  24,  1730,  as  indicated.  Schatz  4483 


OPERA   UBKETTOS  851 

Partenope — Continued. 

—  Partenope.  Drama  per  musica  con  prologo  nel  felicissimo  di 
natalizio  dell'  Altezza  Serenissilna  di  Elisabeta  Sofia  Maria,  duchessa 
vedova  di  Braunsviga-Lunebnrgo  .  .  . — Parthenope  .  .  .  Vorge- 
stellet  auf  dem  Theatro  des  fuerstlichen  Lust-hauses  zu  Saltzthal  den 
12.  September  1731. 

n.  i.,  n.  d.     Unpaged.     i^J*:"*. 

Three  acte.  Argument,  scenario,  and  name  of  Hendel  (Georg  Friedrich  Handel) 
aa  the  composer.  German  translation  faces  Italian,  which  seems  to  follow  Stam- 
piglia's  text  closely.  Schatz  4484 

—  Parthenope,  in  einem  sing-spiele  auf  dem  Hambm-gischen  schau- 
platze  fuergestellet. 

[Hamburg],  Gedruckt  mit  SpieringJcischen  schrifften,  1733.     Unpaged. 

Three  acts.  "Vorbericht"  with  argument  and  note  that  C.  G.  Wendt  translated 
the  text,  that  Reinhard  Keiser  composed  the  recitatives  and  Hendel  (Georg  Fried- 
rich  Handel)  the  arias.    The  Italian  text  is  added  to  the  arias. 

First  performed  October  27, 1733,  as  indicated.  Schatz  4485 

Partenope.  Festa  teatrale  da  rapj)resentarsi  in  musica  nelF  Impe- 
rial regio  Teatro  festeggiandosi  i  felicissimi  sponsali  di  Ferdinando  IV. 
di  Borbone  re  delle  Due  Sicilie  e  di  Maria  Giuseppa  d'Austria  I'anno 
MDCCLXVII. 

n.  i.,  n.  d.     Unpaged.    21"'^. 

At  end :  ' '  Vienna,  nella  stamperia  di  Ghelen  1767 . "  The  frontispiece,  ornamental 
title  page,  head  and  tail  pieces,  etc.,  were  designed  by  J.  Bidermann,  engraved  by 
J.  C.  de  Reinsperger.  Two  acts.  Argument,  cast,  and  names  of  Metaetasio  as  author, 
of  Johann  Adolph  Hasse  as  composer. 

P'irst  performed,  as  indicated,  September  9, 1767.  Schatz  4551 

—  Partenope,  dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  del  Nuovo  Sans-Souci  nell'  estate  del  1775  .  .  . 

Berlino,  Haude  e  Spener,  1775.     69,  [3]  p.     17'''\ 

Two  acts.  Aliment,  cast,  and  names  of  Metaetasio  as  author,  of  Hasse  as  com- 
poser. German  title  page,  "Parthenope,"  and  text  face  Italian,  which  follows  the 
original  Vienna  (1767)  edition  closely,  except  that  the  aria  for  II,  2,  "Ah!  piii  di 
te  confusa,"  has  been  replaced  by  "Caro  .  .  .  I'affanno  mio"  and  that  the  nuptial 
allusions  after  the  chorus,  "Si  tutto  il  cielo,"  were,  of  course,  dropped. 

First  performed,  as  indicated,  July  18,  1775.  Schatz  4552 

Partenope  componimento  drammatico  dell'  abbate  Pietro  Metastasio 
da  cantarsi  nell'  Accademia  di  musica  di  Dame  e  Cavalieri. 

Napoli,  Stamperia  Raimondiana,  1782.     J^7  p.     19*^^. 

Two  acts.  Oast,  name  of  Vincenzo  Martini  (Martin  y  Soler)  as  the  composer, 
and  on  p.  5  "Protesta,"  in  which  alterations  from  Metastasio  for  brevity's  sake  and 
"per  comodo  della  musica"  are  acknowledged.  Schatz  6013 

Partenope.  Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  camovale  del  1749  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  e  figlivA)lo,  n.  d.  4  p.  I.,  62  p. 
15'^. 

Three  acts.  By  Silvio  Stampiglia,  who  is  not  mentioned.  Argument,  scenario, 
cast,  and  names  of  Giuseppe  Scarlatti  as  composer  of  the  opera,  of  Alessio  Rasetti  of 
the  music  for  the  three  ballets,  "Caccia  di  Diana,"  etc.  Schatz  9556 


852  LIBRARY   OF   CONGRESS 

Partenope  sul  lido  etrusco.     Azione  teatrale  di  Cristoforo  Boc- 
cella,  patrizio  lucchese. 
Lucca,  Francesco  Bonsignori,  1785. '  25  p.    26'^'^. 

Exquisite  vignettes.  One  act.  Cast,  argomento,  and  name  of  comp>oser,  Gaetano 
Andreozzi. 

First  performed  at  Lucca,  Teatro  Caetiglioncelli,  1785.  Schatz  197 

La  partenza  d'Enea,  o  sia  Didone  abbandonata,  ballet.  See  Gazza- 
niga's  Zon-Zon  principe  di  Kibin-Kin-Ka. 

La  partenza  di  Berenice.     A.  T.  of  the  ballet  Tito. 

La  partenza  e  il  ritorno  de'  marinari.  Drajnma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  Giustiniani  di  San  Moise  il  car- 
novale  dell'  anno  1765  ... 

Venezia,  Modesto  Fenzo,  1765.     71  f.     HY^. 

Three  acts.  Author  unknown  to  Schatz.  Cast,  scenario,  and  name  of  Galuppi  as 
composer. 

First  performed  December  26,  1764,  as  indicated.  Schatz  3466 

La  partenza  inaspettata.  Intermezzo  in  musica  a  cinque  voci  da 
rappresentarsi  nel  Teatro  Valle  dell'  illmi  Signori  Capranica.  Nel 
came  vale  dell'  anno  1779  .  .  . 

Roma,  Agostino  Palomhini,  1779.     4^  p.     15'^'^. 

Two  acts.  The  author,  Giuseppe  Petroeellini,  is  not  mentioned.  Cast  and  name 
of  Antonio  Salieri  as  composer.  ML  50.2.P28S2 

—  La  partenza  inaspettata.  Commedia  per  musica  da  rappresen- 
tarsi nel  Teatro  di  Monza  I'autunno  dell'  anno  1781  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     69  p.     15^^^. 

Two  acts.  By  Giuseppe  Petrosellini,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Antonio  Salieri  as  the  composer.  With  the  opera  was  performed  Raineri 
Pazzini's  ballet  "Vindemmia." 

Schatz  9310 

—  La  partenza  inaspettata.  Intermezzo  in  musica  a  cinque  voci 
da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E,  di  Sassonia. 

Dresda,  Stampeiia  elettorale,  1781.     I4I  p.     16*^^. 
Two  acts.    Antonio  Salieri  is  mentioned  as  the  composer.    German  title-page, 
"Die  unerwartete  abrei^,"  and  text  face  Italian. 

First  performed  1781  at  Dresden,  as  indicated.  Schatz  9311 

Le  parterre  merveilleux.     Prologue  du  Rival  de  lui-m^me.     Repr^- 
sente  a  la  Foire  Saint  Laurent.     1732. 
Le  Thedtre  de  la  foire,  Paris,  1737,  t.  ix,  2,  2  pi.,  [73]-122  p.     17^^. 

—  Le  rival  de  Ini-meme.  Piece  en  un  acte  en  vers.  Represen- 
tee par  les  petits  Comediens  de  I'Opera  comique  a  la  Foire  Saint 
Laurent  1732. 

By  Carolet.  Largely  en  vaudevilles.  The  airs,  selected  or  composed  and  arranged 
y  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed  August  19,  1732.  ML  48.L2X 

Parthenope.     Tr.  of  Handel's  Partenope 
Parthenope.     Tr.  of  Hasse's  Partenope. 


OPERA   UBRETTOS  853 

The  parting  lovers.     A.  T.  of  Carey's  Nancy. 

La  Pasife  o  vero  L'impossibile  fatto  possibile.  Drama  per  musica 
del  Signer  D.  Giuseppe  Artale  .  .  . 

Venetia,  Giacomo  Batti,  1661.     72  p.     ISY"^. 

Three  acts  with  prologue.  Dedication,  argument,  allegoria,  and  name  of  the  com- 
poser, Daniele  Castrovillari. 

First  performed  at  Venice,  Teatro  di  S.  Salvatore,  carnival,  1661.    Schatz  1689 

Le  passion!  per  troppo  amore.  Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Sant'  Angelo.  Nel  carnovale  dell*  anno  1713.  Di 
Matteo  Noris. 

Venezia,  Marino  Rossetti,  1713.     72  f.     15^'^. 

Three  acts.  Prefatory  note,  scenario,  and  name  of  Johann  David  Heinichen  as 
the  composer.  Schatz  4703 

II  pastor  fido,  ballet.     See  Alessandri's  H  vecchio  geloso. 

II  pastor  fido.  Tragicommedia  pastorale  del  cavalier  Guarini  com- 
pendiata  al  tempo,  ed  al  modo  di  cantarsi  nel  Teatro  a  S.  Angelo  nel 
carnovale  dell'  anno  1721. 

Padoa,  Gio.  Battista  ConzaUi,  1721.     79,  [1^  p.     17 i'"^. 

Five  acts.  Edited  by  Benedetto  Pasqualigo,  who  is  not  mentioned.  Argument, 
cast,  scenario,  and  name  of  Carlo  [Luigi]  Pietragrua  as  the  composer.  The  addi- 
tional page  contains  the  substitute  aria  "Da  noi  il  ciel  piu  non  dimanda"  (V,  7). 

Schatz  8164 

II  pastor  reg^o.     Dramma  del  Signor  Benedetto  Ferrari,  rappresen- 
tato  in  musica  in  Venetia  nell'  anno  MDCXXXX  .  .  . 
Venetia,  Antonio  Bariletti,  I64O.     1  p.  I.,  58  p.     14V^' 
Three  acta  and  prologue.    Author-composer's  dedication  dated  Venice,  Jan.  23, 
1640,  and  ai^ument.  Schatz  3067 

—  II  pastor  regio  di  Benedetto  Ferrari  dalla  tiorba.  Rappresentato 
in  musica  in  Venetia,  et  in  Bologna.  Posto  in  musica  dall'  istesso 
autore.     In  questa  terza  impressione  dall'  autore  ampliato,  e  corretto. 

n.  i.,  n.  d.  13*^.  [161]-207  p.  (B.  Ferrari,  Poesie  drammatiche, 
Milano,  1644-) 

Detached  copy.  Three  acts,  the  "Prologo  d' Amore,  rappresentato  in  Venetia," 
and  the  "Prologo  d'ApoUo  rappresentato  in  Bologna,"  dedication  signed  by  Camillio 
Cevenini  and  dated  Bologna,  May  18,  1641,  argument  and  sonnet  by  the  publisher 
RameUati  to  Ferrari  "per  il  suo  Pastor  regio."  Schatz  11700 

La  pastorale.     Entree  in  Campra's  Les  Muses. 

.  .  .  Pastorale  mise  en  musique,  par  le  Sieur  Cambert.  Repre- 
sentee au  village  d'Issy  pres  Paris,  &  au  chasteau  de  Vincennes 
devant  Leurs  Maiestez  en  Avril  1659. 

Perrin,  Les  oeuvres  de  poesie,  Paris,  Estienne  Loyson,  1661,  [291]- 
312  p.     UY"^. 

Five  acts.  At  head  of  title  "Premiere  comedie  franfoise  en  musique,  representee 
en  France,"  at  the  ch&teau  of  M.  de  la  Haye.  Until  recently  Pierre  Perrin  and 
Robert  Cambert  were  considered  the  founders  of  French  opera,  but  in  the  S.  I.  M., 
1908,  y.  4,  nos.  4-5,  Henri  Quittard  published  an  essay,  "La  premi&re  comedie  fran- 
9aise  en  musique,"  in  which  he  called  attention  to  the  extremely  rare  libretto  "Le 
triomphe  de  1  amour  eur  des  bergers  et  beigeres  .  .  .  mis  en  musique  par  De  La 
Guerre  ...  A  Paris  .  .  .  CHarles  Chenault  .  .  .  1654."  This  one  act  pastorale 
was  reprinted  1661  or  shortly  afterwards.    The  text  was  by  Charles  de  Beys,  the 


854  LIBBARY   OF   CONGRESS 

La  pastorale — Continued. 

music  by  Michel  de  la  Guerre  (d.  1679).  Quittard  goee  into  the  history  of  this  fore- 
runner of  Perrin  and  Cambert's  pastorale,  reprints  the  text,  and  dates  the  first  per- 
formance as  Januarj'  22,  1655. 

In  his  "Oeuvres,"  Perrin  precedes  the  text  of  his  own  pastorale  on  p.  273-290  by 
his  "Lettre  ecrite  a  Monseigneur  I'archevesque  de  Turin.  Apres  la  representation 
de  la  comedie  suivante.  De  Paris  ce  30.  avril  1659."  Uniortunately,  this  very 
interesting  and  important  historical  document  is  too  long  for  quotation  here.  It  is 
easily  accessible  in  cxtenso  in  Pougin's  "Les  vrais  cr^ateurs  de  I'op^ra  fran^ais,  Perrin 
et  Cambert"  (Paris,  1881,  p.  56-68).  Of  course,  the  letter  is  in  the  nature  of  a  cam- 
paign manifesto  for  French  opera  against  Italian.  For  English-speaking  people  his 
sixth  "deffaut "  (defect)  pointed  out  against  the  cultivation  of  Italian  opera  in  France 
is  particularly  6  propos.     Perrin  says: 

"Le  sixieme  qui  les  fera  tofijours  echoiier  sur  nostre  theatre,  est  le  deflfaut  inevi- 
table de  chanter  en  une  langue  etrangere  &  inconnue  k  la  meilleure  partie  dee  spec- 
tateurs,  qui  leur  raWt  la  plus  belle  partie  du  plaisir  de  la  comedie,  qui  est  celuy  de 
I'esprit,  &  qui  fait  k  leur  ^gard  ce  qui  arrive  k  peu  pr^  k  ceux  qui  voyent  danser 
sans  entendre  les  violons  .  .  ."  PQ  1879.P3 

II  pastore  d'Anfriso.  Tra^edia  pastorale  per  musica  da  rappre- 
sentarsi  nel  Teatro  Grimano  di  San  Gio,  Grisostomo  I'anno  MDCXCV 
.  .  .     Seconda  impressione. 

Venetia,  Nicolini,  1695.     front.,  71  p.     14'^'". 

Five  acts  with  intermezzi.  Dedication  signed  by  the  author,  conte  Girolamo 
Frigimelica  Roberti,  who,  as  was  his  custom,  comments  on  his  dramaturgic  inten- 
tions in  his  notice  to  the  reader,  which  is  followed  by  the  ai^ument  and  scenario. 
The  composer.  Carlo  Francesco  Pollaroli,  is  not  mentioned.  Schatz  8310 

La  pastorella  al  soglio.  Opera  postuma  di  Giulio  Cesare  Coiradi. 
Da  lappresentarsi  per  musica  nell'  antichissimo  Teatro  Tron  di  San 
Casciano  per  I'autunno  dell'  anno  1702. 

Venezia,  Marino  Rossetti,  1702.     59  p.     15*=^. 

Three  acts.  Argument,  scenario.  Composer  not  mentioned  and  unknown  to 
Schatz.    Orefice's  opera,  mentioned  by  Towers,  is  of  date  1710.  Schatz  11355 

La  pastorella  al  soglio.  Drama  per  musica  di  Gio.  Carlo  Pagani- 
cesa.  Da  rappresentarsi  nel  Teatro  Giustiniano  di  S.  Mois^  nella 
fiera  dell'  Ascensione  MDCCLI. 

[Venezia],  n.  puhl.,  n.  d.     1  p.l.,  4^  p.     15'^^. 

Three  acts.    Argument,  cast,  and  name  of  Gaetano  Latilla  as  composer. 

Schatz  5465 

La  pastorella  fedele,  ballet.     See  Bianchi's  La  villanella  rapita. 

La  pastorella  illustre.  Azione  per  musica  in  due  parti  da  rappre- 
sentarsi nel  Ducal  Teatro  di 'Stutt^ardt  per  ordine  di  Sua  Altezza 
Serenissima  Carlo,  duca  regnante  di  Wirtemberg  e  Teck  etc  il  di  4. 
novembre  1763  ...  La  poesia  ^  del  Signor  de  Tagliazucchi  ,  .  . 
La  musica  e  nuovamente  composta  dal  Signor  Nicold  Jommelli  .  .  . 
I  balli  sono  inventati  e  diretti  dal  Signor  Giovanni  Giorgio  Noverre  ... 

[Stuttgardt],  Cotta,  n.  d.     Ill  p.     18^"". 

Two  acts.  Argument,  cast^  and  scenario.  German  title  page,  "Die  vomehme 
Bchaeferin,"  and  text  face  Italian.  Schatz  4868 

—  La  pastorella  illustre.  Azione  teatrale  per  musica  in  due  parti 
da  rappresentarsi  nel  Real  Teatro  di  Salvaterra  nel  camorale  dell' 
anno  1773. 

Lishona,  Stamperia  Reale,  n.  d.     51  p.     /5<"". 

Two  acts.  Argument,  scenario,  cast,  and  names  of  T^liazucchi  as  author,  of 
Aiccolo  Jominelli  as  composer.    Text  seems  to  follow  text  of  1763  closely. 

Schatz  4886 


OPEBA   LIBBETTOS  855 

La  pastorella  impertinente,  ballet.  See  Anfossi's  II  curioso  indi- 
screte. 

La  pastorella  nobile.  Commedia  per  musica  di  Saverio  Zini  da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  prim' 
opera  di  quest'  anno  1788  .  .  . 

Napoli,  n.  puhl,  1788.     48  p.     UY"^. 

Two  acts.  Dedication  dated  Naples,  April  15,  1788,  cast,  and  name  of  Pietro 
GugUelmi  as  the  composer.  On  p.  6-9  cast  and  argument  of  Giambattista  Gian- 
nini's  "L'Aurora  vendicata,  ballo  eroico  favoloso,"  without  name  of  the  composer  of 
the  music.  Schatz  4255 

—  La  pastorella  nobile.  Dranmia  giocoso  per  musica,  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl.,  1791.     115  p.     15^"^. 

Two  acts.  Pietro  Guglielmi  is  mentioned  as  the  composer.  German  title-page, 
"Die  adliche  schaeferin,"  and  text  face  Italian,  which  shows  alterations  of  Zini's 
text.  For  instance,  the  aria,  "Di  qua  vedi  un  milordino,"  1, 3,  has  been  replaced  by 
"Perchi  mai  t'5  fatto  nascere,"  and  the  second  act  begins  "Questo  mio  figlio  m'a 
Bconvolto  il  cerebro"  instead  of  "No,  no,  german,  in  questo  punto." 

First  performed,  as  indicated,  February  12,  1791.  Schatz  4256 

—  La  pastorella  nobile.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  magnifico  Teatro  deUa  illustrissima  Accademia  degli 
Erranti  di  Brescia  il  camovale  1792  .  .  . 

Brescia,  Pasini,  n.  d.     60  p.     16Y^. 

'Two  acts.  Impresario's  dedicatory  sonnet,  cast,  scenario,  and  name  of  Pietro 
Guglielmi  as  composer.    Zini  is  not  mentioned.  ML48.A5v.l2 

La  pastorella  rapita  da'  corsari,  ballet.  See  Paisiello's  II  re 
Teodoro  in  Venezia. 

La  pastorella  scaltra.  Intermezzi  per  musica  a  tre  voci  da  rap- 
presentarsi nel  Teatro  alia  VaUe  nel  camevale  dell'  anno  1753  .  .  . 

Roma,  MarceUo  Silvestri,  n.  d.     2j^  p.     15Y^. 

Two  parts.  Author  not  mentioned  and  imknown  to  Schatz  Dedication,  signed 
by  G.  Puccinelli  and  Angelo  Lungi,  the  latter  perhaps  being  the  author.  Cast  and 
name  of  Nicola  Logroscino  as  composer.  ML  50.2.P286L6 

Le  pastorelle  d'Arcadia.  Festa  campestre  nelle  augustissime  nozze 
delle  Altezze  Reali  de  reale  infante  di  Spagna  Don  Ferdinando  di 
Borbone  .  .  .  e  della  reale  archiduchessa  d'Austria  Maria  Amalia. 
[vignette] 

Parma,  Stamperia  reale,  1769.     7^,  [1]  p.     front.    23^"^. 

Dedicatory  poem,  a  "Relazione  della  festa  campestre  ..."  and  names  of  the 
nobility  participating  precede  the  text  which  is  in  two  parts  with  two  "Cantate 
introdotteaguisa  d'intermedj."    Not  recorded  by  Schatz.  ML48M2A 

Le  pastorelle  difese,  ballet.     See  Valentini's  Le  sorelle  rivali. 

Li  pastori  d'Arcadia,  ballet.     See  Gnecco's  Lo  sposo  di  tre. 

I  pastori  delle  Alpi.  •  Dramma  serio-giocoso  per  musica  da  rappre- 
sentarsi nel  Regio  Teatro  di  Trieste  I'autunno  dell'  anno  MDCCLaXX 

Gorizia,  Giacom^  Tommasini  n.  d.     58  p.     17^^. 

Two  acts.  Antonio  Pasquale  Valli  is  mentioned  as  the  author  and  Giuseppe 
Moneta  as  "compositore  dilettante  di  musica,  il  quale  recentemente  ed  a  bella  posta 
I'ha  scritta."  Impresario's  dedicatory  poem  dated  Trieste,  October  17,  1780,  cast, 
and  scenario.  Schatz  6557 


856  LIBRARY   OF   CONGRESS 

Li  pastori  per  allegrezza  impazziti.  Pastorale  giocosa  da  rappre- 
sentarsi  nel  Nuovo  Teatro  in  Dresda,  festeggiandosi  il  giorno  del 
glorioso  nome  di  Sua  Maestk  d'Augusto  III  .  .  .  I'anno  MD(XILV. 

Dresda,  la  vedova  Stossel,  ed  aderente  Giovanni  Carlo  Krause,  n.  d. 
109,  [2]  p.     17'^. 

Two  acts  and  licenza.  Cast.  German  text  faces  Italian.  Author  and  composer 
not  mentioned,  and  unknown  to  Schatz  and  FUrstenau. 

First  performed,  as  indicated,  August  5,  1755.  Schatz  11356 

Pa  tie  and  Peggy:  or,  The  fair  foundling.  A  Scotch  ballad  opera. 
As  it  is  acted  at  the  Theatre-Royal  in  Drury-Lane.  By  His  Majesty's 
servants  .  .  .     With  the  music  prefix'd  to  each  song. 

London,  J.  Watts,  1730.     4  p.  I,  34,  [2]  p.    20'^'^. 

One  act,  prologue,  and  epilogue.  Cast  and  author's  preface,  signed  T.[eophilufl] 
C.[ibber]  and  dated  "Theatre-Royal  April  the  20th,  1730,"  which  reads,  in  part: 

"That  I  am  indebted  to  Mr.  Ramsay's  Gentle  Shepherd  (a,  Scotch  pastoral  comedy, 
wrote  originally  in  five  acts)  for  the  greatest  part  of  the  following  piece,  was  not  owing 
to  my  idleness,  but  a  doubt  of  my  abilities  to  produce  any  thing  entirely  new  of  this 
kind,  that  might  plead  to  much  pretence  to  favour  .  .  ." 

He  decided 

"to  turn  it  into  a  ballad  opera  .  .  .  in  bringing  the  tale  within  the  compass  of  one 
act,  adding  to  the  number  of  the  son^s,  and  changing  it  into  the  English  dialect 
without  which,  it  had  not  been  intelligible  to  our  auditors;  nor  indeed  had  I  time  to 
vary  it  more,  my  benefit  being  fix'd  before  I  had  laid  my  design,  which  was  plan'd 
and  finish 'd  in  one  (/ay  ..." 

The  22  airs  are  printed  in  the  text,  with  their  titles. 

First  performed,  according  to  Clarence  ("The  Sta^e  encyclopaedia"),  and  Tufts, 
on  May  31,  1731,  but  this  is  obviously  incorrect,  as  this  performance  must  have  taken 
place  before  April  20,  1730.  ML  50.5.P18 

Second  copy.  Longe  49 

Patrick  in  Prussia  or  Love  in  a  camp.     See  Love  in  a  camp. 

Patro  Tonno  d'Isca.  Chelleta  marenaresca  a  muodo  de  dramma 
pe  museca  de  lo  dottore  Agasippo  Mercotellis,  da  recetarese  h.  lo 
Teatro  de  li  Shiorentine  nchist'  anno  1714  .  .  . 

Mfnenezia,  Francisco  Ricciardo,  1714-     4  P-  ^-j  ^4  V-     15"'^. 

Last  p.  incorrectly  numbered  74.  Three  acts.  By  Giuseppe  Martoscelli.  Dedi- 
cation by  the  composer,  Giovanne  Veneziani  (Giovanni  Veneziano),  dated  Septem- 
ber 26,  1714,  notice  to  the  reader,  and  cast. 

First  performed  at  Naples,  Teatro  de'  Fiorentini,  as  indicated.       ML  50.2.P29V2 

The  patron:  or,  The  statesman's  opera,  of  two  acts,  as  'tis  acted  by 
the  company  of  comedians  at  the  New  Theatre  in  the  Hay-Market. 
By  Mr.  Odell  ...     To  which  is  added  the  musick  to  each  song  .  .  . 

London,  Printed  hy  W.  Pearson,  for  Jolin  Clarke,  n.  d.  3  p.  I.,  38, 
[2]  p.     19^"^. 

The  [2]  p.  contain  Clarke's  book  list.  Two  acts.  Cast,  dedication^  epilo^e.  Bal- 
lad opera.    The  19  (unnumbered)  airs  used  are  printed  in  the  text,  with  their  titles. 

First  performed  1729,  as  indicated.  Longe  262 

Second  copy,  with  a  half-title  as  4th  p.  1.  Longe  321 

Paul  et  Virg^nie.     Op6ra  en  trois  actes.     Musique  de  Kj-eutzer. 

Hamhourg,  G.  F.  ScJiniehes,  1796.     20  p.     15Y^. 

By  Etienne  Guillaume  Francois  Faviferes,  who  is  not  mentioned. 

First  performed  at  Hamburg,  Th^^tre  de  la  Soci6t6  franpaise,  October  23,  1795; 
at  Paris,  Th^&tre  de  la  Com^die  italienne,  January  15,  1791.  Schatz  5266 


OPEEA   LIBRETTOS  857 

■^  II     Fausania.      Drama     per     musica     da     rappresentarsi     I'anno 

MDCLXXXII  nel  famosissimo  Teatro  Vendramino  a  S.  Salvatore  .  .  . 

Venetia,  Francesco  Nicolini,  1682.     63  p.  (incl.  front.)     l^Y^- 

Three  acts.    Dedication  by  the  author,  Girolamo  Frisari,  dated  Venice,  December 

8, 1681,  argument,  scenario,  and  notice  to  the  reader,  with  name  of  Giovanni  Legrenzi 

as  composer.  Schatz  5546 

La  pauvre  femme,  com6die  en  un  acte  et  en  prose,  mM6e  de  mu- 
sique.  Representee  pour  la  premiere  fois,  sur  le  Th6fi,tre  de  FOpera- 
comique  national,  le  19  germinal,  an  troisieme  de  la  Republique. 
[April  8,  1795].  Paroles  du  citoyen  Marsollier.  Musique  du  citoyen 
Dalayrac. 

Paris ^  chez  les  Marchands  de  nouveautes,  An  V  [1796-97].  28  p. 
20""^.  '  ML  50.2.P295D2 

La  paysanne  curieuse.     A.  T.  of  d'Herbain's  Nanette  et  Lucas. 

La  pazza  giornata  ovvero  II  matrimonio  di  Figaro.  Dramma 
comico  per  musica  di  Gaetano  Rossi  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno  1800. 

Venezia,  Fenzo,  1799.     88  p.     18'='^. 

Two  acts.  Cast,  notice  to  the  reader,  and  name  of  Marcos  Portugal  as  the  com- 
poeer  ("Musica  tutta  nuova ").  On  p.  [49J-52,  cast,  argument,  and  name  of  Giuseppe 
Nucci  as  the  composer  of  the  music  ("tutta  nuova")  of  "L'infausto  Matrimonio  bal- 
letto  di  Giovanni  Monticini." 

First  performed,  as  indicated,  December  26,  1799  (Carvalhaes).         Schatz  8439 

La  pazza  per  amore,  ballet.     See  Nasolini's  La  Calliroe. 

La  pazza  per  amore.     A.  T.  of  Paisiello's  Nina. 

I  pazzi  per  disimpegno.  Dramma  giocoso  per  musica  di  Camidio 
Matiaglauro  P.  A.  da  rappresentarsi  nel  Teatro  Giustiniani-in  S. 
Moise  per  la  seconda  opera  del  carnevale  I'anno  1782. 

Venezia,  n.  publ.,  n.  d.     60  p.     17*^^. 

Two  acte.  Cast  and  name  of  composer,  Gaetano  Andreozzi.  By  Pietro  Antonio 
Bagliacca,  whose  Arcadian  name  the  above  was.  Schatz  222 

La  pazzia  in  trono  ovvero  Caligola  delirante.  O.  T.  of  text  of 
Pagliardi's  Caligula  delirante. 

Le  pazzie  amorose,  ballet.     See  Bianchi's  La  villanella  rapita. 

Le  pazzie  amorose,  ballet.     See  P.  Guglielmi's  L'impostore  punito. 

Le  pazzie  de'  gelosi.  Farsetta  per  musica  a  cinque  voci  da  rap- 
presentarsi nel  Teatro  alia  Valle  degl'  illmi  Sig.  Capranica  nel  carne- 
vale deir  anno  1787. 

Roma,  Gioacchino  FuccineUi,  1787.     4^  p.     16*^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  imme  of 
Pasc^uale  Anfossi  as  composer. 

First  performed  February  6,  1787,  as  indicated.  ML  50.2.P3A5 

—  Le  pazzie  de'  gelosi.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  S.  H,  E.  di  Sassonia. 

Dresda,  n.  publ.,  1788.     127  p.     15^"^. 

Two  acts.     Name  of  Pasquale  Anfossi  as  composer,  but  without  that  of  librettist, 
who  is  unknown  to  Schatz.    German  title-page,  "Die  narrheiten  der  eifersucht, 
and  text  face  Italian.  .  Schatz  247 


858  LIBRARY   OF   CONGRESS 

Le  pazzie  degl'  amanti.  Drama  da  rappresentarsi  in  musica  in 
Rovigo  I'autunno  dell'  anno  1711.  Nel  Teatro  dell'  illustrissimo 
Signer  Co:  Marc'  Antonio  Monfardini.     Di  Francesco  Passarini. 

Venezia,  Antonio  Bortoli,  1712.     46  p.     Id""^. 

Three  acts.  Argument  and  notice  to  the  reader  with  the  name  of  Carlo  Francesco 
Follaroli  as  the  composer. 

First  performed  at  Vienna,  Teatro  della  Cesarea  Corte,  February,  1701. 

SCHATZ  8311 

Le  pazzie  di  Orlando.  Dramma  giocoso  da  rappresentarsi  nel 
Regio  Ducal  Teatro  di  Milano  I'autunno  dell'  anno  1773  .  .  . 
Milano,  Gio.  Battista  Bianchi,  n.  d.  51,  [1]  6.  14V^- 
Three  acta.  By  Carlo  Francefico  Badini,  who  is  not  mentioned.  Dedication,  cast, 
and  name  of  Pietro  Guglielmi  as  the  composer.  The  uunumb.  pages  contain  a 
noteworthy  comment  by  Gasparo  Angiolini  on  his  "Solimano  II,  a  specimen  of 
"la  commedia  ballata  nella  sua  simplicity,"  of  which,  with  exception  of  one  aria, 
he  also  composed  the  music. 

First  performed  at  London,  Haymarket,  1771.  Schatz  4301 

II  pazzo  glorioso.     Dramma  giocoso  per  musica  da  rappresentarsi 
nella  presente  stagione  nel  teatro  di  questa  nobilissima  cittk  .  .  . 
Casal  maggiore,  Giuseppe  Braglia,  n.  d.     35  p.     14Y^- 
Two  acts.    Cast  and  names  of  composer,  Bemardini  (Marcello  di  Capua),  and 
librettist,  Giovanni  Bertati.     A  contemporary  hand  has  added  1790  to  the  title. 

Schatz  850 

II  pazzo  glorioso.  Dranuna  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Tron  di  S.  Cassiano  I'autunno  dell'  anno  1753. 

Venezia,  Modesto  Fenzo,  1753.     60  p.     15^"^- 

Three  acts.  According  to  Schatz,  Liviano  Lantino's  {anagram  of  Antonio  Villano) 
"Lo  stravagante,"  but  altered  by  Goldoni.  Cast,  scenario,  and  name  of  Gioacchino 
Cocchi  as  composer.  Schatz  2053 

—  II  pazzo  glorioso.  Dramma  giocoso  per  musica.  Nell'  anno 
1758. 

Monaco,  Gio.  Giac.  Votter,  n.  d.     Ifi  p.     15Y'^. 

Reduced  to  two  acts.     With  name  of  the  composer,  Giovanni  [1]  Cocchi. 

Schatz  2037 

Un  pazzo  ne  fa  cento.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Giustiniani  in  S.  Mois4  il  presente  autimno 
MDCCLXII. 

Venezi/i,  Francesco  Valvasense,  n.  d.     4^  p.     15^^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Scenario,  cast,  and 
name  of  Florian  Leopold  Gassmann  as  the  composer.  Schatz  3624 

Un  pazzo  ne  fa  cento.  Djamma  giocoso  per  musica  di  Giuseppe 
Foppa  da  rappresentarsi  nel  nobilissmao  Teatro  in  S.  Samuele  1  au- 
tunno  dell'  anno  1796. 

Venezia,  StamperiaValvasense,  n.  d.     78,  {i\  p.     18*^. 

Three  acts.  Cast  and  name  of  Joh.  Simon  Mayr  as  the  composer.  On.  p.  [39}-45 
argument,  cast,  and  description  of  Gio.  Battista  Checchi's  "Alessandro,  e  Campaspe, 
ballo  eroico."    The  composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  October  8,  1796.  Schatz  6176 


OPERA  LIBRETTOS  859 

II  pazzo  per  forza.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Elettorale,  composto  da  Caterino  Mazzolk  .  .  . 

Dresda,  n.  puhl,  1783.     135  p.     W"^. 

Two  acta.  Joseph  Schuster  is  mentioned  as  composer.  German  title-page,  "Er 
BoU  und  muss  ein  narr  seyn,"  and  text  face  Italian, 

First  performed,  as  indicated,  January,  1784.  Schatz  9751 

Le  pecheur  suedois.     A.  T,  of  Bruni's  Tobeme. 

Les  pecheurs,  comedie  en  un  acte  et  en  vers.     M616e  d'ariettes. 
Representee  sur  le  Theatre  des  Com^diens  italiens  ordinaires  du  roi, 
le  7  juin  1766.     La  musique  est  de  M.  F.  J.  Gossec. 
Avignon,  Louis  Chamheau,  1766.    26  p.     19^"^. 

Cast.     Text  by  the  marquis  de  La  Salle,  who  is  not  mentioned. 

ML  50.2.P305G7 

—  Les  pecheurs,  comedie.  En  un  acte,  mel^  d'ariettes,  representee 
sur  le  Theatre  des  Comediens  italiens  ordinaires  du  Roi,  le  7  juin 
1766.     La  musique  est  de  M.  F.  J.  Gossec. 

Paris,  Vente,  1767.     37  p.     19'^'^. 

Cast.    Text  by  the  marquis  de  La  Salle,  who  is  not  mentioned.        Schatz  4010 

—  Les  pecheurs,  comedie  en  un  acte,  mdiee  d'ariettes,  representee 
sur  le  llieatre  des  Comediens  italiens  ordinaires  du  roi,  le  7  juin  1766. 
La  musique  est  de  Mr.  F.  J.  Gossec. 

Paris,  Vente,  1771.     35  p.     W"^. 

Cast.  On  p.  14-16  the  ariette  "L'^ge  en  vain  sembloit,"  p.  17-18  "De  la  richeese 
I'eclat."    The  author,  marquis  de  La  Salle,  is  not  mentioned.  Schatz  11702 

—  Les  pecheurs,  comedie  en  un  acte,  melee  d'ariettes;  representee 
sur  le  Theatre  des  Comediens  italiens  ordinaires  du  roi,  le  7  juin  1766. 
La  musique  est  de  M^  F.  J.  Gossec. 

Paris,  Vente,  1782.     32  p.     19'="'. 

Cast.  On  p.  15-16  the  ariette  "De  la  richesse,  I'^clat."  The  text  is  the  same  as 
in  the  1771  ed.,  except  that  the  ariette  "L'age  en  vain  sembloit"  is  given  without  the 
music.    The  author  18  not  mentioned.  Schatz  11701 

—  De  visschers,  zangspel.  Naar  *het  fransche  gevolgd  door  Bar- 
tholomeus  RulofFs. 

Amsterdam,  J.  Helders  en  A.  Mars,  1793.     7  p.  I,  48,  [4]  p.     17'='^. 

The  p.  1.  contain  dedication,  a  poem  by  the  translator,  dated  1793,  a  notice  to  the 
reader  with  Gossec's  name  as  the  composer,  privilege  notice,  dated  October  15, 
1792,  and  the  four  additional  pages  contain  "Byvoegzeltot  de  Visschers  ..." 

First  performed  at  Amsterdam,  Stads  Schouwburg,  May,  1793.  Schatz  4015 

Le  pedant  amoureux.     A.  T.  of  Duni's  La  fille  mal  gardee. 

A  peep  behind  the  curtain;  or,  The  new  rehearsal.  As  it  is  now 
performed  at  the  Theatre  Royal  in  Drury-Lane. 

London,  T.  Becket  and  P.  A.  de  Hondt,  1767.     2  p.  I.,  46  p.    20*^. 

Prologue  and  two  acts.  The  only  operatic  part  of  this  farce  by  David  Grarrick  (not 
mentioned)  is  in  the  second  act,  in  form  of  "The  burletta  of  Orpheus."  The  composer 
is  not  mentioned,  but  is  known  to  be  Fran9oiB  Hippolyte  Barthfilemon. 

First  performed,  as  indicated,  October  23,  1767.  ML  50.2.P31 


860  LIBRARY  OF   CONGRESS 

A  peep  behind  the  curtain — Continued. 

—  A  peep  behind  the  curtain;  or,  The  new  rehearsal.  As  it  is 
now  performed  at  the  Theatre  Royal  in  Drury-Lane.     New  edition. 

London,  T.  Becket,  1772.     2  p.  Z.,  Jfi  p.    20^^. 

Apparently  the  same  as  the  1767  ed.  Lonoe  27 

A  peep  into  the  seraglio.     A.  T.  of  Bickerstaffe's  text  The  sultan. 

A  peep  into  the  tower.     A.  T.  of  Harlequin  Mungo. 

Peeping  Tom  of  Coventry,  a  comic  opera.  As  it  is  performed  at 
the  Theatre  Royal,  Smock- Alley,     By  John  O'Keefe,  Esq. 

Dublin,  CoUes,  WiTkiTison,  Byrne  [etc.],  1786.     2  p.  I,  43  p.     17^"^. 

Two  acts.     Cast.    The  composer,  Samuel  Arnold,  is  not  mentioned. 

First  performed  September  6,  1784,  at  the  Hay-Market,  London.         Longe  149 

—  Peeping  Tom  of  Coventry ;  a  comic  opera,  as  it  is  performed  at 
the  Theatre-Royal,  Smoke-alley. 

[Duhlin],  Printed  for  the  hoolcseUers,  1787.     28  p.     17^""^. 

Two  acts.    Cast.    Neither  O'Keefe  is  mentioned,  nor  Arnold.  Schatz  338 

Les  peines  et  les  plaisirs  de  I'amour,  pastorale  representee  par 
I'Academie  royalle  de  musique  en  Fan  1672.  Les  paroles  sont  de  M. 
Gilbert  &  la  musique  de  M.  Cambert.     II.  opera. 

n.  i.,  n.  d,  front.,  49-100  p.  14^^.  (Recueil  general  des  opera, 
Paris,  1703,  t.  i.) 

Detached  copy.    Five  acts  and  prologue.  Schatz  1520 

Second  copy.    ML  48. R4 

Le  peintre  amoureux  de  son  modele,  piece  en  deux  actes,  parodi^e 
dal  Pittore  innamorato,  intermede  italien:  Representee  pour  la  pre- 
miere fois  sur  le  Theatre  de  I'Opera-comique  de  la  if'oire  S.  Laurent, 
le  mardi  26  juillet  1757.     Par  M.  Anseaume. 

Paris,  Duchesne,  1767.     38,  [2]  p.     19^"^. 

Prose,  ariettes  and  vaudevilles.  Cast.  On  p.  3  the  same  foot-note  as  in  next 
entry.     The  [2]  p.  contain  lists  of  plays.  ML  50.2.P32D9 

—  Le  peintre  amoureaux  de  son  modele,  piece  en  deux  actes.  Re- 
presentee pour  la  premiere  fois  sur  le  Theatre  de  FOpera-comique  de 
la  Foire  St.  Laurent,  le  mardi  26  juillet  1757.  Par  M.  Anseaume. 
NouveUe  edition. 

Paris,  la  veuve  Duchesne,  1767.     28  p.     W'^'^. 

In  footenote  on  p.  3:  "Les  ariettes  sont  parodiees  sur  la  musique  de  I'intermMe 
italien  ['  11  pittor  innamorato '],  de  la  composition  del  Signor  Duny,  compositeur  de 
musique  de  I'lnfant  Don  Philippe,  due  de  Parme,  etc."  Schatz  2853 

—  Der  verliebte  maler,  ein  singspiel  in  zween  aufzuegen  aus  dem 
franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1773.  52  p.,  23  p. 
(folded  music,  dated  1775).     i^^"*. 

German  version,  by  Johann  Heinrich  Faber.    With  cast. 

The  musical  supplement  contains  the  arias  (voice  and  bass):  "Ja  ich  war  ein 
madchen"  ["Quand  j'^tois  jeunette"],  p.  1-5;  "Auf  einmal  ward  entziindet"  ["Un 
instant  a  fait  naltre"],  p.  6-11;  "Endlich  singt  der  gott  der  liebe"  ["De  Tamour  je 
Benslaflamme"],  p.  12-16;  " Ist sie eine coquette "  [" Si c'estune coquette"],  p.  16-23. 

First  performed  at  Frankfurt,  Theater  im  Junghof,  1773.  Schatz  2854 


OPERA   LIBRETTOS  861 

Pelarina.     Intermezzo. 

[79]-109  p.  16\*^.  {Carlo  Goldoni,  Opere  dramr/uttiche,  t.  iv, 
Torino,  1757.) 

Three  parts.  ML  49.A2G6 

—  La  pelerina.  Intermezzo  di  tre  parti  per  musica.  Rappresen- 
tato  per  la  prima  volta  a  Feltre  I'anno  MDCCXXIX. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  35, 
[S\-37  p.     18Y^.    ■ 

Three  parts.  According  to  Schatz,  first  performed  with  music  by  unknown  com- 
poser at  Venice,  Teatro  Gnmania  S.  Samuele  in  1734.  PQ 

Les  pelerins  de  la  Mecque.  Piece  en  trois  actes.  Par  M"  le 
S**  &  d'Or**  Representee  a  la  Foire  S.  Lam-ent  1726  &  ensuite 
sur  le  Th^§,tre  du  Palais  royal, 

Le  Theatre  de  la  foire,  Paris,  1728,  t.  vi,  pi,  [123]-230  p.     17'^'^. 

By  Le  Sage  and  d'Omeval.  Lai^ly  en  vaudevilles,  a  few  of  which  are  marked  aa  by 
"M.  I'Abb^."  The  airs,  selected  or  composed  and  arranged  by  Jean  Claude  Gillier, 
the  "compositeur  "  of  the  company,  are  printed  at  the  end  of  the  volume  in  the  "Table 
des  airs."    Parfaict  adds,  as  author,  Fuzelier. 

First  performed  July  29,  1726.  ML  48. L2  t"! 

II  pellegrinaggio  o  sia  La  vindemmia  fiamminga,  ballet.  See  Sarti's 
D  trionfo  della  pace. 

II  pellegrino.  Drama  musicale  rappresentato  nelle  camere  della 
serenissima  granduchessa  Vittoria  di  Toscana  per  solennizzare  11 
giomo  natalizio  del  serenissimo  Cosimo  Terzo  granduca  di  Toscana. 

G.  A.  Moniglia,  Poesie  draminatiche,  seconda  parte,  Firenze,  Cesare 
e  Francesco  B'indi,  1690,  p.  [295\-323.     24'^. 

Three  acts.  Argument  and  prefatory  note  according  to  which  this  "piccolo  com- 
ponimento  dramatico  ristretto  in  due  soli  personaggi"  was  composed  by  Lorenzo 
Cattani  and  was  simg  by  "due  fanciuUe  di  camera  della  serenissima  granduchessa." 

First  performed  in  1685  as  indicated.  ML  49.A2M7 

Pelope.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ducale 
di  Stutgart  festeggiandosi  il  felicissimo  giorno  natalizia  di  Sua  Altezza 
Serenissima  Carlo,  duca  regnante  di  Wirtemberg  e  Tech  etc.  ...     La 

Joesia  e  di  Mattia  Verazi  ...     La  musica  ^  del  celebre  Sig.  Nicolo 
ormnelli  .  .  . 
StutgaH,  Cotta,  1755.     94  p.     18^"^. 

Three  acts.  Argument,  cast,  sceuario.  German  title-page,  "Pelope,"  and  text 
face  Italian. 

First  performed,  as  indicated,  February  11,  1755.  Schatz  4869 

Pelopida.  Dramma  per  musica  da  rappresentarsi  nel  Regie  Teatro 
di  Torino  nel  carnevale  del  1763  .  .  . 

Torino,  Gaspare  Bayno,  n.  d.     viii,  56  p.     16'^°^. 

Three  acts.  By  Gaetano  Roccaforte,  who  is  not  mentioned.  Argument,  cast* 
scenario,  and  name  of  Giuseppe  Scarlatti  as  the  composer.  On  p.  53-66  brief  descrip- 
tions of  Augusto  Hubs'  ballets,  music  by  Giuseppe  Antonio  Le  Messier,  "I  selvatici' 
and  "La  morte  d'Orfeo."  Schatz  9551 

Pelops.     Tr.  of  Jommelli's  Pelope. 


J 


862  LIBRARY  OF  CONGRESS 

La  pena  degl'  occhi.  Drama  per  rappresentarsi  nel  Teatro  Zane 
di  San  Moisd  Tanno  MDCLXXXVIII  ... 

Venetia,  Francesco  Nicolini,  1688.     66  p.     14"^. 

Three  acte.  The  anonymous  author  asks  in  a  prefatory  note  for  the  reader's  indul- 
gence because  he  has  "composto  in  poch'ore  u  presente  drama."  Argument  and 
scenario.    The  composer,  Francesco  Rossi,  is  not  mentioned.  Schatz  8889 

Penelope.  Drama  per  musica  in  applause  delle  augustissime  nozze 
delle  Sacre  Cesaree  Reali  Maestk  dell'  imperatore  Leopoldo  et  impe- 
ratrice  Claudia  Felice.  Fatto  rappresentare  dal  serenissimo  Sig. 
duca  di  Mantova,  Monferrato  etc  Fanno  1674. 

Mantova,  gli  Osanni,  n.  d.     1  p.  I.,  75,  [1]  p.     20'^'^. 

Prologue  and  three  acts.  Argument.  Author  and  composer  not  mentioned  and 
unknown  to  Schatz.  Schatz  11357 

Penelope,  a  dramatic  opera,  as  it  is  acted  at  the  new  Theatre  in  the 
Hay-Market. 

London,  Printed,  and  sold  hy  Tho.  Green  and  Charles  Davis,  1728. 
4p.l.,  [1],  18-60,  [1]  p.,  15  p.  (music).  -  19^=^. 

Three  acts.  By  John  Mottley  and  Thomas  Cooke,  who  are  not  mentioned.  Pref- 
ace ,*prol(^uej  cast,  and  epilogue.  The  15  p.  of  music  (engraved  on  one  side)  contain 
tiie  overture  m  score  and  14  numbered  ballad  airs  with  their  titles,  corresponding  to 
the  numbered  songs  in  text  (without  the  titles  of  the  airs).  Long<£  152 

Penelope.  Dramma  serio  per  musica  da  rappresentarsi  nel  Regie 
Teatro  dell'  Accademia  degli  Awalerati  in  Livomo  I'autimno  deU' 
anno  1795. 

[Livorno],  Tommaso  Masi  e  compagno,  n.  d.     4^  p.     18'^^. 

Two  acts.  By  Gius.  Maria  Diodati,  who  is  not  mentioned.  Impresario's  dedica- 
tion, ailment,  cast,  scenario,  and  name  of  Domenico  Cixoaxosa  as  composer. 

First  performed  at  Naples,  Teatro  del  Fondo,  December  26,  1794.    Schatz  1967 

Penelope,  tragicommedi.  Denen  .  .  .  majestaeten  .  .  .  zur  fass- 
nachts-imterhaltun^  welsch-gesimgener  vergestellet  im  jahr  1724. 
Poesi,  des  hrn.  Pariati  ...  In  die  music  verfasset  von  hrn.  Fran- 
cesco Conti  .  .  . 

Wien,  Jdhann  Peter  van  Ghelen,  n.  d:    55  p.     15^'^. 

Three  acts.    Argument,  cast,  scenario.    German  text  only. 

First  performed  at  Vienna,  Hoftheater,  February  6,  1724.  Schatz  2202 

Penelope  la  casta,  drama  per  musica,  da  rappresentarsi  per  opera 
seconda  nel  Teatro  di  S.  Angelo  il  camevale  dell'  anno  1716.  Di 
Mattee  Noris,  recitato  la  prima  volta  nel  famoso  Teatro  di  S.  Gio. 
Chrisestomo  I'anno  1685  ... 

Venezia,  Marine  Rossetti,  1716.     60  p.     15'=^. 

Three  acts.  Dedication,  argument,  cast,  name  of  the  composer,  Fortunato  CheUeri 
and  notice  to  the  reader.    He  is  informed  (in  the  dedication)  that  this  is 

"la  pill  fortunata  composizione  drammatica  del  Sig.  Matteo  Noris,  intitolata  la 
Penelope,  la  <juale  con  tanto  applause  nell'  anno  1685  si  \ddde  rappreeentata  nel 
Teatro  di  S.  Gio.  Chrisostomo." 
and  in  the  notice: 

"Se  la  ritrovi  in  qualche  parte  mutata,  e  nell'  arie,  e  nelli  versi,  non  si  h  fatto  ad 
altro  fine,  che  per  accomodarla,  cosi  all'  uso  modemo  del  teatro,  come  alia  compagnia 
che  deve  rappresentarla."  Schatz  1813 


OPERA  LIBRETTOS  863 

Penelope  la  casta.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimano  m  S.  Gio.  Chrisostomo.  L'anno 
MDCLXXXV.     Di  Matteo  Noris  .  .  . 

Venetia,  Francesco  Nicolini,  1685.     84  p.     14'^^. 

Three  acts.  Publisher's  dedication  dated  Venice,  January  28,  1685,  argument, 
and  scenario.    The  composer.  Carlo  Pallavicino,  is  not  mentioned.     Schatz  7730 

La  Penelope  moderne.  Piece  en  deux  actes.  Par  M"  le  S  *  * 
F    *     *  &  d'Or    *     *.     Representee  k  la  Foire  Saint  Laurent  1728. 

Le  TTiedtre  de  la  foire,  Paris,  1731,  t.  vii,  pi,  1  p.l,  84  p.     17""^. 

By  Le  Sage,  Fuzelier,  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected 
or  composed  and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  com- 
pany, are  printed  at  the  end  in  the  "Table  dee  airs." 

Furst  performed  September  6,  1728.  ML  48.L2VII 

Penelope  nella  partenza  da  Sparta.  Dramma  per  musica  per 
celebrare.il  felicissimo  giorno  natalizio  di  .  .  .  Donna  Maria  I  .  .  . 
li  17  decembre  1782. 

[Lishond\,  Nella  stamperia  reale,  n.  d.     82  p.     16 '^^. 

One  act  with  licenza.  By  Gaetano  Martinelli.  Cast,  argument,  and  names  of  the 
composer,  Joao  de  Sousa  CarvaUio,  and  the  author.  Schatz  1673 

Penelope  und  Ulysses,  ander  theil,  in  einem  sing-spiel  vorgestellet. 

Hamburg,  Nicolaus  Spieringk,  1702.      Unpaged.     19'^'^. 

Three  acts.  Neither  the  author,  F'riedrich  Christian  Bressand,  is  mentioned,  nor 
the  composer,  Reinhard  Keiser. 

First  performed  at  Brunswick,  February,  1696.  Schatz  5109 

II  pentlmento  amoroso,  ballet.     See  Astaritta's  L'isola  di  Begodi. 

II  pentlmento  generoso.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  per  ultim'  opera  del  came  vale  1719.  Di 
Domenico  Lalli  .  .  . 

Venezia,  Marino  Rossetli,  1719.    55  p.     15^^. 

Three  acts.  Author's  signed  preface,  "Al  lettore,"  cast,  scenario,  and  name  of 
the  composer,  Stefano  Andrea  FiorS,  "Milanese,  Maestro  di  cappella  attuale  della 
Real  Corte  di  Torino;  &  Accademico  Filarmonico."  Schatz  3194 

Le  pere  rival.  Piece  en  un  acte.  Representee  sur  le  Theatre  de 
rOpera  comique  a  la  Foire  S.  Germain,  le  24  mars  1734. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  2,  pi,  [323]-383  p.     17'="'. 

By  Carolet.  Largely  en  vaudevilles.  The  airs,  a  few  of  which  by  Corette,  are 
printed  at  the  end  or  the  volume  in  the  ""Table  des  airs." 

Firet  performed  March  30,  1734.  ML  48.L2X 

Le  peregrine  erranti,  ballet.     See  Salari's  II  marchese  Carbonaro. 

Peribea  in  Salamina.  Drama  per  musica  da  rappresentarsi  nel 
NuGvo  Teatro  delle  Grazie  in  Vicenza.  Per  la  fiera  del  maggio 
1712  ... 

Padova,  Penada,  1712.     60  p.     W"^. 

Three  acte.  Author  not  mentioned  and  unknown  to  Schatz.  Dedicatory  sonnet, 
argument,  cast,  scenario,  and  name  of  Carlo  Francesco  Pollaroli  as  the  composer. 

Schatz  8312 

Perichitta  e  Bertone,  intermezzi.     See  Mancini's  L'Oronta. 


864  LIBRARY   OF   CONGRESS 

Pericle  effeminate.  Drama  per  musica,  di  Giacomo  Castoreo,  per 
recitarsi  nel  Teatro  di  S.  Appolmare  .  .  . 

Venetia,  Giacomo  Batti,  165S.     89  p.  (incl.  front.)     14'^^. 

Three  acta  and  prologue.  Author's  dedication  dated  Venice,  January  7,  1653, 
argument,  and  notice  to  the  reader,  in  which  he  incidentally  deplores  "la  deprovata 
corutelladel  secolo,  nel  C[uale  la  facolt^  poetica,  che  altre  volte  iti  stromento  d'  inti- 
morir  i  tiranni  con  la  civilt^  de  costumi,  non  trovi  mezo  per  dilettarti  che  con  la 
efacciatagine  de  moti  inhonesti  . '.  ." 

The  composer,  Francesco  Luccio,  is  not  mentioned.  Schatz  5747 

Peronne  sauvee,  opera  en  quatre  actes,  represent  6,  pour  la  pre- 
miere fois,  par  rAcad6mie-royale  de  musique,  le  mardi  27  mai  1783. 

Paris,  P.  de  Lormel,  1788.     65  p.     23^"^. 

Withcastand^'Avertiseement."  "Les paroles  soutdeM.deS  *  *  *Sauvigny]. 
La  musique  est  de  M.  Dezdde.''  Schatz  2526 

Persee,  tragedie.  Representee  par  I'Academie  royale  de  musique. 
Suivant  le  copie  imprim^e.     A  Paris. 

[Amsterdam,  Antoine  Schelte],  1685.     60  p.  (incl.  front.)     13^'^^. 

Prologue  and  five  acts.     Neither  Quinault,  nor  Lully  mentioned. 

ML  50.2.P33L9 

—  Persee,  tragedie  representee  par  1' Academie  royale  de  musique  I'an 
1682.  Les  paroles  de  M.  Quinault,  &  la  musique  de  M.  de  Lully, 
XIV.  opera. 

n.  i.,  n.  d.  front.,  299-368  p.  IZ/P^.  {Recueil  general  des  opera, 
t.  a,  Paris,  1703). 

Detached  copy.    Prologue  and  five  acts. 

First  performed,  as  indicated,  April  17,  1682.  Schatz  5769 

Second  copy.    ML  48. R4 

—  Persee,  tragedie  representee  par  I'Academie  royale  de  musique, 
le  17  avril  1682,  &  ensuite  k  Versailles  au  mois  de  Juin. 

Le  theatre  de  Monsieur  Quinault,  Paris,  1739,  t.  v.,  pi.,  p.  [12]-193. 

I'Ycm 

Prologue  and  five  acts.     Iiully  is  not  mentioned.  PQ  1881. Al    1739 

—  Arlequin  Persee.     Comedie  representee  pour  la  premiere  fois 

Ear  les  Comediens  italiens  ordinaires  du  roi,  le  vendredi  18.  decem- 
re  1722. 

Les  parodies  du  Nouveau  Theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  a,  [87hl50  p. 

Three  acts.  By  Fuzelier  (see  t.  I).  The  airs  and  vaudeville  used  are  printed  at 
the  end  of  the  volume  in  the  ''Table  des  airs"  (60  p.).  MX  48. P3 

Persee  «&  Andromede,  ballet.     See  Traetta's  Siroe. 

Persee.  Drama  per  musica  di  Aurelio  Aureli,  favvola  decimaterza. 
Rappresentato  in  musica  nel  Teatro  Grimano  I'anno  1665  ,  .  , 

Venetia,  Francesco  Nicolini,  1665.     front,  6  p.  I.,  79  p.     14"*". 

Three  acts  and  prologue.  Author's  dedication,  argument,  and  scenario.  The 
composer,  Andrea  Mattioli,  is  not  mentioned.  Schatz  6103 

Persee  trienfante.     Dramma  musicale. 

Girolamo  Bartolommei  Smeducci,  Drammi  musicali  morali,  Firenze, 
1656,  V.  i,  p.  [101]-130.     23'^'^. 

Prologue  and  three  acts.    Argument  and  allegoria,  ML  49.A2B3 


OPERA   LIBEETTOS  865 

Perseus  and  Andromeda  with  The  rape  of  Colombine:  or,  the 
flying  lovers.  The  five  interludes;  three  serious,  and  two  comic. 
The  serious  compos'd  by  Mons.  Roger,  and  the  comic  by  Mr.  John 
Weaver,  dancing  masters.  As  it  is  perform'd  at  the  Theatre  Royal 
in  Drury-Lane.     The  cloaths,  scenes  and  machines,  entirely  new. 

London,  W.  Trott,  1728.    5  p.  I.,  12  p.     19<^^. 

Cast,  argument,  description,  and  the  words  of  "A  song  sung  by  Mr.  Eay  to  the 
tune  of  Thomas  I  cannot  .  .  .  the  words  by  Mr.  Weaver — In  London  Town  there 
liv'd,  well  known."  This  was  composed  by  John  Christopher  Pepusch,  as  perhaps 
the  entire  work.  In  his  ' ' History  of  the  mimes  and  pantomimes  "  (1728)  John  Weaver 
calls  "Perseus  and  Andromeda''  "A  burlesque  entertainment  in  dancing,  in  gro- 
tesque characters.  Compoeed  by  J.  Weaver  and  first  performed  in  Drury-Liuie, 
1716."  LoNGE  191 

—  Perseus  and  Andromeda.  As  it  is  performed  at  the  Theatre 
Royal  in  Lincoln's-Inn-Fields.  Adorn'd  with  copper-plates  .  .  . 
The  fourth  edition ;  to  which  is  added  the  Sailor's  ballad. 

London,  TTio.  Wood,  1730.     5  p.  I.  (incl.  2  pi.),  18  p.     19<^. 
One  act.     Cast  and  argument.    Neither  author  nor  composer  mentioned. 

LONQE  40 

II  pertinace.  Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro. 
Vendramino  di  San  Salvatore  I'anno  1689  ,  .  . 

Venetia,  Nicolini,  1689.     66  p.     IW"^. 

Three  acts.  Publisher's  dedication,  ailment,  and  scenario.  Neither  the  com- 
poser, Paolo  Biego,  nor  the  librettist  is  mentioned.  Schatz  considers  Pietro  d'Ave- 
rara  as  the  librettist,  but  Wotquenne  points  out  that  "II  pertinace"  is  not  the  same 
as  d'Averara's  "Publio  Elio  Pertinace."  Schatz  1016 

The  Peruvian;  a  comic  opera,  in  three  acts.  As  performed  at  the 
Theatre  Royal  Covent-Garden.  By  a  lady.  The  music  chiefly  com- 
posed by  Mr.  Hook. 

London,  J.  BeU,  1786.    3  p.  I.,  81  p.     21'='^. 

Cast  and  Advertisement,  in  which  the  imidentified  author  calls  herself  "not  a 
resident  of  England." 

First  performed  March  18,  1786,  as  indicated.  Lonqe  97 

Li  pescatori,  ballet.     See  Sarti's  La  giardiniera  brillante. 

La  pescatrice.     L.  T.  of  Pietro  Guglielmi's  La  bella  pescatrice. 

La  pescatrice  ovvero  L'erede  riconosciuta.  Farsa  per  musica  a 
quattro  voci  da  rappresentarsi  nella  Real  Villa  del  Poggio  a  Cajano 
nella  primavera  dell'  anno  1772. 

Firenze,  Stecchi  e  Pagani,  1772.     1  p.l,  56  p.     17^"^. 

Two  acts.     Niccol5  Piccinni  is  mentioned  as  the  composer.    Author  unknown. 

First  performed  at  Rome,  Teatro  Capranica,  January  9,  1766.  Schatz  8102 

—  La  pescatrice.  Operetta  per  musica  da  rappresentarsi  ne' 
Teatri  privilegiati  di  Vienna  il  carnovale  dell'  anno  1769. 

Vienna,  Ghelen,  n.  d.     46  p.     17'"^. 

Two  acts.    Niccol5  Piccinni  is  mentioned  as  the  composer. 

First  performed  at  Vienna,  Kamthnerthor  Theater,  January  23,  1769. 

Schatz  8103 

72251"— VOL  1—14- — 55 


866  LIBRARY  OF   CONGRESS 

La  pescatrice — Continued. 

—  L*erede  riconosciuta.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  nobilissimo  Teatro  di  S.  Benedetto  I'autunno  dell'  anno 
MIKXJLXXI. 

Venezia,  Modesto  Fenzo,  n.  d.     56  p.     17^'^. 

Expanded  to  three  acts.  Cast,  scenario,  and  names  of  Niccol6  Picciimi  and  Sal- 
vador Perillo  as  the  composers,  the  latter  being  responsible  for  the  additional  music 
only.  This  consists  of:  "Ajuto  buona  gente  and  "Deh  concedi,  o  caro  padre" 
(I,  1),  "Vi  vuol  altro  che  bravati"  (I,  4),  "Un  pensier  mi  nasce  in  testa"  (I,  5),  "Un 
amaute  rispettoso"  (I,  7,  "Quella  stizza  lascia  andare"  (II,  1),  "Voi  altre  femmine" 
(II,  2),  "Delia  donne  il  core  6  fatto"  (II,  3),  "Oh  che  giomo  di  contento"  (II,  4), 
"Dal  tuo  costante  amore "  (II,  11),  "Piii  non  sento  gli  anni  miei "  (III,  3).  With  the 
opera  were  performed  Giovanni  Antonio  Sacco's  ballets,  "Pane  e  Siringa"  and  "La 
eposa  gronlandese,"  of  which  short  descriptions,  without  name  of  the  composers  of  the 
music,  are  given  in  the  libretto.  Schatz  8104 

—  Das  fischermaedchen.  Ein  singspiel  in  zween  aufzuegen.  Auf 
dem  hochfuerstlich  Thurn-  und  Taxischen  Theater  allhier  aufgefuehrt. 

Regenshurg,  Gedruckt  mit  Breitfeldischen  schriften,  n.  d.     1^8  y.     W^. 

Two  acts.     Translator  unknown. 

First  performed,  as  indicated,  carnival,  1777.  Schatz  8105 

La  pescatrice  fedele.     L.  T.  of  Anfossi's  La  vera  costanza. 

La  pescatrice  fedele,  ballet.     See  Boroni's  Le  orfane  svizzere. 

La  pescatrice  in  Jassa,  ballet.  See  Gardi's  II  contraweleno  in 
Jassa. 

Le  pescatrici. 

[107]-160  p.  16Y^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  Hi,  Torino,  1757.) 

Three  acts.     First  composed  by  Bertoni,  as  below.  ML  49.A2G6 

—  Le  pescatrici.     Dramma  di  tre  atti  in  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v.  44? 
[233]-286  p.     18'^'^.  PQ 

Le  pescatrici.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  posto  in  contrada  di  San  Samuele.  II  carnovale  dell'  anno 
1752  .  .  . 

Venezia,  Giuseppe  BettineUi,  1752.     59  p.     15'^'^. 

Three  acts.  Impresario's  dedication,  dated  Venice,  December  24,  1751,  cast, 
scenario.  Neither  the  author.  Carlo  Goldoni,  is  mentioned,  nor  the  composer,  Ferdi- 
nando  Giuseppe  Bertoni.  Schatz  921 

PLe  pescatrici.] 

Torino,  1754.     62  p.     15''". 
Title  page  missing. 

Three  acts.  By  Carlo  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  Rocca  Gioanetti  as  the  composer. 

First  performed  at  Turin,  Teatro  del  principe  di  Carignano,  spring,  1754. 

Schatz  3831 


OPERA   LIBRETTOS  867 

Das  Petermaennchen.  Ein  schauspiel  mit  gesang  in  vier  aufzue- 
gen.  Nach  der  geister  geschichte  des  herrn  Spiess  bearbeitet  von 
Carl  Friedrich  Hensler.  Die  musik  dazu  ist  ganz  neu  verfasst  von 
herrn  Joseph  Weigl  .  .  .     Erster  theil. 

Wien,  Johann  Baptist  Wallishauser,  1794.     83  p.     18'''^. 

This  copy  lacks  the  front.  ("Ich  will  indess  sein  vater  eeyn").  A  eecond  copy 
(Schatz  11942a)  contains  it,  but  the  copy  was  cut  down  to  16"™.  by  a  binder. 

First  performed  at  Vienna,  Theater  in  der  Leopoldstadt,  April  8,  1794. 

Schatz  10942 

—  Das  Petermaenncheii.  Ein  schauspiel  mit  gesang  in  vier  auf- 
zuegen  ,  .  .     Zweyter  theil. 

Wien,  Johann  Baptist  Wallisliauser,  1794.     75  p.     18'^'^. 

First  performed  at  Vienna,  Theater  in  der  Leopoldstadt,  May  20,  1794. 

ScHAVz  10943 

Peters  Bryllup.  Et  syngespil  i  to  akter  ved  Thomas  Thaarup.  Sat 
i  musik  af  hr.  capelmester  J.  A.  P.  Schulz. 

Ki0ben?iavn,  Johan  FrederiTc  ScTinlts,  1793.     60  p.     18'^'^. 

First  performed  at  Copenhagen,  Royal  Theatre,  December  12, 1793.     Schatz  9726 

Le  petit  cominissionnaire.     A.  T.  of  Brum's  Claudine. 

Le  petit-maitre  en  province,  comedie  en  un  acte  et  en  vers,  avcc 
des  ariettes.  Par  M.  Harny,  La  musique  est  de  M.  Alexandre. 
Representee  pour  la  premiere  fois  par  les  Com^diens  italiens  ordi- 
naires  du  roi,  le  7  octobre  1765. 

Paris,  la  veuve  Duchesne,  1765.     38  p.     IQh,'^™'. 

Cast  and  author's  preface  which  reads: 

"Je  ne  dois  sans  doute  qu'au  jeu  des  acteiirs  le  succ^s  de  cette  piece.  Je  saisis 
avec  plaisir  I'occasion  de  leur  en  marquer  ma  reconnoissance.  Queiques  personnes 
cependant  ont  trouv6  mauvais  que  j'aie  fait  representer  cette  comedie  sur  le  Theatre 
Italien.  II  faut  me  justifier.  Les  acteurs  de  ce  theatre  se  font  un  devoir  d'accueillir, 
d'encourager  les  auteurs;  on  n'y  connoit  point  I'usage  de  faire  destrer  pendant  deux 
ans  I'honneur  d'une  lecture,  I'homme  de  lettres  n'est  point  oblig6  de  jouer  le  role  de 
suppliant  dans  I'antichambre  d'un  semainier.  Ces  raisons  sont  suffisantes  pour  un. 
hommequi  ne  se  sent  point  d'humeur  asouffrir  les  tracasseries,  &  sur-tout  I'numilia- 
tion.  On  pent  y  joindre  cependant  des  vues  particulieres.  La  musique  paroit 
aujourd'hui  tenir  le  premier  rang  dans  nos  spectacles;  sero  tice  deplaire  au  public 
que  de  t&cher  de  I'allier  avec  la  peinture  de  nos  moeurs?  Pourquoi  nousbomer  aux 
paisans?  Pourquoi  ne  pas  essayer  tous  les  tons?  Quittons  le  village,  la  ville  nous 
offrira  plus  d'un  tableau  interessant.  J'espere  que  I'on  ne  prendra  point  ceci  pour 
un  trait  de  satyre  contre  les  auteurs  qui  n  ont  travaill^  que  dans  le  premier  genre. 
Un  talent  en  annonce  toujours  un  autre.  L'auteur  de  la  Chercheuse  d* Esprit  a  fait 
VAnglois  a  Bordeaux.  Chacune  de  ces  pieces  est  un  chef-d'oeuvre.  On  me  par- 
donnera  ais^ment  de  citer  par  pr6f6rence  M.  Favart.  II  est  permis  k  un  ^colier 
d'avoir  quelque  prMilection  pour  son  maitre.  C'est  lui  qui  m'a  donne  les  premieres 
logons  de  I'art  dramatique.  Bastien  a  6t6  fait  sous  ses  yeux.  II  est  facile  de  s'en 
appercevoir,  &  cette  demiere  piece  vaudroit  sans  doute  beaucoup  mieux,  ei  j'avois 
pu  profiter  de  ses  avis  pendant  le  cours  de  la  composition.  Queiques  critiques  m'ont 
accus^  d'avoir  copife  le  m^chant  dans  la  scene  oil  le  marquis  tourne  en  ridicule  le 
baron  &  la  baronne.  lis  se  sont  tromp^s.  Cette  situation  est  tir^e  du  conte  des 
iJ^oisde  la  Fontaine."  ML  50.2.P337A4 

—  Le  petit-maitre  en  province,  comedie  en  un  acte  et  en  vers,  avec 
des  ariettes  par  Mr.  Harny,  E,epr6sent6e  pour  la  premiere  fois  par 
les  Com6diens  italiens  ordinaires  du  Roi,  le  7  octobre  1765.  La 
musique  est  de  Mr.  Alexandre. 

Paris,  la  veuve  Duchesne,  1771.     4^  p-     18^*^, 

One  act.  Cast  and  the  music  of  some  of  the  airs,  as  follows:  "Les  dehors  les  plus 
seduisants,"  "Les  premiers  moments  d'une  belle,"  "L'eclat  est  le  moyen  de  plaire." 

Schatz  159 


868  LIBRARY   OF   CONGRESS 

Le  petit-maitre  malgre  lui.  A.  T.  of  Favart's  La  r6p6tition 
nterrompue. 

Le  petit  matelot,  ou  Le  manage  im-promptu,  com6die,  en  un  acte 
en  prose,  m§16e  de  chant.     Par  le  C.  JPigault-Lebrun.     Musique  du 
C.  Gavau  [ !].     Representee  pour  la  premiere  fois  sur  le  Th6§,tre  de  la 
rue  Faydau,  le  7  nivdse,  Fan  4me  de  la  R6publique. 
Paris,  Huet,  1796.     46  p.     20^"^. 

Preface.  Cast.  Corhposed  bv  Pierre  Gaveanx.  The  date  in  the  title  would  be 
December  28,  1795,  but  is  probably  a  misprint  for  17  nivose,  which  would  be  January 
7, 1796,  in  accordance  with  the  date  in  the  printed  score  and  accepted  by  the  reference 
books.  ML  50.2.P34G2 

—  Le  petit  matelot,  ou  Le  mariage  impromptu,  com^die  en  un  acte 
et  en  prose,  melee  de  chant;  par  le  citoyen  Pigault-Lebrun,  musique 
du  citoyen  Gavau  [!]  Representee  pour  la  premiere  fois,  sur  le 
Theatre  de  la  rue  Faydeau,  le  7  niv6se,  Fan  quatrieme  de  la  Repu- 
blique. 

Paris,  Huet,  1796.     Jfi  p.     19^^. 

The  same  cast,  preface,  and  text  which  is  printed  in  a  somewhat  smaller  type  than 
the  other  edition  of  1796.  Schatz  3641 

—  Le  petit  matelot,  ou  Le  mariage  impromptu.  Com^die  en  un 
acte  et  en  prose;  m^lee  de  chants.  Par  le  C.  Pigaut-Lebrun.  Mu- 
sique du  C.  Gavau. [!]  Representee  pour  la  premiere  fois  sur  le  Thea- 
tre de  la  rue  Feideau,  le  7  niv6se,  I'an  4e  de  la  Republique. 

Avignon,  les  freres  Bonnet,  Van  cinquieme  de  la  Republique  [1796-97]. 
32  p.     20^"^.  ML  50.2.P34G22 

La  petite  Nannette.  Opera-comique,  en  deux  actes,  representee 
pour  la  premiere  fois  k  Paris,  au  Theatre  Feydeau,  le  19  frimaire,  an 
5me.  (Vendredi  9  decembre  1796,  vieux  style)  Paroles  et  musique 
du  Cousin  Jacques  .  .  . 

Paris,  Moutardier,  an  V. — 1797.     75  p.     19^'"'^. 

Cast.  Schatz  703 

Les  petites  maisons.  Piece  en  un  acte.  Representee  "k  la  Foire 
S.  Germain.     1732. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  2,  pi,  U33]-488  p.     17'='^. 
By  Carolet.     Partly  en  vaudevilles.    The  airs  are  printed  at  the  end  of  the  volume 
in  the  "Table  des  airs."     Composed  according  to  Parfaict,  by  Travenol. 

ML  48.L2X 

Les  petits  comediens,  opera-comique  en  un  acte;  represente  pour 
la  premiere  fois  sur  le  TheMre  de  la  Foire,  en  1731. 

Charles  Francis  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  2, 
[129]-178  p.     17'"^. 

In  prose  and  vaudevilles.     Composer  not  recorded  by  Parfaict,  etc.     PQ  2019. P3 

Pe trine.     Parody  of  LuUy's  Proserpine. 

Die  pfleg-tochter.     Tr.  of  Garcia's  La  pupilla. 

Pflicht  und  liebe  im  streit.     A.  T.  of  Mederitsch'  Rose. 


OPERA  LIBRETTOS  869 

Phaedon  und  Naide,  oder  Der  redende  Baum.  Ein  singspiel  in 
zwey  aufzuegen. 

83  p.  14h'^^'  {Johann  Georg  Jacohi,  Theatralische  Schriften 
Nachtrag  zu  seinen  saemtlichen  werken,  Leipzig,  G.  J.  Goeschen,  1792.)- 

First  performed  with  music  by  Franz  Friedrich  Sie^emund  August,  reichsfrei- 
herr  Boecklln  von  und  zu  Boecklinsau,  at  Freiburg  i/Br.,  Stadttheater,  January 
5,  1790.  ScHATZ  1113 

Phaeton.     Tr.  of  Graun's  Fetonte. 

Phaeton.     Tr.  of  Jommelli's  Fetonte. 

Phaeton,  tragedie  en  musique,  representee  par  I'Academie  royale  de 
mnsique  devant  Sa  Majesty  k  Versailles,  le  sixieme  jour  de  Janvier 
mil  six  cens  quatre-vingts-trois.     Suivant  la  copie  imprimee,  a  Paris. 

[Amsterdam,  Antoine  Schelte],  1683.     58  p.  {incl.  front.)     13Y^. 

Prologue  and*  five  acts.  Neither  Quinault,  the  author,  is  mentioned,  nor  Lully, 
the  composer.  ML  50.2.P347L9 

—  Phaeton,  tragedie  en  musi(jue,  representee  par  I'Academie  royale 
de  musique.  Devant  Sa  Majeste  k  Versailles.  Suivant  la  copie 
imprim6e  "k  Paris. 

[Amsterdam,  Antoine  Schelte},  1686.     58  p.  (incl.  front.)     13^^- 
Prologue  and  five  acts.     Neither  the  author,  Philippe  Quinault,  is  mentioned, 

nor  the  composer,  Jean  Baptiste  de  LuUy. 

First  performed  at  Versailles,  January  6,   1683;  at  Paris,   Acad^mie  royale  de 

musique,  April  27,  1683.  ML  50.2.P347L92 

—  Phaeton,  tragedie  representee  par  I'Academie  royale  de  musique 
Pan  1683.  Les  paroles  sont  de  M.  Quinault,  &  la  musique  de  M.  de 
Lully,  XV.  opera. 

n.  i.,  n.  d.     14*^^.     pi.,  369-430  p.     (Recueil  general  des  opera,  t.  ii, 

Paris,  1703.) 

Detached  copy.     Five  acts  and  prologue.  Schatz  5777 

Second  copy.    ML  48. R4 

—  Phaeton,  tragedie  en  musique.  Representee  devant  le  roi  au 
mois  de  Janvier  1683.  &  ensuite  par  I'Academie  de  musique  le  27 
avril  suivant. 

Philippe  Quinault,  Theatre,  Paris,  1739,  t.  v.,  pi,  p.  [195\-251.     17^'^. 
Prologue  and  five  acts.     Lully  is  not  mentioned.  PQ  1881.A1     1739 

—  Arlequin  Phaeton,  parodie.  Par  les  Srs.  Dominique  &  Romag- 
nesi  .  .  .  Representee  pour  la  premiere  fois,  par  les  Comediens 
italiens  ordinaires  du  roi,  le  22  fevrier  1731. 

Les  parodies  du  Nouveau  thedtre  italien,  Nouv.  ed.,  Paris,  1738,  t.  i-y, 
[271]-312  p.     WY"^- 

One  act.  Called  in  the  table  of  contents  the  "second  parodie "  of  the  opera,  but, 
according  to  Wotquenne,  the  third.  The  airs  and  vaudeville  printed  at  end  of  the 
volume  in  the  "Table  des  airs  "  (92  p./.  ML  48.P3 

Die  phantasten.     Tr.  of  PaisieUo's  I  visionari. 

Phaon,   drame  lyrique.     En  deux  actes,  en  vers  m^e  d'ariettes, 
represente  devant  Leurs  Majestes,  k  Choisy  en  Septembre  1778. 
[Paris],  P.  R.  C.  Ballard,  n.  d.     3  p.  I.,  46  p.     20'^. 

Two  acts.  By  Claude  Henri  Watelet,  who  is  not  mentioned.  Cast  and  name  of 
Niccol6  Piccinni  ae  the  composer.  .  Schatz  8158 


870  LIBRARY   OF   CONGRESS 

Pharamundus,  in  einer  opera  vorgestellet  auf  dem  grossen  Braun- 
schweigischen  Theatro  in  aer  Laurentii  Messe,  anno  1746, 

Wolffenhuetlel,  Christian  Bartsch  witlwe,  n.  d. 

Three  acts.  A  German  version  of  Aposto  Zeno's  "Faramondo,"  with  the  Italian 
text  of  the  arias  added  to  the  German .  Argument  and  note  that  the  music  ' ' anlangend 
die  symphonia  und  die  meisten  arien  "  was  composed  by  Johann  Adolph  Hasse. 

First  performed  as  indicated,  August  15,  1746.  Schatz  4553 

Fharao  und  Joseph,  in  einem  sing-spiele  auf  dem  Hamburgischen 
Schau-platze  vorgestellet.     Im  jahr  1728. 

[Hamburg]  Gedrucht  mit  Stromerschen  schrifften,  n.  d.      Unpaged. 

In  five  acts,  by  Johann  Samuel  Miiller.  With  cast  and  names  of  the  author  and 
of  Antonio  Caldara  as  composer  of  the  arias,  to  which  the  Italian  text  has  been  added. 
Really  a  free  translation  of  Zeno's  "Gianguir,"  performed,  with  Caldara's  music,  at 
Vienna  in  1724.  Schatz  1483 

Le  Pharaon.  Piece  d'un  acte.  Par  Monsieur  F  *  *  *  *.  Rep- 
resentee a  la  Foire  de  Saint  Germain  1717. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ii,  pi,  [399]-U8  p.     17'^'^. 

By  Fuzelier.  The  airs,  selected  or  composed  and  arranged  by  Jean  Claude  Gil- 
lier,  the  "compositeur"  of  the  theatre,  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs."  ML  48.L21I 

Pharnaces :  an  opera.  Altered  from  the  Italian.  By  Thomas  Hull. 
As  it  is  performed  at  the  Theatre  Royal  in  Drury-Lane  .  .  . 

London,  J.  and  R.  Tonson  and  T.  Lovmds,  1765.     vi,  [2],  39 p.     W^. 

Three  acts.  Cast  and  dedication,  dated  London,  January  1,  1765.  The  composer, 
William  Bates,  is  not  mentioned.     Presumably  altered  from  Lucchini's  "Famace." 

LONGE  50 

Second  copy.     Longe  203 

Pharnaces :  or,  The  revenge  of  Athridates.  An  English  opera.  As 
it  was  to  have  been  performed  at  the  Theatre  Royal,  Edinburgh. 
The  music  selected  from  the  most  capital  composers,  and  adapted  oy 
Mr.  Tenducci.     The  third  edition. 

Edinburgh,  Printed  by  Martin  &  Wotherspoon,  1769.     Ji7  p.     16^'^. 

Three  acts.     Cast  and  this  note: 

"As  Mr.  Gilson  is  extremely  ill,  the  part  of  Athridates  is  obliged  to  be  left  out,  and 
part  of  Pompey— and  of  Gilades — and  all  the  recitatives  (except  Mr.  Tenducci's,  with 
accompanyments),  as  they  would  be  tedious  to  the  audience. 

The  onginal  text  presumably  was  Antonio  Maria  Lucchini's  "Famace."  The 
English  version  is  not  that  by  Thomas  Hull.  Longe  277 

Phebe  or  The  beggar's  wedding.     See  The  beggar's  wedding. 

Phedre,  tragedie-lyrique,  en  trois  actes;  representee  k  Fontainebleau 
le  26  octobre  1786.  Remise  sur  le  Theatre  de  F Academic  de  musique 
le  mardi  21  novembre  1786.  Paroles  du  Sieur  *  *  *  Musique 
du  Sieur  Le  Moine. 

Bordeaux,  Philippean,  1786.     28  p.     21'='^. 

Text  by  Francois  Benoit  Hoffman.  ML  50.2.P35L2 

Le  Phenix.     A.  T.  of  La  bonne  femme. 


OPERA  LIBRETTOS  871 

Philander.  A  dramatic  pastoral.  By  the  author  of  the  Female 
Quixote. 

London,  A.  Millar,  1758.     vii,  [8]-48  'p.     19^^. 

Two  acts.  Dedication,  dated  London,  November  20,  1757,  by  the  author,  Char- 
lotte Lenox.    No  composer  and  no  performance  recorded  by  Clarence.       Longe  52 

Philander.     Tr.  of  Porpora's  Filandro. 

Philemon  et  Baucis.     A.  T.  of  Les  bons  et  les  m^chans. 

Philemon  und  Baucis,  oder  Gastfreiheit  und  Armuth.  Eine 
oriffinal-operette  in  zween  aufzuegen:  von  Johann  Christoph  v. 
Zabuesnig,  Aufgefuehrt  auf  der  Schaubuehne  zu  Augsburg  unter 
der  direktion  herrn  Voltolini. 

Augsburg,  Conrad  Heinrich  Stage,  1792.     61  p.     17*^. 

The  compoeer,  Johann  Christian  Eaffka,  is  not  mentioned. 

First  performed,  as  indicated,  1792.  Schatz  4985 

Philippe  et  Georgette. 

One  act.    By  Monvel;  music  by  Dalayrac. 
First  performed  at  Paris,  December  28,  1791. 
Not  in  L.  of  C. 

—  Gesaenge  aus  der  oper:  Philipp  und  Georgette,  in  einem 
aufzuge,  nach  dem  franzoesischen  singspiele  ^leichen  namens  bear- 
beitet  von  Herklots.     Die  musik  ist  von  d'Alau-ac. 

Hamburg,  Rabe  und  Freystatzky  wittwe,  1798.     16  p.     15"^. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  October  2,  1798. 

Schatz  2372 

Phillis  at  court;  a  comic  opera  of  three  acts.  As  it  is  now  per- 
forming, with  great  applause,  at  the  Theatre-Royal  in  Crow-street, 
Dublin.     The  music  by  Signor  Tomaso  Giordani. 

London,  J.  Williams,  1767.     40  p.     19^"^- 

Cast  and  Advertisement: 

"It  may  be  proper  to  take  notice,  that  the  title  given  this  piece,  at  present,  is 
copied  from  the  French  of  Monsieur  Favart;  whose  'Caprices  d 'amour,  ou  Ninette  a 
la  cour,'  the  author,  Mr.  Lloyd,  confesses  was  the  ground-work  of  his  piece,  called 
the  'Capricious  lovers.' 

"In  order  to  make  that  piece  entertaining,  (and  in  conformity  with  the  Italian 
burletta)  musical  dialogues  have  been  added  towards  the  end  of  each  act;  these  are 
known  among  the  Italians  by  the  ^roTd  finale,  and  are  deemed  indispensably  necessary 
in  an  entertamment  of  this  sort.  It  is  now  presented  to  the  public  with  many  altera- 
tions. Several  airs  have  been  added,  others  again  suppressed;  and  adapted  to  the 
talents  of  the  different  performers,  some  of  them  being  foreigners  ...  it  was  necessary 
to  alter  the  title  of  this  opera,  to  that  of  Phillis  at  court,  on  accoimt  of  the  altera- 
tions .  .  ." 

First  performed,  aa  indicated,  February  25,  1767  (Lawrence).  Longe  36 

Philomele,  tragedie,  representee  pour  la  premiere  fois  par  I'Aca- 
demie  royale  de  musique,  le  20.  du  mois  d'octobre  1705. 

Amsterdam,  Henri  Schelte,  1706.     68  (incl.  front.) ,  [3]  p.     l^'"'^. 

Five  acts,  prologue  and  avertissement.  Cast.  Neither  the  author,  Roy  ("Cet 
ouvrage  est  1  essai  d'une  Muse  naissante")  is  mentioned,  nor  the  composer,  La 
Coste.  ML  50.2.P36L2 


872  LIBEARY   OF   CONGRESS 

Philomele— Continued. 

—  Philomele,  tragedie  representee  par  l'Acad6niie  royale  de  mu^ 
sique  Fan  1705.  Remise  au  theatre  le  mardy  8""®  octobre  1709.  Les 
paroles  de  M.  Roy  &  la  musique  de  M.  de  la  Coste.     LXV.  opera. 

n.  i.,  n.  d.     14"^.    front.,  64  p-     (Recueil  general  des  opera,  t.  ix, 

Paris,  1710.) 

Detached  copy.    Five  acts  and  prologue.    Cast.  Schatz  5356 

Second  copy.    ML  48.R4 

—  Philomele,  tragedie  representee  par  I'Academie  royale  de 
musique  de  Paris,  les  vingt  octobre  1705,  huit  octobre  1709,  &  dix- 
neuf  octobre  1734.  Et  par  FAcademie  royale  de  musique  de  Lyon 
en  1742. 

Lyon,  Aime  DeUroche,  1742.     67  p.     £3<^. 

Five  acts,  without  prolo^e.  Avertieeement  and  cast.  Neither  Roy  nor  La  Coste 
are  mentioned.    The  text  is  the  eame  as  in  the  ed.  of  the  Recueil  des  op^ra,  1710. 

Schatz  5356a 

—  Philoinele,  parodie  en  trois  actes;  pr^cedee  d'un  prologue, 
donnee  au  Th^Mre  italien  en  1723. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  5,  {S21\^392  p. 

In  prose  and  vaudevilles.    A  parody  of  Lacoste's  opera  of  the  same  title. 
First  performed,  according  to  Parfaict,  who  does  not  record  a  composer,  June  12, 
1723.  PQ  2019.P6 

Le  phllosophe  bride.     A.  T.  of  Aristote  amoureux. 

Die  philosophen.     Tr.  of  Paisiello's  I  filosofi  immaginari. 

Phoebe.  '  A  pastoral  opera.     Set  to  music  by  Dr.  Greene. 
London,  n.  publ.,  1748.     27  p.     20^"^. 
Three  acts.    The  author,  James  Hoadley,  is  not  mentioned. 
No  performance  recorded  by  Schatz.  Longb  274 

La  pianella  perduta.     A.  T.  of  the  ballet  L'invemo. 

La  pianella  perduta,  ballet.     See  Paer's  La  Rossana. 

La  pianella  perduta,  ballet.     See  Paisiello's  Le  gare  generose. 

La  pianella  persa.     A.  T.  of  L'invemo. 

La  pianella  persa.  Farsa  giocosa  per  musica  d'un  atto  solo  da 
rappresentarsi  nel  Teatro  della  magninca  Accademia  Filarmonica  di 
Verona  nella  corrente  primavera  .  .  .    • 

Verona,  Dionigi  Ramanzini,  1798.    36  p.     18'^'^. 

By  Giuseppe  Palomba,  who  is  not  mentioned.  Dedication,  cast  and  name  of 
Francesco  Gardi  as  composer  ("La  mueica  h  tutta  nuova"). 

First  performed  at  Venice,  Teatro  di  S.  Moisfe,  fall  of  1797.  ML  50.2.P38G2 

Airs,  duetts,  and  chorusses,  arrangement  of  scenenr,  and  sketch  of 
the  pantomime,  entitled  The  picture  of  Paris.  Taken  in  the  year 
1790.     As  performed  at  the  Theatre-Royal,  Covent-Garden. 

London,  T.  CadeU,  1790.    20  p.    20'^'^. 

Two  acts.  Cast.  Neither  the  author  of  the  dialogue  and  songs,  Merry,  is  men- 
tioned, nor  the  compiler-composer,  William  Shield.    The  title  page  of  Longman  and 


OPEEA  LIBEETTOS  873 

The  picture  of  Paris — Continued. 

Broderip's  vocal  score  says  "  part  .  .  .  taken  from  the  celebrated  opera  of  Amphion, 
composed  by  the  Sigr.  Naumann  and  the  rest  composed  by  William  Shield."  It  is 
interesting  to  note  mat  he  introduced  pa  ira. 

First  performed  December  20,  1790.  Longe  207 

La  piece  a  deux  acteurs,  opera-comique  en  un  acte,  avec  un  pro- 
logue, represents  pour  la  premiere  fois  sur  le  ThSMre  de  la  Foire,  en 
1738. 

Charles  Francis  Pannard,  Theatre,  Paris,  Duchesne,  1763,  v.  3, 
[139]-202  p.     17'"". 

In  prose  and  vaudevilles.  According  to  Parfaict,  who  does  not  record  a  com- 
poser and  dates  the  first  performance  February  6,  1738,  the  original  title  was  "L'ar- 
moire  ou  La  piece  a  deux  acteurs."  PQ  2019.P3 

Pierrot  Romulus  ou  Le  ravisseur  poll.  See  L' ombre  du  cocker 
poete. 

La  pieta  di  Sabina.     Drama  musicale. 

G.  A.  Moniglia,  Poesie  drammatiche,  seconda  parte,  Firenze,  Cesare 
e  Francesco  Bindi,  1690,  p.  [149]-^16.     24'='^. 

Three  acts.    Argument  with  remark: 

"Questo  drama  fu  composto  per  servire  alia  serenissima  granduchessa  Vittoria  di 
Toscana,  e  messo  in  musica  dal  padre  Lorenzo  Cattani  ,  .  .  ma  per  ancora  non  k 
comparito  su  le  scene,  nb  alle  stampe."  ML  49.A2M7 

La  pieta  inaspettata,  ballet.     See  Bertoni's  Andromaca. 

La  pietra  simpatica.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  per  terz'  opera  del  corrente  anno  1796. 

Napoli,  n.  publ.,  1796.     59  p.     15^"^. 

Two  acts.  By  Giambattista  Lorenzi,  who  is  not  mentioned.  Cast  and  name  of 
Silvestro  di  Palma  as  composer. 

First  performed,  according  to  Schatz,  at  the  same  theatre,  fall  of  1795. 

ML  50.2.P4P2 

Pietro  il  Grande  ossia  II  trionfo  dell'  innocenza.  Dramma  eroico 
del  Signor  Antonio  Simon  Sografi  ...  da  rappresentarsi  nel  Teatro 
privato  di  Sua  eccellenza  Co.  Alessandro  Pepoli  la  primavera  dell' 
anno  1793. 

Venezia,  Ddlla  Nuova  tipografia,  n.  d.     ^5  p.     17 i^*'^. 

Three  acts.  Name  of  Giuseppe  Rossi  as  composer  and  author's  dedication  to 
conte  Pepoli,  from  which  it  appears  that  the  drama  was  ordered  by  the  count  for  his 
private  theatre  and  that  he  performed  the  part  of  Aleesio.     Says  Sografi: 

"Desidero  che  in  (jualche  parte  egli  poesa  metter  in  mostra  quel  singolare  talentOj 
che  tra  i  molti  e  van  la  fa  distinguere  nella  bell'  arte  del  canto.  Conoscendo  la  di 
Lei  Bomma  capacity  nella  teatrale  declamazione,  spero  di  non  essermi  ingannato 
nello  scriverle  la  parte  di  Alessio."  Schatz  8893 

Pigmalion,  ou  La  statue  animSe,  opera-comique  en  vaudevilles; 
represente  pour  la  premiere  fois  sur  le  Th^Mre  de  la  Foire,  en  1733. 

Charles  Francois  Pannard,  Thedtre,  Paris,  Duchesne,  1763,  v.  2, 
[227]-280  p.     17 ^'^. 

According  to  Parfaict,  who  does  not  record  a  composer,  the  text  was  written  jointly 
by  Pannard  and  Laflichard,  first  performed  as  "Pygmalion"  on  March  26,  1735  [! J 
and  revived  on  March  6,  1736,  under  the  above  title.  PQ  2019.P3 


874  LIBRARY   OF   CONGRESS 

Pigmalion  oder  Die  reformation  der  liebe,  ein  lyrisches  drama  in 
zwey  handlungen  von  Carl  Ilerklots. 

Berlin,  Friedrich  Maurer,  1794.    front.,  6,  [2],  127  p.     16"^. 

No  composer  or  performance  recorded  by  Schatz.  In  his  "Vorbericht"  of  date 
"Ostermesse  1794  "  Ilerklots  says  that  his  play  is  clearly  intended  for  "musikalische 
composition,"  but  that  the  possibility  of  "  theatralische  darstellune"  is  questionable, 
though  he  kept  this  possibility  constantly  in  mind .  He  continues  oy  saying  what  his 
main  object  was 

"Seine  hauptabsicht  was  die,  einem  gefiihlvollen  tonsezzer  gelegenheit  zu  ver- 
schaffen,  sein  talent  fiir  richtigen  ausdruck  wechselnder  leidenschaften  zu  zeigen, 
imd  diese  absicht  verriith  schon  zur  genuge,  dass  er  sich  nicht  arien  nach  italiiinischem 
zuschnitt,  sondem  jene"  edlere  gattung  von  tonkunst  gedacht  hat,  von  deren  herz- 
erschiittemden  wirkung  der  unsterbliche  Gluck  seinen  landsleuten  so  vortreffiiche 
muster  hinterliess." 

"Der  verfasser  hat  die  stellen,  die  er  fiir  eigentlichen  gesang,  und  die  er  fiir  rezi- 
tation  bestimmte,  durch  grossere  und  kleinere  drucklettem  bezeichnen  lassen,  aua 
griinden  aber,  hat  er  nur  den  drey  hauptpersonen  die  leztere  art  dea  vortrags  gegeben, 
und  iiberdem  \aele8,  was  seinem  inhalt  gemiiss,  rezitativ  sejTi  miisste,  nach  art  der, 
in  italiiinischen  opem  gewohnlichen  schlussscenen,  lyrisch  tehandelt;  durch  welche 
vermischung  er  keiner  inkonsequenz  schuldig  zu  seyn  glaubt,  da  Reichardt,  Salieri, 
und  andre  denkende  componisten  schon  praktisch  gezeigt  haben,  dass  diese  form  den 
edlen  und  richtigen  musikalischen  ausdruck  keinesweges  ausschliesst." 

ML  50.2.P411 

Pigmalion,  acta  de  ballet,  repr6sent6  devant  La  Majeste,  k  Fon- 
tainebleau,  le  samedi  24  octobre  1772.  • 

[Paris],  Pierre  RobeH  CJiristopTie  Ballard,  1772.     18  p.     18^"^. 

Cast  and  names  of  Houdar  de  La  Motte  as  author  of  the  text,  of  Jean  Philippe 
Raraeau  as  composer,  and  of  de  Laval  as  "composer  "  of  the  ballets.  The  text  is 
Ballot  de  Sauvot's  revised  version  under  the  above  title  of  the  fifth  entr6e,  "La 
sculpture,"  in  de  La  Motto's  ballet  text  "Le  triomphe  des  arts."  ML  48.B2 

Pigmalion,  monologue.     Par  Jean  Jacques  Rousseau. 
n.  i.,  n.  d.,  1772.    21  p.     18<^^. 

The  text  is  followed  by  a  folded  sheet  of  engraved  music,  with  title  "Airs  [d]e 
Pigmalion."  First  comes  an  "Andantino,"  air  with  ace,  with  name  of  Jean  Jacques 
Bousseau  as  composer,  and  below  this  an  "Andante  par  M.  Coignet.  Doit  etre 
belle"  and  "Amoroso  par  M.  Coignet.  De  ce  qui  n'est  par."  both  unaccompanied. 
Compare  next  entry.  ML  50.2.P41R7 

—  Pygmalion,  par  J.  J.  Rousseau,  sc^ne  lyrique. 

'^A  Geneve,  et  se  vend  hLyon,  ainsi  que  la  musique,  chez  Castaud  .  .  . 
MDCCLXXXVI."     16  p.    20'^. 

With  publisher's  preface,  in  which  this  quotation  from  a  letter  to  him  by  Coignet: 
"Ce  n  est  point  un  opera  .  .  .  I'auteur  I'a  intitule  Schie  lyrique:  Lee  paroles  ne 
Be  chantent  point,  &  la  musique  ne  sert  qu'^  remplir  lea  intervalles  des  repos  neces- 
saires  k  la  declamation.  Rousseau  vouloit  donner  par  ce  spectacle,  une  id^  de  la 
melop^e  des  Grecs,  de  leur  ancienne  declamation  th^atrale  .  .  .  Je  dois  cependant 
h.  I'exacte  v^rit^  d'annoncer  que  dans  les  \'ingt-8ix  ritoumelles  qui  composent  la 
musique  de  ce  drame,  il  y  en  a  deux  que  Rousseau  a  faite  lui-meme  .  .  .  Je  declare 
que  I'andante  de  I'ouverture,  &  que  le  premier  morceau  de  I'interlocution  qui  carac- 
terise  le  travail  de  Pygmalion,  appartiennent  a  Rousseau.  Le  surplus  de  la  musique 
est  de  M.  Coignet,  amateur." 

First  performed  at  Paris,  Theatre  de  la  Com^die-Fran^aise,  October  30,  1775. 

Schatz  2095 

—  Pygmalion,  eine  lyrische  handlung  aus  dem  franzoesischen  des 
hrn.  J.  J.  Rousseau  mit  begleitung  der  musik  des  hrn.  Coignet, 
uebersetzt  und  mit  taenzen  vermehrt  fuer  die  National-schaubiihne 
zu  Mannheim. 

Mannheim,  C.  F.  ScTiwan,  1778.     19  p.     16^"^. 

Translation  by  Otto  Heinrich  reichsfreiherr  von  Gemmingen,  with  "Inhalt." 
First  performed  as  indicated,  March  29,  1778.  Schatz  2096 


OPERA   LIBRETTOS  875 

II  Pigmalione,  ballet.     See  G.  Giordani's  Atalanta. 

Pigmalione,  ballet.     See  Mortellari's  Arsace. 

Die  pilgrime  von  Mecca  (Mekka).  A.  T.  of  Gluck's  Die  unver- 
mutete  zusammenkunft. 

A  pill  for  the  doctor :    or,  The  triple  •wedding.     A  musical  enter- 
tainment, as  performing  at  the  Royalty-Theatre. 
London,  D.  Steel,  1790.     17  'p.    21<='^. 

One  act.    Cast.    Neitiier  author  nor  composer  recorded  by  Clarence. 

LoNGE  273 

Pimmalione.  Scena  drammatica  tratta  dalla  Scena  lirica  di  Mon- 
sieur J.  J.  Rousseau  per  li  Signori  Matteo  Babini,  e  Carolina  Pitrot 
dal  Signor  Sografi  e  posta  in  musica  dal  Signor  Gian  Battista  Cimador 
da  rappresentarsi  la  sera  di  26  gennaro  1790. 

Venezia,  n.  puU.,  1790.     xvi  p.     IS'^. 

On  p.  iii:   ".  .  .  si  6  ritenuta  soltanto  I'idea  principale  del  celebre  autore." 

SCHATZ  1903 

Pimmalione  vendicato.     A.  T.  of  the  ballet  Astarbea. 

Pimpernelle  und  Marcantonius.  Tr.  of  Hasse's  Pimpinella  e 
Marcantonio. 

Pimpinella  e  Marcantonio.  Intermezzi  by  Hasse  for  his  opera 
Numa, 

Pimpinone.     Intermezzi    comici    musicali    da    rappresentarsi    nel 
Teatro  Tron  di  S.  Cassiano  I'autunno  delF  anno  IVIDCCVIII. 
Venezia,  Marino  Rossetti,  1708.     12  p.     15'^'^. 

Three  parts.  By  Pietro  Pariati,  who  is  not  mentioned.  Composed  by  Tommaso 
Albinoni,  performed  with  his  opera,  "Astarto,"  and  bound  in  with  its  libretto  (Schatz 
110).    The  cast  of  the  intermezzi  there  printed  after  the  cast  of  the  opera. 

•  ScHATZ  111 

—  Vespetta,  e  Pimpinone.  Intermezzi  comici  musicali.  Da 
rappresentarsi  la  prima  volte,  che  si  esibisce  il  drama. 

n.  %.,  n.  d.     16  p.     IS'^. 

Three  parts.     Cast. 

Performed,  with  Tommaso  Albinord's  opera,  "I  veri  amici,"  at  Munich  October 
24,  1722.  ScHATZ  100 

Pirame  et  Thisbe,  tragedie,  reprfeent^e  par  I'Academie  royale  de 
musique,  I'an  1726.  Paroles  de  M.  La  Serre.  Musique  de  Messieurs 
Francoeur  &  Rebel.     CVII.  opera. 

n.  i.,  n.  d.     pi.,  p.  61-122.     (Recueil  general  des  opera,  t.  I4,  Paris, 

1734.)    14'"^. 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  October  17,  1726.  Schatz  3336 

Second  copy.    ML  48. R4 


876  LIBRARY  OF   CONGRESS 

Pirame  et  Thisbe — Continued. 

—  Pirame  et  Thisbe.  ParleSr.  R.  R.  *  *  *  Representee  pour 
la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le  13 
novembre  1726. 

Les  parodies  du  Nouveau  thedtre  itdlien,  Nouv.  ed.,  Paris,  1738, 
t.  Hi,  [S19]-S66  p.     16^^. 

One  act.  Parody,  by  Dominique,  Romagnesi,  and  Riccoboni,  of  the  opera.  The 
airs  and  vaudeville  printed  at  end'of  the  volume  in  the  "Table  dee  airs  "  (84  p.). 

ML  48.P3 

—  Pirame  et  Thisb6,  tragedie.  Representee  par  I'Academie 
royale  de  musique  de  Lyon.     Au  mois  de  Janvier  de  I'annee  1741. 

[Lyon],  Ayme  Delaroche,  1741.     59  p.     25'^'^. 

Five  acts,  without  prologue.  Neither  the  author,  Jean  Louis  Ignace  de  La  Serre, 
mentioned,  nor  the  composers,  Francois  Francoeur  and  Francois  Rebel. 

ML  50.2.P43R2 

Piram.o  e  Tisbe.  A.  T.  of  the  ballet  Ninias  tiranno  di  Babilonia 
punito  da  Zoroastro. 

Pirame  e  Tisbe.  Dranima  per  musica  da  rappr^sentarsi  nel 
nobilissimo  Teatro  di  S.  Benedetto  il  carnovale  [Jan.]  dell'  anno 
1783  ... 

Venezia,  Modesto  Fenzo,  1783.     48  p.     17^"^. 

Three  acts.  Dedication  by  the  author,  Gaetano  Sertor,  argument,  cast,  Bcenario, 
and  name  of  the  composer,  Francesco  Bianchi.  The  ballets  were  called  "Alonso  e 
Cora.  Estratto  dalla  storia  dell'  Incas  del  Signor  di  Marmontel,"  by  Domenico  Ric- 
ciardi;  music  ("tutta  nuova")  by  Antonio  Capuzzi.  He  is  not  mentioned  as  the 
composer  of  Ricciardi's  second  ballet,  "II  manto  ravveduto."  Schatz  980 

Piramo  e  Tisbe,  ballet.     See  Colla's  Didone. 

Piramo  e  Tisbe,  tragedia  per  musica  in  due  atti  da  rappresen- 
tarsi  nel  Regio  Teatro  appresso  Potsdam  .  .  .  nell'  estate  dell'  anno 
MDCCLXXI. 

Berlino,  Haude  e  Spener,  1771.     61  p.     16'^'^. 

Two  parts.  Argument,  cast,  scenario,  and  names  of  Marco  Coltellini  as  author,  of 
Johann  Adolf  Hasse  as  composer.  German  title  page  "Piramus  und  Thisbe"  and 
text  face  Italian. 

First  performed,  as  indicated,  in  March,  1771;  at  Vienna,  Burgtheater,  Novem- 
ber, 1768.  Schatz  4555 

Piramo  e  Tisbe,  ballet.     See  Piccinni's  La  Griselda. 

Piram.us  und  Thisbe.     Tr.  of  Hasse's  Piramo  e  Tisbe. 

Piramus  und  Tisbe.  Ein  melo-drama.  Bearbeitet  nach  Fabri 
dem  juengern,  und  in  die  musik  gesetzt  von  Franz  Spindler. 

n.  i.,  n.  d.,  1788.     p.  U59\-476.     16^-^. 

Detached  copy. 

First  performed  at  Innsbruck,  Hoftheater,  1785.  Schatz  9977 

Songs,  duets,  trios,  chorusses,  etc  in  the  Pirates.  An  opera.  In 
three  acts,  now  performing  at  the  King's  Theatre,  Haymarket. 

London,  E.  Cox,  1792.     1  p.  J.,  29  p.     20^"^. 

Cast.  Neither  the  author,  James  Cobb,  is  mentioned,  nor  the  composer,  Stephen 
Storace,  who  used  parts  of  his  opera  "Gli  equivoci." 

First  performed  November  21, 1792  (Schatz),  November  11  (Genest).     Longe  220 


OPERA  LIBRETTOS  'ST? 

Pirithous,  tragedie  representee  par  TAcadeinie  royale  de  musique 
Tan  1723.  Paroles  de  M.  de  la  Serre.  Musique  de  M.  Mouret.  CI. 
op^ra. 

71.  i.,  n.  d.  1  pi.,  p.  195-262  (Recueil  general des  opera,  t.  xiii,  Paris, 
1734).     14'^. 

Detached  copy.  Three  acts  and  prologue.  Seguineau  is  supposed  to  have  been 
joint  author  with  de  La  Serre. 

First  performed,  according  to  Schatz,  January  17,  1723,  but  the  engraved  score 
gives  January  26,  1723.  Schatz  6743 

Second  copy.    ML  48. R4 

—  Le  serdeau  des  theatres.  Comedie.  Kepr^ent^e  pour  la  pre- 
miere fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le  samedi  19. 
f^vrier  1723. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  a,  151-206  p.     16^"^. 

One  act.  By  Fuzelier  {see  t.  I),  who  in  this  comedy  also  parodied  the  opera  "Piri- 
thoiis."  The  airs  and  vaudeville  used  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs  "  (60  p.).  ML  48.P3 

Pirrhus,  tragedie  representee  par  FAcademie  royale  de  musique, 
Fan  1730.  Paroles  de  M.  Fermelhuis.  Musique  de  M.  Royer. 
CXIII.  opera. 

n.i.,n.d.  pi.,  397-462  p.  14Y^'  {Recueil general  des  opera,  t.xlv, 
Paris,  1734.) 

Detached  copy.     Five  acts  and  prologue.     Cast  and  avertissement. 
First  performed,  as  indicated,  October  26, 1730  (Schatz),  but  the  score  says  October 
19,  1730.  Schatz  9110 

Second  copy.    ML  48. R4 

Pirro. 

Apostolo  Zeno,  Poesie  drammaiiche,  Venezia,  1744,  ^-  "^^i  V-  [^01]-292 
p.     19""^. 

Five  acts.  Ailment  and  prefatory  note,  in  which  Zeno  apologizes  for  this  drama, 
practically  written  in  ten  days.  No  composer  is  mentioned.  In  the  "Catalogo"  at 
end  of  t.  X,  date  and  place  of  first  ed.  are  given  as  Venice,  1704.     (S«c  below.) 

ML  49.A2Z3 

—  Pirro.     Pubblicato  per  la  prima  volta  in  Venezia  1704. 
Apostolo  Zeno,  Poesie^  drammatiche,  Orleans,  1785-86,  t.  Hi,  p.  88. 

Five  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

Pirro.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S.  Angelo, 
Fanno  MDCXIV  .  .  . 

Venezia,  Marino  Rossetti,  I704.     72  p.     12*. 

Five  acts.  Dedication  signed  by  A[postolo]  Z[eno]  as  author,  argument,  scenario, 
notice  to  the  reader,  in  which  this  drama  is  said  to  have  been  written  in  ten  days. 
The  composer,  Giuseppe  Antonio  Vincenzo  Aldrovandini,  is  not  mentioned. 

First  performed  during  carnival,  1704,  as  indicated.  Schatz  137 

Pirro.     L.  T.  of  Zingarelli's  Pirro,  r^  di  Epiro. 

Pirro  e  Demetrio.     O.  T.  of  Morselli's  text  La  forza  dell'  amicizia. 


878  *  ,  LIBBABY  OF   CONGEESS 

Pirro  e  Demetrio.  Drama  da  rappresentarsi  in  musica  nel  famoso 
Teatro  Grimano  di  S.  Gio.  Grisostomo  I'anno  1690  .  .  . 

Venetia,  NicoUni,  1690.     70  p.     14''"'. 

Three  acte.  Dedication  signed  with  the  initials  of  the  author,  Adriano  Moreelli, 
sagument,  cast,  scenario,  and  notice  to  the  reader  with  name  of  [Giuseppe  Felice] 
Tosi  as  the  composer.  Schatz  10378 

Pirro  re  di  Epiro.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  il  carnevale  dell   anno  1792  .  .  . 

Milano,  Gio.  Batista  BiancJii,  n.  d.    67  p.     16*^^. 

Three  acts.  Impresario's  dedication,  dated  Milan,  December  26,  1791,  argument, 
cast,  scenario,  name  of  Nicola  Antonio  Zingarelli  as  the  composer,  and  note  by  the 
author,  Giovanni  de  Gamerra  (not  mentioned  by  name)  that  tnis  is  his  "Pirro"  with 
"essential  alterations,"  and  he  refers  the  reader  to  the  seventh  volume  of  his  "nuovo 
Teatro  "  for  the  text  in  its  original  form.  Schatz  11261 

—  II  Pirro.  Dramma  eroico  per  musica  da  rappresentarsi  in  Parma 
nel  R.  D.  Teatro  di  Corte  il  carnevale  dell'  anno  MDCCIC  .  .  . 

Parma,  Stamperia  Carmignani,  n.  d.     2  p.  h,  48  p.     17 Y'^. 

Three  acts.  By  Giovanni  de  Gamerra,  who  is  not  mentioned.  Cast  and  name  of 
Nicola  Antonio  Zingarelli  as  the  composer.  On  p.  [43J-48,  prefatory  note,  cast,  and 
description  of  Giovanni  Battista  Checclii's  "La  generosity  d'Alessandro  ossia  Apelle  e 
Campaspe,  ballo  eroico-pantomimo,"  the  composer  of  the  music  not  being  mentioned. 

First  performed  at  Milan,  Scala,  December  26,  1791.  Schatz  11253 

Pisistrato.  Dramma  di  tre  atti  per  musica.  Rappresentato  per 
la  prima  volta  in  Venezia  in  tempo  dell'  Ascensione  I'anno 
MDCCXXXVI. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  36, 
[27]-66  p.     18^"^. 

See  also  "La  generosity  politica."  PQ 

II  pittor  burlato,  ballet.     See  Anfossi's  Zenobia  in  Palmira. 

II  pittor  parigino.     Dramma  gioccoso  per  musica  da  rappresen- 
tarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  publ.,  1782.     133  p.     15^"^. 

Two  acts.  By  Giuseppe  Petrosellini  (not  mentioned).  Name  of  the  composer, 
Cimarosa.     German  title-page,  "Der  Pariser  mahler,"  and  text  face  Italian. 

First  performed  at  Dresden  February  22,  1783;  at  Rome,  Teatro  Valle  dei  Signori 
Capranica,  January,  1781,  as  "II  pittore  parigino."  Schatz  1969 

—  II  pittor  parigino.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Reggio  Teatro  di  S.  Carlo  della  Principessa,  I'autunno  dell' 
anno  17^4. 

Lishona,  SimoneTaddeo  Ferreira,  1794.     169  p.     16"'^. 

Two  acts.  The  author,  Giuseppe  Petrosellini,  is  not  mentioned.  Portuguese  text 
faces  Italian.  Cast,  scenario,  and  names  of  Domenico  Cimarosa  as  composer  of  the 
opera;  of  Giuseppe  Cajani  of  the  music  of  his  own  "ballo  eroico-magico-pantomimo 
intitolato  Armida  e  Rinaldo."  ML  50.2.P46C3 

—  II  barone  burlato.  Commedia  per  musica  da  rappresentarsi  al 
Teatro  Nuovo  nell'  inverno  dell'  anno  1784. 

Napoli,  n.  publ.,  1784.     54  p.     15'^^. 

A  later  version,  in  three  acts,  of  "II  pittor  parigino."  Cast  and  name  of  the  com- 
poser, Cimarosa,  and  the  remark:  "I  pezzi nuovi sono del  Sig.  D.  Francesco Cipolla 
...  e  si  contrasegnano  coll  asterisco."  These  are:  (I,  3)  "Si  discioglie,  e  si  econ- 
nette;"  (I,  5)  "La  nostra  signorina;"  (I,  7)  "Son  modestina;"  (II,  1)  "Ad  im  amante 
savio;"  (IIj  2)  "Semplicetta  contadina,"  "Cricca  mio,  colla  cognata."  Giovanni 
Bonito  is  eaid  to  have  made  the  changes  in  the  libretto.  Schatz  1979 


OPERA  LIBRETTOS  879 

H  pittor  parigino— Continued. 

—  Der  onkel  aus  Amsterdam.  Eine  comische  oper  in  zwei  auf- 
zuegen.  Nach  dem  italienischen:  II  pittore  parigino  frei  bearbeitet 
und  der  musik  des  Cimarosa  untergelegt.  Aufgefuehrt  von  der 
Secondaschen  GeseDschaft  in  Leipzig  und  Dresden. 

Riga  und   Mitau,   Wilhelm  Christian  Andreas   Mueller,  1796.     vi, 

104  p.    ISY"^- 

German  version,  by  G[eorg]  C[arl]  Claudius,  who  dates  his  preface  Leipzig,  May, 
1795.     In  this  he  speaks  of  his  deviations  from  the  Italian  original,  and  says: 

Der  Pariser  Maler  (II  pittore  parigino)  von  "Cimarosa  machte  eine  geraume  Zeit 
hindurch  auf  dem  kaiserl.  konigl.  Hoftheater  in  Wien,  selbst  bei  seinen  \deLfaltigen 
Wiederhohlungen  gleichsam  immer  ein  neues  Gliick,  und  dieses  ist  die  Ursache, 
warum  man  ihn  in  ein  deutsches  Gewand  einzukleiden  suchte.  Da  unsere  deutsche 
Original-Oper  inmier  noch  so  arm  bleibt,  und,  allem  jetzigen  Anscheine  nach,  auch 
nicht  eonderlich  reicher  werden  diirfte,  so  bedarf  es  also  schon  einer  Entschuldigung 
weniger,  wenn  man  ausliindische  Producte  auf«inlandischen  Boden  verpflanzt.  Dass 
dergleichen  Arbeit  immer  selbst  bei  allem  Fleisse,  selbst  bei  einem  ziemlich  gefullten 
Magazin  von  Erfahnmgen,  ein  Wagstiick  bleibe,  ist  nicht  zu  liiugnen.  Denn  der 
Inhalt  der  ital.  Opem,  und  die  meist  so  sonderbare  Bearbeitung  ihrer  Gegenstiinde 
stossen  gemeinhin  so  sehr  wider  den  deutschen  Geschmack,  dass  nicht  selten  Nation 
gegen  Nation  ungerecht  wird,  sich  beiderseits  verkennen,  und  am  Ende  selbst  den 
Wald-vor  Biiumen  nicht  sehen.  Die  Deutschen  haben  bereits  an  unserm  Eschenburg 
einen  vortrefBichen  ^"organger,  wie  der  Friede  zwischen  beiden  Partheien  zu  erhalten 
sey,  vmd  wie  man  jeder  sein  Recht  geben  konne.  Robert  und  Kalliste  wird  ewig 
da  von  ein  schones  Beispiel  bleiben.  Auch  Herr  D.  Schmieders  Versuche  eind  von 
den  deutschen  Theatem  mit  Beifall  aufgenommen  worden.  Ich  wurde  mich  freuen, 
wenn  mann  meine  Arbeit  nicht  so  ganz  iiberflussig  finden  wollte.  Ueber  Cimarosas 
Musik  will  ich  hier  nichts  sagen,  da  ich  nur  mit  meiner  eigenen  Sache  zu  thun  habe. 

"Die  Aenderung  des  Titels:  Der  Pariser  Maler,  schien  mir  schon  die  erste  Noth- 
wendigkeit;  denn  der  Maler  in  diesem  Stiick  kann  aus  alien  Weltgegenden  herseyn, 
da  ihm  der  ital.  Entwurf  keine  Eigenheit  beimisst,  warum  er  gerade  aus  Paris  seyn 
muss.  Selbst  fiir  sonst  neugierige  Liebhaber  des  Theaters  wiirde  dieser  Titel  keinen 
besondem  Reiz  gehabt  haben,  da  die  Emigranten  anjetzt  eben  nicht  die  freudigste 
Theilnahme  erregen.  Ich  bestimmte  den  Tltel  nach  der  Hauptintrique  des  Stiicks, 
weil  ich  glaube,  dass  es  mit  alien  Titeln  so  gemacht  werden  soUte,  obgleich  unsere 
neuere  Zeit  auch  ilber  diese  alte  wahre  Regel,  ohne  sich  darum  zu  bekiimmem,  ihren 
rustigen  Geniesprung  gemacht  zu  haben  echeint  .  .  . 

"Wenn  trotz  alien  diesen  Bemuhungen  diese  Oper  immer  noch  manches  Unge- 
reimte  an  sich  tragen  sollte,  so  war  es  schlechterdings  immoglich,  solches  ganz  zu 
verdrangen,  weil  man  alsdann  eine  neue  Musik  hiitte  dazu  componiren  miissen,  imd 
der  schonen  Musik  wegen  wurde  diese  Oper  ja  einzig  nur  verdeutscht. 

"  Schlvisslich  bitte  ich  alle  Kiinetler,  die  in  diesem  Stiick  eine  RoUe  zu  spielen 
haben,  solche  genau  zu  memoriren,  was  die  Opemsanger,  wie  die  Erfahrung  sagt, 
immer  so  leichtsinnig  unterlassen  sollen.  Der  Dialog  muss  Schlag  auf  Schlag  gehen; 
hangts  aber  da,  so  muss  ich  im  voraus  versichem,  dass  man  sich  selbst  in  den  Hinter- 
grund  stellen,  und  einzig  daran  Schuld  sej-n  wird,  wenn  man  weniger  gefallt." 

First  performed  at  Oels,  Hoftheater,  May  13,  1797.  Schatz  1970 

II  piu  bei  done,  inutile.  Dramma  giocoso  per  musica  di  un  atto 
solo  di  Giovanni  Bertati  da  rappresentarsi  nel  Teatro  Giustiniani  in 
S.  Mois^  il  camovale  dell'  anno  1779. 

n.  i.,  n.  d.     30  p.     17^'"'^. 

Composed  by  Antonio  Bossetti,  who  is  not  mentioned.  This  was  performed 
together  with  the  one  act  ' '  I  Quaqueri "  by  the  same  author  and  composer  and  pub- 
li^ed  with  it  in  one  volume  with  separate  pagination.  Schatz  8884 

La  piCl  costante  tra  le  maritate.     A.  T.  of  II  D.  Gastone. 

II  piu  fedel  fra  i  vassalli.  Drama  -per  musica.  Da  recitarsi  nell' 
anticliissimo  Teatro  Tron  di  S.  Casciano  I'anno  1703.  Poesia  di 
Francesco  Silvani  .  .  . 

Venezia,  li  eredi  Nicolini,  1703.     72  p.     i^i*"". 


880  LIBRARY   OF   CONGRESS 

II  piu  fedel  fra  i  vassalli — Continued. 

Three  acts.  Author's  dedication,  dated  \'onice,  February  3,  1703,  notice  to  the 
reader  with  name  of  Carlo  Francesco  Gasparini  aa  the  composer,  and  scenario. 

ScHATZ  3579 

—  II  pi^  fedel  fra  i  vassalli.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  il  carnoval  dell'  anno  1716. 

Venezia,  Marino  Rossetti,  1716,    front.,  60  p.     14V^- 

Three  acts.  Cast,  scenario,  and  notice  to  reader,  alluding  to  the  performances 
of  1703,  and  stating: 

"Lo  scorgerai  quello  stesso,  che  ebbe  la  gloria  di  piacerti.  nfe  vi  troverai  altra 
alterazione,  che  nelle  canzoni  in  parte  variate,  per  adattarle  a  virtuosi,  che  devono 
rappresentarlo. ' ' 

Neither  Silvani  nor  Gasparini  is  mentioned.  ML  48.M20 

II  piu  fedel  tra'  gl'amici.  Dramma  per  musica  da  rappresentarsi 
nel  famosissimo  Teatro  Grimani  di  San  Gio.  Grisostomo.  L'anno 
1724  ... 

Venezia,  Marino  Rossetti,  1724.     70  p.     15^"^. 

Three  acts.    By  Francesco  Silvani,  who  is  not  mentioned.     Publisher's  dedication. 
"Motivo  istorico,"  cast,  scenario,  and  name  of  "Michel  Angelo  Gasparini  Luchese 
as  the  composer.  Schatz  3602 

II  piu  fedel  tra  vassalli.     Melodrama  da  rappresentarsi  nel  Teatro 
di  S.  Bartolomeo  di  Napoli  in  quest'  anno  1705  .  .  . 
Napoli,  Michele  Luigi  Mutio,  1705.     4  p.  I.,  52  p.     13^"^. 

Three  acts.  Scenario,  cast,  and  name  of  Giuseppe  Antonio  Vincenzo  Aldro- 
vandini  as  composer.  It  aj)pear8  from  Nicola  Serino,  the  manager's  notice  to  the 
reader,  that  the  libretto  (originally  written  by  Francesco  Silvani)  was  modified  to  the 
extent  of  adding  the  characters  Creperio  and  Bellina,  of  replacing  many  arias  by 
new  ones  from  Giulio  Convo's  pen  and  by  inserting  a  complete  scene  (III,  6)  written 
by  Silvio  Stampiglia.  Schatz  138 

II  pill  infedele  tr&  gli  amanti.     Drama  per  musica  da  rapresen- 
tarsi  nel  Teatro  Dolfin  in  Treviso  per  il  prossimo  autunno  1731  .  .  . 
Venezia,  Carlo  Buonarrigo,  1731.     36  p.     15"''. 

Three  acts.  By  Angelo  Sorietti,  who  is  not  mentioned.  Dedication  by  Antonio 
Martinelli,  argument,  cast,  name  of  Tommaso  Albinoni  as  composer,  and  notice  that 
the  performances  would  begin  on  October  6.  Schatz  123 

II  Pizarro  nell'  America  ossia  La  conquista  del  Peril,  baUet.  See 
Tarchi's  Demofoonte. 

Pizichi,  oder  Fortsetzung  des  Fagottisten.  Ein  singspiel  in  drey 
aufzuegen,  von  Joachim  rerinet.  Die  musik  ist  vom  nrn.  Wenzel 
Mueller,  kapellmeister  dieses  theaters.  Aufgefuehrt  auf  dem  k.  k. 
priv.  Marinellischen  Theater.     Zweyte  verbesserte  auflage. 

Wien,  MatUas  Andreas  Schmidt,  1793.     90  p.     18'='^. 

The  dedicatory  preface  by  the  author  "dem  beaten  publikum  gewidmet"  is  dated 
Vienna,  January  28,  1793,  and  reads,  in  part: 

"Ich  weiss,  dass  dieses  spektakelstueck  keinen  auspruch  auf  regelmaessigkeit  zu 
machen  hat,  aber  ich  denke,  wenn  es  eine  zeit  im  jahre  giebtj  die  man  die  Fassnacht 
heisst,  an  der  auch  der  vemuenftige  mann  zuweilen  antheil  nimmt,  so  mag  wohl 
auch  dann  und  wann  eo  eine  zauber  komoedie  mit  unterlaufen,  um  sich  zu  zerstreuen, 
und  Aug  und  ohr  darinn  zu  ergoetzen  .  .  .  ich  bin  sehr  entschlossen,  mit  einer 
Zauberruthe,  dem  chaos  im  dritten  theile,  ein  erwuenschtes  ende  zu  machen.  .  .  . 
widme  ich  Ihnen  hier  die  zweyte  auflage,  so  wie  sie  auf  dem  hiesigen  theater,  der 
zu  langen  dauer  wegen,  abgekuerzt  gegeben  wurde  .  .  ." 

First  performed,  as  indicated,  October  2,  1792.  Schatz  6956 


OPERA  LIBRETTOS  881 

Pizzarro.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  San  Samuele  il  carnovale  dell'  anno  1788. 
VeneBia,  Modesto  Fenzo,  1787.     55  p.     17Y'^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  the  composer,  Francesco 
Biajichi.  The  librettist  is  not  mentioned  and  unknown  to  Schatz.  On  p.  [23J-32, 
argument,  cast,  and  full  description  of  "Cresfonte,  rk  di  Scizia,  ballo  eroico  in  cinque 
atti"  by  Domenico  Ricciardi,  music  ("tutta  nuova")  by  Antonio  Capuzzi.  The 
second  ballet,  also  by  Ricciardi,  the  composer  not  being  mentioned,  was  called 
"L'italiano  maritato  a  Parigi." 

First  performed,  as  indicated,  December  26,  1787.  Schatz  999 

Pizzarro  nell'  Indie  o  sia  La  distnizione  del  Peril.  Dramma  per 
musica  da  rappresentarsi  in  Firenze  la  primavera  dell'  anno  1784  nel 
nuovo  Regio  Teatro  degl'  Intrepidi  detto  La  Palla  a  Corda  .  .  . 

Firenze,  Stamperia  Bonducciana,  1784.     Jfi  p.     17'^™'. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  Giuseppe  Giordani  as  the  composer.  ("La  musica  fe  tutta 
nuova. ' ' )  Schatz  3849 

Le  plaisir  et  1'iiinocence,  opera-comique  en  mi  acte.  Par  M. 
Parmentier.  Represente  pour  la  premiere  fois  sur  le  Theatre  de 
I'Op^ra-comique,  le  14  aout  1753. 

Paris,  Duchesne,  1753.     ^1,7  p.     18^"^. 

En  vaudevilles.  Cast.  The  7  p.  contain  eight  engraved  "Airs,"  the  last  being 
headed  "Vaudeville  de  Mr.  Laruette,"  who  may  have  arranged  the  whole  opera. 
In  a  note  on  p.  2  Parmentier  says: 

"Apr^s  avoir  fait  en  society  avec  M.  Favart  la  parodie  de  Mahomet  Second,  tra- 
g6die  de  M.  de  la  None,  celle  de  I'opera  Hyppolite,  Le  cocq  de  village,  &  quelques 
autres  pieces  qui  n'ont  pas  6t6  imprim^es;  j  ai  cru  pouvoir  hazarder  seul  Le  plaisir 
etl'innocence  .  .  ."  ML  50.2.P47L2 

Les  plaisirs  de  la  campagne,  ballet,  represents  par  I'Academie 
royale  de  musique  Fan  1719.  Paroles  de  M.  Pellegrin-Barbier. 
Musique  de  M.  Bertin.     XCVII  opSra. 

n.  i.,  n.  d.  pi.,  44^-503  p.  (Recueil  general  des  opera,  t.  xii,  Paris, 
1734). 

Detached  copy.  Three  entrees  and  prologue  by  Simon  Joseph  de  Pellegrin  and 
Mile.  Marie  Anne  Barbier. 

First  performed  at  Paris,  Acad^mie  royale  de  musique,  August  10,  1719. 

Schatz  881 
Second  copy.     ML  48. R4 

Les  plaisirs  de  la  pais,  balet  repr6sente  pour  la  premiere  fois,  par 
I'Academie  royale  de  musique,  le  lundi  29.  avril  1715.  Les  paroles  de 
M.  [hlank]  &  la  musique  de  M.  Bourgeois.     LXXXVII.  opSra. 

n.  i.,  n.  d.  pi.,  [301]-353  p.  14^™'.  {Recueil  general  des  opera,  Paris, 
1720,  t.  xi.) 

Detached  copy.  By  Mennesson.  Prologue,  three  entries  "L'assembl^e,"  "Feete 
de  buveurs,"  "Le  jaloux  pimi  ou  La  serenade "  and  four  intermMes  "Les  Cyclopes," 
"Bacchus,"  "Momus,"  "Mascarade."    The  Avertissement  says: 

"Quoique  chaque  entree  ait  son  sujet  particulier,  on  a  pris  soin  de  les  Her  toutes 
par  des  intermedes;  ensorte  que  la  piece  &  le  prologue  ne  sont  qu'un  m6me  sujet." 

Schatz  1273 
Second  copy.    ML  48. R4 

72251°— VOL  1—14 56 


882  LIBRARY   OF   CONGRESS 

Platee,  ballet  bouffon  en  trois  actes,  pr^cM6  d'un  prologue;  repr6- 
sent6  (levant  le  roi,  en  son  ch&teau  de  Versailles;  le  mercredi  31  mars 
1745. 
[Paris],  BaUard,  1745.     58  p.     25^^. 

Cast  and  names  of  "Hautreau,  et  Valloie"  [Jacques  Autreau  and  A  J.  Le  Valoifl 
d'Orville]  as  authors,  of  Jean  Philippe  Bameau  as  the  composer.  With  the  text, 
retouched  by  Balot  de  Sauvot,  the  work  was  re\dved  under  the  title  of  "Platte  ou 
Junon  jalouse"  on  February  4,  1749.  ML  52.2.P5 

Plautilla.  Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Grimani  di  S.  Gio.  Grisostomo.     L'autunno  dell'  anno  1721  .  .  . 

Venezia,  Marino  Rossetli,  1721.     60  p.     W"^. 

Three  acts.  Dedication  signed  by  Vincenzo  Cassani  as  author,  argument,  cast, 
scenario,  name  of  Antonio  Pollaroli  as  composer,  and  notice  to  the  reader  which 
reads,  in  part: 

"  Gia  ti  son  noti  i  vincoli,  onde  viene  ristretto  un  povero  poeta  dramatico.  Numero 
precise  di  mutazioni,  e  quasi  di  versi;  ariette,  che  a  richiesta  de  maestri,  e  de  musici 
devono  cambiarsi  secondo  il  loro  canto,  ancorche  guastino  tal  volta  il  componimento 
della  scena,  e  faccino  mutare  il  carattere,  oltre  tanti  altri,  che  ben  tu  sai." 

ScHATZ  8264 

A  playhouse  to  be  lett.     A.  T.  of  The  stage-mutineers. 

/       The  plot.     As  it  is  performed  by  His  Majesty's  Company  of  come- 
J       dians  at  the  Theatre-Royal  in  Drury-Lane.     With  the  musick  pre- 
fix'd  to  each  song. 
London,  John  Watts,  1735.     28,  [2]  p.     19^"^. 

One  act,  prologue,  and  epilogue.  Cast  and  table  of  the  10  songs,  the  airs  of  which 
are  printed  in  the  text  with  their  titles.    Attributed  to  John  Kelly. 

Krst  performed  at  Drury  Lane,  January  22,  1735.  Lonoe  293 

Plymouth  in  an  uproar.     A  musical  farce,  as  it  is  performed  at 
the  Theatre-Royal  in  Covent-Garden.     The  music  composed  by  Mr. 
Dibdin.     The  third  edition. 
London,  G.  Kearsley,  1779.     2  p.l,  4I  p.     20'^'^. 

Cast.    By  Neville,  who  is  not  mentioned. 

First  performed  October  21,  1779,  as  indicated.  Longe  153 

Pocahontas.     Schauspiel  mit  gesang,  in  fuenf  akten. 

Jamestown,  1784.     80  p.     W"^. 

The  prefatory  note  begins: 

"Dieses  schauspiel  runt  schon  laenger,  als  es  Horaz  verlangte,  im  pulte  des  ver- 
fassers,  der  es  vor  dreyzehn  jahren,  elnem  freimde  zu  gefallen,  verfertigt  hatte" 
and  ends: 

"Dass  das  wilde  maedchen  witzig  redet,  wird  niemand  befremden,  der  aus  Kap. 
Smiths  Reise  weiss,  dass  witz  ein  hervorstechender  zug  im  charakter  der  Virginier- 
innen  war." 

Published  at  Ansbach,  1784,  and  written  by  Johann  Wilhelm  Rose.  No  composer 
recorded  by  Schatz.  Schatz  11641 

II  poeta  di  campagna.  Commedia  per  musica  di  Saverio  Zini  da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  prim'  opera  di 
questo  corrente  anno  1792. 

Napoli,  Vincenzo  Flauto,  1792.     46  p.     IS''"'. 

Two  acts.     Cast  and  name  of  Pietro  Guglielmi  as  the  composer.       Schatz  4263 


OPERA    LIBRETTOS  883 

II  poeta  di  campagna — Continued. 

—  Lo  sciocco  poeta  di  campagna.  Dramma  giocoso  per  musica 
da  rappresentarsi  nel  Teatro  alia  Scala  Fautunno  delF  anno  1793  .  .  . 

Milano,  Gio.  Battista  BiancM,  n.  d.     58  p.     16Y^- 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  Pietro  Guglielmi 
aa  the  composer.  Zini's  text  has  been  altered  noticeably.  For  instance,  I,  5,  begins 
now  "Che  sposo  vago,  e  bello,"  instead  of  "Col  piu  profondo,  ed  umile."  With  the 
opera  were  performed,  composers  of  the  music  not  mentioned,  Giuseppe  Banti's 
"ballo  eroico  Zima"  and  his  "ballo  comico  II  Posilipo  di  Napoli."        Schatz  4264 

—  Lo  sciocco  poeta  di  campagna :  Farsa  prima  per  musica  da 
rappresentarsi  nel  Reggio  Teatro  di  S.  Carlo,  della  Principessa  nel 
camovale  dell'  anno  1794  .  .  . 

Lisbona,  Simone  Taddeo  Ferreira,  1794.     95  p.     15'^'^. 

One  act.  By  Saverio  Zini,  who  is  not  mentioned.  Portuguese  text  faces  Italian. 
Impresario's  dedication,  cast,  name  of  Pietro  Guglielmi  aa  composer,  and  scenario. 
With  the  opera  were  performed  (composer  of  the  music  not  mentioned)  Pietro  Angio- 
lini's  ballets,  "Ciro  in  Timbraja "  and  "Li  finti  filosofi."  ML  50.2.S38G9 

II  podesta  di  Tufo  antico  o  sia  II  tutore  burlato.     Farsetta  per 
musica   da   rappresentarsi   nel   Teatro    Valle   degl'    illustriss.    Sigg. 
Capranica  nell'  estate  dell'  anno  1786  .  .  . 
Roma,  Michele  PucdneUi,  n.  d.     66  p.     IS*^. 

Two  acts.  Cast,  scenario,  and  names  of  the  author,  Francesco  Ballani,  and  Agoetino 
Accorimboni  as  composer.  Schatz  17 

II  poeta  di  villa.  Farsetta  in  musica  a  cinque  voci  da  rappresen- 
tarsi nel  rinnovato  Teatro  di  Palla  [!]  Corda  la  prima  vera  dell'  anno 
1786  .  .  . 

Roma,  Arcangelo  Casaletti,  n.  d.     57,  [1]  p.     l^Y^. 

Two  acts.  Cast  and  name  of  the  composer,  Luigi  Caruso.  Author  imknown  to 
Schatz.  Schatz  1658 

H  poeta  melodram.matico  in  Pamaso.     Dramma  eroicomico  per 
musica  da  rappresentarsi  nel  magnifico  Teatro  dell'  Accademia  Filar- 
monica  di  Verona  nel  camovale  dell'  anno  MDCCLXXXVI  .  .  . 
Verona,  Dionigi  Ramanzani,  1786.     56  p.     17'^^. 

Two  acts.  Impresario's  noteworthy  prefatory  note,  .cast,  name  of  Luigi  Caxuso 
as  composer  ("la  musica  tutta  nuova"  and  note  "La  poesia  k  del  Sig.  A.  A." 

ML50.2.P48C2 

Le  poete  suppose,  ou  Les  pr^paratifs  de  f^te,  com^die  en  trois  actes 
et  en  prose,  mel6e  d'ariettes  et  de  vaudevilles,  representee,  pour  la 
premiere  fois,  par  les  Com^diens  italiens  ordinaires  du  roi,  le  25 
avril  1782.  Seconde  Edition.  Paroles  de  M.  Laujon.  Musique  de 
M.  Champein. 

Paris,  Duchesne,  Brunei,  n.  d.     1  p.  I.,  124,  ^  V-     21"'^. 

Page  124  incorrectly  numbered  224.  The  2  add.  p.  contain  three  "Airs  not^s  dans 
le  divertissement."  On  p.  119-124,  " Remplacement  de  la  scfene  VIII,  et  en  prose, 
de  cet  acte  [III],  par  le  present  duo  "  ("Ce  cher  Bailli ").  ML  50.2. P5C3 

Le  poirier,    opera   comique.     Par    M.    Vad6,    repr^ent^  pour  la 
premiere  fois  sur  le  Theatre  de  la  Foire  S.  Laurent,  le  7  ao<it  1752. 
Paris,  Duchesne,  1752.     56  p.     21 Y^; 

One  act.  On  p.  53-56,  the  airs  notfe,  "Du  jeune  objet  que  j'adore,"  "Pour  me 
plaire  il  faut,"  and  the  vaudeville,  "Pretextant  une  bonne  affaire."  The  arranger  of 
the  music  not  recorded  by  Parfaict.  ML  50.2.P53S2 


884  LIBRARY   OF   CONGRESS 

Le  poirier — Continued. 

—  Le  poirier,  opera  comique  par  Mr.  Vad6.     Representee  pour  la 

premiere  fois  sur  le  Theatre  de  la  Foire  St.  Laurent;  le  7  ao<it  1752. 

La  Haye,  Pierre  Gosse,  1760.  64  p.  16'^^.  (Vade,  Oeuvres,  La 
Eaye,  1760,  t.  i.) 

One  act,  en  vaudevilles.    Cast.  ML  49.A2V2 

Le  poisson  d'avril.     See  Le  public  veng6. 

Polidore,  tragedie,  representee  par  I'Academie  royale  de  musique, 
I'an  1720.  Paroles  de  M.  de  Laserre.  Musique  de  M.  Baptistin. 
XCVIII.  opera. 

n.i.,n.d.  pi.,  64  p.  14'^-  (ReciLeil  general  des  opera,  t.xiii,  Paris, 
1734.) 

Detached  copy.  Prologue  and  five  acts.  Schatz  mentions  Simon  Joseph  de  Pelle- 
grin  as  joint  author,  without  stating  his  reasons.  The  composer  was  Jean  Batistin 
Stuck. 

First  performed  February  15,  1720,  as  indicated.  Schatz  10125 

Second  copy.    ML  48. R4 

Polidoro.  Tragedia  da  rappresentarsi  in  musica  nel  famoso  Teatro 
Grimani  de'  SvS.  Gio.  e  Paolo  il  carnovale  dell'  anno  1714. 

Venezia,  Marino  Rossetti,  n.  d.     71  p.     Id*^^. 

Five  acts.  Cast,  scenario,  and  argument,  in  which  the  author,  conte  Agoetino 
Piovene  (not  mentioned),  acknowledges  his  indebtedness  to  the  drama  by  conte 
Torelli.    The  composer,  Antonio  Lotti,  is  not  mentioned.  Schatz  5708 

Polidorus,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau- 
platze  fuergestellet. 

[Hamburg],  Gedruckt  mit  Spieringischen  schrifften,  1735.     Unpaged. 

Five  acts.  Johann  Samuel  MuUer's  free  German  version  of  Co.  Agostino  Piovene'a 
"Polidoro."    Argument  and  name  of  Carl  Heinrich  Graun  aa  the  composer. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  November  23,  1735;  at 
Brunswick,  August  13,  1731  (Schatz);   Sommermesse,  1726  (Mennicke). 

Schatz  4110 

H  Polifemo.  Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  del  Fondo  di  Separazione  per  quart'  opera  di  questo  anno 
1786  .  .  . 

Napoli,  n.  puU.,  1786.     36  p.     15'''^. 

Three  acts.  By  unknown  author.  Dedication,  argument,  and  cast.  The  remark, 
"La  musica  h  diretta  dal  .  .  .  Francesco  CipoUa,"  does  not,  as  Schatz  would  have 
it,  establish  him  clearly  as  the  composer.  Schatz  2013 

II  Polifemo.  Opera  drammatica  del  Sig.  Paolo  Rolli.  Da  rappre- 
sentarsi nel  Regio  Teatro  del  Buon-Ritiro  ...  in  questo  camevale 
dell'  anno  MDCCXLVIII. 

{Madrid],  Lorenzo  Francesco  Mojados,  n.  d.     [11],  12-101  p.    23'^'^. 

Three  acts.  Argument,  cast,  scenario,  and  the  names  of  the  composers,  Francesco 
CorseUi  (act  I),  Irancesco  Corradini  (act  II),  Giovanni  Battista  Mele  (act  III). 
Spanish  title-page,  "El  Polifemo,"  and  text  face  Italian.  Schatz  2253 

Polifemo. 

[295]-333  p.  17'^'^.  (RoUi,  Companimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  1744-) 

Three  acts.    The  composer,  Nicol6  Porpora,  is  not  mentioned. 
First  performed  at  London,  Haymarket,  January  1,  1735  (Fassini). 

ML  49.A2R7 


OPERA   LIBRETTOS  885 

Polipodio  e  Rucchetta.  Intermezzi  da  cantarsi  nel  Teatro  alia 
Torre  Argentina  nel  camevale  dell'  anno  1738.  Musica  del  Sig. 
Gaetano  LatUla. 

[Rome],  n.  pull.,  n.  d.     16  f.     Id^"^. 

Two  parts.  Not  recorded  by  Schatz.  Author  unknown  to  me.  Intermezzo  I 
b^ins  with  the  aria  "Se  rillustriesima  Dicono  a  me,"  Intermezzo  II  "Certi  amorini 
asciutti."  ML  50.2.P54L2 

Politicks  in  miniature:  or,  The  humours  of  Punch's  resignation. 
A  tragi-comi-farcical-operatical  puppet-show  with  a  new  scene  of 
Punch's  levee,  and  the  surprising  metamorphosis  of  his  puppets.  To 
which  is  added,  the  Political  rehearsal  Harlequin  Le  Grand:  or,  The 
tricks  of  Pierrot  Le  Premier.  With  the  cheats  and  adventures  of 
Punchinello,  Mezotin,  Scaramouch,  Pantaloon,  and  others.  Being 
a  tragi-comi-pantomimical  performance  of  two  acts.  In  which  are 
introduced,  An  heroic  scene  of  Female  Honour,  and  a  very  majestic 
pantomime  scene  of  kicking.  The  whole  interspers'd  with,  patriots, 
chorus  of  patriots;  courtiers,  chorus  of  courtiers;  songs;  observa- 
tions, critical  and  political.  Taken  from  the  Westminster  Journal 
of  March  20,  1741-2,  Oct.  30,  &  Nov.  6,  1742. 

London,  J.  MecheU,  n.  d.     38  p.     16^"'^. 

Two  acts.  LoNOE  277 

Polixene  et  Pirrhus,  tragedie  reprfeent^e  par  PAcademfe  rojale  de 
musique  I'an  1706.  Les  paroles  de  M.  de  la  Serre,  &  la  musique  de 
M.  Collasse.     LXVIII.  opera. 

n.  i.,  n.  d.  {Recueil  general  des  opera,  Paris,  t.  ix,  1710.)  front.y 
169-226  p.     W^"^. 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  October  21,  1706.  Schatz  2102 

Second  copy.    ML  48.R4 

Poll  of  Plympton.     A.  T.  Carter's  The  constant  maid. 

Pollastrella  &  Parpagnacco.     L.  T.  of  Gasparini's  Parpagnacco. 

PoUastreUa  &  Parpagnocco,  intermezzi.  See  Broschi's  Adriano 
in  Siria. 

Polly:  an  opera.  Being  the  second  part  of  the  Beggar's  opera. 
Written  by  Mr.  Gay  .  .  . 

London,  Printed  for  the  author,  1729.  1  p.  I.,  vii,  {1],  72  p.,  81  p, 
{music).    23  i'^'^. 

Three  acts  and  introduction.  Ballad  opera.  Seventy-one  songs,  the  airs  of  which 
are  indicated  in  the  text  by  title.  They  are  printed  with  their  basses  in  the  supple- 
ment without  title,  but  with  number  corresponding  to  that  in  the  text  and  with  the 
words  to  which  they  were  to  be  sung  in  "Polly." 

The  text  is  preceded  by  Gay's  preface,  dated  March  15,  1729,  in  which  ho  narrates 
his  experiences  with  the  Lora  Chamberlain  who  refused  to  grant  permission  of  per- 
formance, though  "everything  was  ready  for  a  rehearsal,"  but  "the  Lord  Chamoer- 
lain  sent  an  order  from  the  country  to  prohibit  Mr.  Rich  to  suffer  any  play  to  be 
reheare'd  upon  his  stage  till  it  had  been  first  of  all  supervis'd  by  his  Grace.  Gay 
then  in  parallel  columns  lists  the  errors  in  the  copy  delivered  to  the  Lord  Chamber- 
lain ana  the  Emendations  on  revising  the  piece  for  the  press.  He  takes  pains  to 
prove  that  there  was  no  attempt  on  his  part  to  deceive  the  Lord  Chamberlain  as  to 
the  actual  text  of  the  piece.  On  Dec.  7,  1728,  he  desired  to  read  the  opera  to  His 
Grace,  but  was  ordered  to  leave  the  manuscript  with  him,  and  on  Dec.  12,  1728, 
received  word  from  the  Lord  Chamberlain 


886  MBBABY  OF   CONGBESS 

PoUy — Continued. 

"that  it  was  not  allow 'd  to  be  acted,  but  commanded  to  be  supprest.  This  was 
told  me  in  general  without  any  reasons  assign'd,  or  any  charge  against  me  of  my 
having  given  any  particular  offence. 

"Since  this  pronibition  I  have  been  told  that  I  am  accused,  in  general  terms,  of 
having  written  many  disaffected  libels  and  seditious  pamphlets  ...  I  have  been 
inform'd  too,  that  in  the  following  play,  I  have  been  cnarg  d  with  writing  immorali- 
ties; that  it  is  fill'd  with  slander  and  calumnv  a^inst  particular  great  persons,  and 
that  Majesty  itself  is  endeavour'd  to  be  brought  into  ridicule  and  contempt. 

"...  to  justify  and  vindicate  my  own  character,  I  thought  my-eelf  obliged  to 
print  the  opera  without  delay  in  the  manner  I  have  done. 

"As  the  play  was  principally  design 'd  for  presentation,  I  hope  when  it  is  read  it 
will  be  considered  in  that  light:  And  when  all  that  hath  been  said  against  it  shall 
appear  to  be  intirely  misunderstood  or  misrepresented;  if,  some  time  hence,  it  should 
be  permitted  to  appear  on  the  stage,  I  think  it  necessary  to  acquaint  the  publick, 
that  as  far  as  a  contract  of  this  kind  can  be  binding;  I  am  engag'd  to  Mr.  Rich  to 
have  it  represented  upon  his  theatre."  [Lin coin's. Inn  Fields,  not  Covent  Gaiyen, 
built  1732,  as  pointed  out  by  Tufts.] 

John  Christopher  Pepusch,  who  selected  and  arranged  the  music,  is  not  men- 
tioned. 

The  piece  was  not  performed  until  Jime  19,  1777,  at  the  Haymarket  (Genest), 
and  then,  it  is  generally  claimed,  altered  by  (Jolman.  Tufts  adds:  "Arnold  sup- 
plied six  new  airs."  ML  50.5.P74 

—  Polly:  an  opera.     Being  the  second  part  of  the  Beggar's  opera. 
Written  by  Mr.  Gay  .  .  . 

London,  Jeffery  Walker,  n.  d.  3  p.  I.,  [v]-vii,  [1],  70  p.  20*^, 
[Bound  with  his  Beggar's  opera.     London,  1728.] 

Three  acts  and  introduction.  The  dame  preface  as  in  the  dated  1729  ed.  Con- 
tains no  music.    The  (71)  airs  are  merely  indicated  in  the  text  by  title. 

ML  50.5.B3 
Second  copy.     Lonoe  103 

—  Polly.     An  opera,  as  written  by  John  Gay.     Being  the  second 
part  of  the  Beggar's  opera. 

London,  John  BeU,  1777.     84  p.     17'"^. 

At  head  of  title:  "Bell's  edition."  On  p.  83-84  "Table  of  the  songs."  On  p.  3-5 
Gay's  preface  dated  "March  25,  1729." 

This  1777  edition  contains  the  same  text  and  the  same  71  airs  indicated  by  title 
as  in  the  1729  eds.!  Consequently,  it  is  not  Colman- Arnold's  version,  first  performed 
on  Jime  19,  1777,  at  the  Haymarket.  Schatz  7865 

Poltis  oder  Das  gerettete  Troja,  eine  komische  oper  in  drey  auf- 
zuegen. 
Leipzig,  hey  Friedrich  GoUhold  Jacohaeem,  1773.  119,  [1]  p.  ISY"^- 
On  the  last  imnumbered  page  the  note  that ' '  diese  komische  oper  von  herr  Kill  em 
in  musik  gesetzt  wird."  Text  preceded  by  quotation  from  Pope,  by  way  of  argu- 
ment. The  text  is  b^  Gottfried  Samuel  Brunner,  who  revised  a  manuscript  play  by 
Steinel  and  added  anas.    Schatz  does  not  record  a  performance  of  this  work. 

Schatz  4731 

Poljrxena.     Ein  lyrisches  monodrama.     Von  F.  J.  Bertuch. 

Weimar,  Im  verlage  des  Industrie-comptoirs,  1793.     16  p.     22'^'^. 

Dedication,  dated  Weimar,  April  6, 1793,  and  Einleitung  (dated  Weimar,  March  20, 
1793),  in  which  Bertuch  says  that  he  wrote  this  trifle  1774;  that  it  was  published  in 
the  same  year  in  the  Teutsche  Merkur;  that  it  was  competed  by  several  musicians, 
among  whom  Anton  Schweitzer;  and  that  the  text  was  now  reprinted,  after  nineteen 
years,  because  of  the  fact  that  Schweitzer's  music  was  now  to  appear  for  the  first  time. 

Schatz  11757 


OPERA  LIBRETTOS  887 

Polyxena — Continued. 

—  Polyxena,   ein  lyrisches   monodrama  von  BertucL.     In  musik 

gesetzfc  von  Schweizer. 

Hamburg,  Freystatzky  und  Babe,  179^.     13  p.     IS^'^. 

"Einleitung"  (argument). 

First  performed  at  Gotha,  Schlosstheater  im  Ballhauee,  April  7, 1775,  and  at  Ham- 
biirg,  Theater  beim  Gansemarkt,  February  19,  1778.  Schatz  9778 

Les  pommiers  et  le  moulin,  comedie-lyrique  en  un  acte,  repr^ 
sente  pour  la  premiere  fois  par  FAcademie  royale  de  musique,  le 
vendredi  22  Janvier  1790.  Paroles  de  M.  Forgeot.  Musique  de  M. 
Lemoine. 

Paris,  P.  Delormel,  1791.     23  p.     21^"^.  ML50.2.P56L2 

Pomone.     Pastorale  represents  par  I'Academie  royalle  en  1671. 
Les  paroles  sont  de  M.  Perrin  &  La  musique  de  M.  Cambert.     I.  Opera 
n.  i.,  n.  d.    front.,  Jf.8  p.     14'^'^.     (Recueil  general  des  opera,  Paris, 
1703,  t.  i.) 

Detached  copy.     Five  acts  and  prologue. 

First  performed  at  Sevres,  at  the  palace  of  the  marquis  de  Sourdeac,  June  12,  1670, 
and  at  Paris,  Salle  au  Jeu  de  Paume  de  la  Bouteille,  March  3, 1671.        Schatz  1519 

Second  copy.    ML  48. R4 

H  Pompeo.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  del 
Falcone  di  Grenova  .  .   . 

Genova,  Antonio  Scionico,  1691.     71  p.     13*^. 

Three  acts.  Conte  Nicolo  Minato,  the  author,  not  mentioned.  Dedication  signed 
by  the  composer,  Giacomo  Antonio  Perti,  who  is  not  otherwise  mentioned,  ailment, 
scenario,  and  cast.  Schatz  7958 

II  Pompeo.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Ravenna  nel  present'  anno  1685  .  .  . 

Ravenna,  Bernardino  e  Matteo  Pezzi,  1685.     76  p.     14*^. 

Three  acts.  Dedication,  dated  Ravenna,  May  10, 1685,  of  this  drama  ("poch'  aimi 
Bono  da  un  ingemo  piii  ameno  fatto  comparire  su  la  magnificenza  de'  teatn  di  Roma, 
[1683]  &  hora  da  noi  su  la  picciolezza  del  nostro"),  argument.  Neither  the  author, 
conte  Niccolb  Minato,  is  mentioned,  nor  the  composer,  who  is  unknown  to  Schatz.  At 
Rome,  the  composer  was  Alessandro  Scarlatti,  and  probably,  under  the  circum- 
stances, hifl  music  was  also  used  at  Ravenna.  ML  48.A5    v.  3 

Pompeo  in  Armenia.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  il  camovale  dell'  anno  1747. 

Venezia,  Modesto  Fenzo,  1747.     48  p.     14^"^. 

Three  acts.  By  Bartolomeo  Vitturi,  who  is  not  mentioned.  Argument,  cast, 
scenario.     Giuseppe  Scaxlatti,  the  composer,  is  not  mentioned.  Schatz  9552 

Pompeo  Magno.  Drama  per  musica  nel  Teatro  h.  S.  Salvatore  per 
I'anno  1666  .  .  . 

Venetia,  Francesco  Nicolini,  1666.     86  p.     14Y^' 

Three  acts,  with  prol(^e.  Author's  dedication  signed  with  conte  Niccol6  Minato 'a 
initials  and  dated  Venice,  February  20,  1666,  aijgument,  notice  to  the  reader,  and 
scenario.    The  composer,  Pietro  Francesco  Cavalli,  is  not  mentioned.    Schatz  1732 


888  LIBBABY  OF  CONGRESS 

^  Pompeo  Magno  in  Cilicia.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant  'Angelo  Tanno  MDCLXXXI.  Di  Aurelio  Aureli 
opera  XXI. 

Venetia,  Francesco  Nicolini,  1681.     57,  [1]  p.     14V^' 
Three  acts.    Author's  dedication  dated  January  22,  1681,  his  notice  to  the  reader, 
with  name  of  Giovanni  Domenico  Freachi  as  composer,  argument,  and  scenario. 

ScHATz  3353 

Ponce  de  Leon.     Op6ra-bouffon,  en  trois  actes;  paroles  et  musique 
de  M.  Lebreton  [!]     Kepr6sent6  pour  la  premiere  fois,  sur  le  Theatre 
de  rOp6ra-comique  national,  rue  Favart,  le  25  ventdse  an.  V.  [March 
15,  1797] 
Paris,  Barha,  1797.     60  p.     19\''^. 

Cast.  The  score  published  in  1797  gives  Henri  Montan  Berton  as  author  and 
composer.  Schatz  896 

The  poor  soldier,  a  comic  opera.     In  two  acts.     With  all  the  original 
songs.    Written   by   John   O'Keefe,   Esq,  ...     As   acted   at    the 
V         Theatre  Royal,  Covent  Garden.     A  new  edition.     Improved  and 
carefully  corrected. 

Dublin,  Printed  and  sold  hy  the  hoolcseUers,  1785.  1  p.  I.,  32  p. 
16^"^. 

Cast.  Largely  a  ballad  opera,  the  resp.  airs  of  the  19  songs  being  indicated  by  title. 
The  music  partly  compiled  and  partly  composed  by  William  Shield,  who  is  not 
mentioned. 

First  performed  at  Dublin,  Smock  Alley,  March  28,  1783,  as  ' '  The  Shamrock  or 
Revels  on  St.  Patrick's  Day"  (Lawrence);  as  "The  Shamrock,  or,  The  anniversary 
of  St.  Patrick,"  London,  Covent  Garden,  April  7,  1783  (Schatz),  May  7,  1783  (Law- 
rence^; under  the  above  title,  November  4,  1783  (Genest),  December  1783  (Law- 
rence).   According  to  Tufts,  the  1798  ed.  of  O'Keefe'a  works  gives  the  date  as  1782. 

LONGE  168 

—  The  poor  soldier.     A  comic  opera. 

[175]-200  p.     16'"^.     (A  volume  of  plays,  Dublin,  1791.) 

Without  name  of  author  or  composer.  PR  1269.  V6 

Poor  Vulcan,  a  burletta,  in  two  acts,  as  performed  at  the  Theatre- 
Royal  in  Co  vent-Garden. 
London,  G.  Kearsley  and  W.  NicoU,  1778.    2  p.  I.,  45  p.     21^"^. 

Cast.  The  author-compiler-composer,  Charles  Dibdin,  is  not  mentioned.  In 
Johnston  and  Randall's  vocal  score  "  ^\^len  the  sergeant"  is  headed  as  composed  by 
Dr.  Ame  and  "Joys  that  wordly  mortals  "  as  by  Dr.  Arnold. 

First  performed  February  4,  1778,  as  indicated.  Lonoe  87 

Popolo  d'Argo,  ballet.     See  Rispoli's  Ipermestra. 

Poro.     Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1745.     Alia  presenza  di  Sua  Maestk. 

Torino,  Pietro  Giuseppe  Zappata  e  figliuolo,  n.  d.  4  V-  ^-i  ^^  V- 
15^"^. 

Three  acts.  Altered  from  Metastasio,  who  is  not  mentioned  by  name.  Argument, 
scenario,  cast,  and  names  of  Gluck  as  the  composer  of  the  opera,  of  Alessio  Rasetti  as 
composer  of  the  ballet  music. 

First  performed  December  26,  1744,  as  indicated.  Schatz  3933 

Poro  re  d'ltalia.     O.  T.  of  Handel's  Porus. 


OPERA  LIBRETTOS  889 

Porsena.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S.  A. 
S.  E.  di  Baviera  nel  carnevale  dell'  anno  MDCCXXV. 
Monaco,  Giovanni  Luca  Straub,  n.  d.     79,  [1]  y.     15'^'^. 

Three  acts.  Argument,  cast,  scenario.  Author  and  composer  not  mentioned  and 
imknown  to  Schatz.  Schatz  11358 

Porseima.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Bartolomeo  il  giorno  19.  novembre  1713.  In  cui  si  festeggia  il  glorioso 
nome  di  S.  M.  Ces.  e  Catt.  Elisabetta  .  .  . 

Napoli,  MicheleLuigi  Muzio,  1713.    68  p.     14'^^. 

Three  acts.  Dedication  by  the  impresario,  Nicola  Serino,  ai^:ument,  scenario, 
cast,  and  footnote  on  p.  10: 

"Musica  del  Signor  Antonio  Lotti;  accomodata  e  diretta  dal  Sig.  Alessandro  Scar- 
latti, primo  maestro  della  Real  Cappella." 

The  author,  conte  Agostino  Piovene,  is  not  mentioned. 

Lotti's  opera  was  first  performed  at  Venice,  Teatro  di  S.  Giov.  Grisoetomo,  car- 
nival, 1712.  Schatz  5711 

Porsugnacco  e  Grilletta.  Intermezzi  in  Hasse's  Gerone  tiranno 
di  Siracusa. 

Li  portentosi  effetti  della  gran  Madre  Natura.  A.  T.  of  L'inno- 
cenza  protetta  dal  Cielo. 

I  portentosi  effetti  della  Madre  Natura. 

[271]-332  p.  16^*'^.  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  ii,  Torino,  1757.) 

Three  acts.    First  composed  by  Scarlatti,  as  below.  ML  49.A2G6 

—  I  portentosi  effetti  della  Madre  Natura.  Dramma  di  tre  atti 
per  musica. 

Carlo  Goldoni,  Opere  teairali,  Venezia,  Zatta  ejlgli,  1788-96,  v.  4^, 
[263}-326  p.     18'='^. 

PQ 

I  portentosi  effetti  della  Madre  Natura.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  Nuovo  di  S.  Samuele  I'autunno 
dell'  anno  1752  .  .  . 

Venezia,  Modesto  Fenzo,  1752.     2  p.  I.,  64  p.     17'^'". 

Three  acts.  Cast,  scenario,  and  Carlo  Goldoni's  dedication  dated  November  11, 
1752,  in  which  he  says: 

"Questi  giocoei  drammi  per  musica  sono  i«i  oggi  per  tutta  1' Italia  desiderati,  e  con 
piacere  intesi,  e  le  persone  nobili,  e  colte  v'intervengono  frequentemente,  trovando 
in  esse  alia  melodia  del  canto,  unito  il  piacere  dell'  onesto  ridicolo,  il  che  forma  \m 
divertimento  assai  piii  allegro  del  solito. 

The  composer,  Giuseppe  Scarlatti,  is  not  mentioned.  Schatz  9554 

—  I  portentosi  effetti  della  Madre  Natura.  Dramma  bernesco 
per  musica.     Nell'  anno  1758. 

Monaco,  Giov.  Giac.  V'otter,  n.  d.     76  p.     15'^'^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Neither  is  Giuseppe  Scarlatti, 
the  composer.  Tne  text  differs  slightly  from  the  original  Venice,  1752,  ed.  For 
instance,  "Donna^  \i  lascio  il  cor"  (I,  11)  has  become  Non  temer,  che  avanti  k  lei" 
and  "Se  tal'  im  mi  dice  bella"  (1, 13)  has  become  "Non  son  bella — non  sono  vezzosa." 

Schatz  9553 

II  porto  della  liberta.     See  M.  Curzio. 


890  LIBEABY  OF   CONGRESS 

The  portait;   a  burletta.     As  it  is  performed  at  the  Theatre  Royal, 
in  Covent-Garden.     The  music  by  Mr.  Arnold. 
London,  T.  BecJcet  and  co.,  MCCCLXX  [!]    2 'p.  I.,  32  p.    20<^. 

Three  acts.  By  George  Colman,  who  is  not  mentioned.  Cast  and  same  prefatory- 
note  as  in  next  entry. 

First  performed  November  22,  1770,  as  indicated.  ML  50.2.P59A7 

—  The  portrait;  a  burletta.  As  it  is  performed  at  the  Theatre  Royal, 
in  Covent-Garden.     The  music  by  Mr.  Arnold.     A  new  edition. 

London,  T.  Becket  and  co.,  MCCCLXX  [!]     2  p.  L,  28  p.     20^^. 

Two  acts.  Cast  and  prefatory  note,  according  to  which  this  edition  of  "The  Por- 
trait" ("founded  on  a  French  piece,  called  Le  tableau  parlant"  by  Anseaume)  differs 
from  the  first  by  omission  of  the  "superfluous"  part  of  Pierrot  and  the  reduction  of 
the  burletta  to  two  acts.    The  author,  George  Colman,  is  not  mentioned. 

LONGE  26 

Porus.  An  opera  as  it  is  perform'd  at  the  Theatre  Royal  in  Covent- 
Garden.     The  fourth  edition,  with  additions. 

London,  T.  ^ood,  1736.     67  p.     17''^. 

Three  acts.  Argument  and  cast.  The  Italian  title,  "Poro  rfe  dell'  Indie,"  heads 
the  Italian  text  which  faces  the  English.  According  to  a  footnote  on  p.  3  the  arias, 
etc.,  "Tiranna  la  sorte"  (I,  2),  "Poro,  se  suU'  Idaspe  /  Sorti  illeso  Alessandro"  (III, 
5),  indicated  in  the  text  and  others  on  "the  leaf  or  alterations "  which  is  not  in  this 
copy,  were  not  composed  by  Handel.  The  text  is  based  on  "Alessandro  nell'  Indie  " 
by  Metastasio,  who  is  not  mentioned. 

First  performed,  as  indicated,  December  8,  1736;  originally  at  the  same  theatre, 
Febniary  2,  1731.  Schatz  4486 

—  Triumph  der  grossmuth  und  treue,  oder  Cleofida,  koenigin 
von  Indien,  in  einem  sing-spiele  auf  der  Hamburgis.  Schau-buehne 
fuergestellet.     Anno  MDCCXXXII. 

Hamburg,  mit  Stromerschen  schrifften,  n.  d.      Unpaged.     18^"^. 

Three  acts.  In  his  "Vorbericht,"  which  contains  also  the  argument,  C.  G.  Wend, 
the  translator,  says  that  this  "Porus"  has  nothing  to  do  with  an  opera  of  the  same 
title  previously  performed  at  Hamburg,  that  in  his  translation  of  Handel's  "Porus," 
though  but  "eine  eilfertige  arbeit,"  care  was  taken  "ein  theil  derer  arien  (sonderlich 
solcher,  die  sich  im  gemeinen  leben  appliciren  lassen,)  in  teutsche  reime  zu  bringen 
und  unter  die  music  zu  legen,  damit  sie  allenfalla  liebhaber,  die  eben  keine  abgoetter 
von  italiaenischen  worten  sind,  auch  teutsch  singen  hoeren,  oder  selbst  auf  der  kam- 
mer  nachsingen  koennen."  He  then  comments  on  the  difficulty  Italian  verses 
"musicalisch  zu  parodiren."    Characteristic  is  his  remark: 

"  Dass  imser  herr  Telemann  die  teutschen  recitative  unter  noten  ^ebracht,  brauche 
ich  wohl  nicht  erst  zu  melden,  weil  so  ein  grosser  meister  dergleichen  etwas  wohl 
im  schlafe  zu  verrichten  faehig  ist,  undjch  folglich  seinen  sonst  hohen  verdiensten 
durch  meldung  eines  so  geringen  fast  unrecht  anthun  wuerde." 

The  Italian  text  of  the  arias  has  been  added  to  the  German. 

First  performed,  as  indicated.  Theater  beim  Gansemarkt,  February  25,  1732. 

Schatz  4487 

Porzia,  ballet.     See  Alessandri's  Calliroe. 

II  Posilipo  di  Napoli,  ballet.  See  P.  Gugliehni's  Lo  sciocco  poeta 
di  campagna, 

Pourceaugnac  and  Griletta.  Tr.  of  Orlandini's  Monsieur  de 
Porsugnac. 

Le  pouvoir  de  I'amour.     A.  T.  of  the  ballet  Le  premier  navigateur. 

Le  pouvoir  de  ramour.  A.  T.  of  M^hul's  Euphrosine  et  le  tyran 
corrig6. 


OPERA  LIBRETTOS  891 

II  povero  superbo.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Grimani  di  S.  Samuel  nel  carnovale  dell'  anno  1755  .  .  . 
Veneziq,  Modesto  Fenzo,  1755.     59  p.     15'^'^. 

Three  acts.  Author  unknown  to  Schatz.  Impresario's  dedication,  cast,  scenario, 
and  name  of  Baldassare  Galuppi  as  composer.  According  to  Piovano,  the  text  is 
taken  from  Goldoni's  "Castalda.  Schatz  3467 

Der  praechtige  freygebige.     Tr.  of  Gretry's  Le  magnifique. 

Prassitele    in    Gnido.     Drama    pastorale    per    musica    d'Aiu-elio 

Aurelii  da  rapresentarsi  in  Rovigo  nel  Teatro  novissimo  dell'  illustriss. 

Signor  Co.  Marc'  Antonio  Monfredini  I'anno  1700  .  .  . 
Venezia,  Marino  Rossetti,  1700.  front.,  48  p.  l^Y^- 
Three  acts.    Dedication,  argument,  cast,  scenario,  and  Aiireli's  notice  to  the  reader, 

in  which  he  mentions  the  "bizzarra  musica  del  Signor  Agostino  Bonaventura  Colletti, 

virtuoso  Luchese,"  and  says: 

"Se  giammai  nel  numerq  di  62  drami  da  me  composti  fin  ora  per  la  musica,  me  n'6 

caduto  dalla  pena  alcuno  che  meriti  il  titolo  d'allegro;  questi  (6  benigno  lettore)  a  mio 

credere  puo  dirsi  uno  di  quelli  ..."  Schatz  2113 

Prassitele  in  Gnido.  Drama  pastorale  per  musica  da  rappresen- 
tarsi in  Venetia  nel  Teatro  Novissimo  a\  Santi  Appostoli  Fanno 
1707  .  .  . 

Venetia,  Gio.  Maria  Rossi,  1707.     55  p.     15'^'^. 

Three  acts.  By  Aurelio  Aureli,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  notice  to  the  reader,  and  scenario.  The  composer,  Girolamo  Folani,  is 
not  mentioned.  Schatz  8255 

II  pregiudizio  che  nasce  dal  mancare  di  parola.    A.  T.  of  C.  F. 

Pollaroli's  Almansore. 

Le  premier  navigateur,  ou  Le  pouvoir  de  I'amour,  ballet  d'action, 
en  trois  actes  par  M.  Gardel  Tain^,  Represente  sur  le  Theatre  de 
I'Academie  de  musique,  le  mardi  26  juiUet  1785. 

Paris,  n.  publ.,  1785.     13  p.     20^"^. 

Cast  and  scene  by  scene  synopsis  of  the  action  of  the  three  acts.  No  composer 
mentioned,  but  Lajarte,  charging  Gardel  with  plagiarism  on  Philidor,  says:  "Musique 
tir^  des  oeuvres  de  Gr§try."  ML  52.2. P6 

La  premiere  representation.  Prologue.  Pour  pr^ceder  la  piece 
suivante.  Par  M""  Le  S  *  *  *.  Repr&ent6e  a  la  Foire  S. 
Laurent.     1734. 

—  Les  manages  de   Canada.     Piece  d'xin  acte.    Par  M'"  Le 

S     *     *.     Representee  k  la  Foire  S.  Laurent.     1734. 

Le  Theatre  de  la  Foire,  Paris,  1737,  t.  ix,  p.  [275\-362.     17'''^. 

By  Le  Sage.  Largely  en  vavdevilles.  The  airs,  selected  or  composed  and  arranged 
by  Jean  Claude  Qillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

ML  48.L2IX 

II  prencipe  giardiniero  di  Benedetto  Ferrari  dalla  tiorba  .  .  . 
Rappresentato  in  musica  in  Venetia.  Posto  in  musica  dall'  istesso 
autore. 

71.  i.,  n.  d.  p.  [239]-291.  {Poesie  drammatiche  di  Benedetto  Ferrari, 
Milano,  16U-)     13^"^. 

Detached  copy.  Three  acts.  Author's  dedication,  argument,  two  soimets  addressed 
to  the  author,  and  "Prolo*?o.     Hercole  su'  L'idra." 

First  performed  at  Venice,  Teatro  de'  SS.  Gio.  e  Paolo,  December  30, 1643. 

Schatz  3068 


892  LIBRARY  OF   CONGRESS 

Les  preparatifs  de  f§te.     A.  T.  of  Champein's  Le  podte  suppose. 

La  prepotenza  delusa.  Dramma  giocoso  per  musica  in  due  atti 
d'Antonio  Piazza  Venetiano  da  rappresentarsi  nel  nobilissimo  Teatro 
di  S.  Samuele  nel  carnovale  dell'  anno  1777. 

Vene2ia,,Gio.  Battista  Casali,  1777.     64  p.     17 Y"^- 
Cast,  scenario,  and  name  of  Giovanni  Cavi  as  composer.    On  p.  r31]-42,  preface, 
cast,  scenario,  and  detailed  description  of  Innocenzo  Gambuzzi  s     Medonte,  ballo 
eroico."     Baldassare  Filippo  Mattel  is  mentioned  aa  the  composer  of  the  music. 

SCHATZ  1757 

La  presa  di  Granata.  Dramma  serio  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  dell'  Accademia  degli  Awalorati  in  Livorno 
I'autuimo  dell'  anno  1795. 

[Livomo],  Tommaso  Masi  e  compagno.     ^6  p.     17^'^. 

Two  acts.  By  Mario  Ballani.  Argument,  cast,  and  names  of  the  composer, 
Giuseppe  Maria  Curcio,  and  the  author.  On  a  flyleaf  a  curious  "protesta"  of  Sig. 
Girolamo  Braura  has  been  pasted : 

"che  la  parte  di  Lara  .  .  .  non  corrisponda  alle  sue  convenienze  e  carattere,  pro- 
testa  di  avere  accettata  la  detta  parte  spontaneamente,  e  per  mera  compiacenza  alle 
istanze  stategli  fatti  a  tale  effetto."  Schatz  2305 

—  La  conquista  di  Granata.     Dramma  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  di  via  della  Pergola  I'autunno  del  1796  .  .  . 
Firenze,  Pietro  Fantosini,  1796.     32  p.     17^"^. 

Three-act  version  of  the  above.  Argument,  cast,  and  name  of  Giuseppe  Maria 
Curcio  as  composer.  The  third  act  simply  consists  of  the  two  laet  scenes  of  the  second 
act.  With  the  opera  was  performed  Antonio  Cianfanelli's  ballet,  "La  diserzione  per 
equivoco."    The  composer  of  the  music  is  not  mentioned.  Schatz  2306 

La  presa  de  Marochini,  ballet.  See  DeUa  Maria's  Chi  vuol  non 
puole. 

The  press  gang  or  Love  in  low  life.     L.  T.  of  Carey's  Nancy. 

Le  Pressoir.     See  Floquet's  Le  seigneur  bienfaisant. 

Presumptuous  love :  A  dramatick  masque.  As  it  is  performed  at 
the  New  Theatre  in  Lincoln's  Inn-Fields,  1716.  ^ 

London,  Edw.  Nutt,  n.  d.     24  p.     21^"^. 

Two  acts.  Cast  and  preface,  in  which  the  author  (not  recorded  by  Clarence)  says: 
"I  own  here  is  a  great  deal  of  room  for  fine  machinery  decoration  of  the  stage,  and 
the  like;  but  as  that  wou'd  have  encreas'd  the  expences  of  the  house  too  considerably, 
we  hope  the  musick  to  this  masque  will  prove  as  agreeable  an  entertainment  to  the 
town,  as  hath  been  produced  in  this  kind  some  years;  for  the  composing  of  which,  we 
own  ourselves  obliged  to  Mr.  William  Turner,  wno  hath  a  happy  genius  in  naturalizing 
Italian  musick  into  a  true  English  manner,  without  losing  the  spirit  and  force  of  the 
original  in  the  imitation,  or  the  masterly  touches  of  the  art  in  the  composition." 

LONQB  138 

I  pretendenti  burlati.     Dramma  giocoso  per  musica  esposto  a 
diporto  villereccio  dal  nobil  uomo  D.  Gian-Carlo  Grossardi  nel  suo 
privato  teatrino  di  Medesano  1'  estate  dell'  anno  1793. 
n.  i.,  n.  d.     4  p.  I.,  77  p.     20^"^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  (of  amateurs), 
scenario,  and  name  of  Ferdinando  Par  (Paer)  as  the  composer.  ("La  musica  tutta 
nuova.")  Schatz  7566 


OPERA   LIBKETTOS  893 

I  pretendenti  delusi.  L.  T.  of  Sarti's  Fra  i  due  litiganti  il  terzo 
gode. 

Le  pretendu,  com6die  en  trois  actes,  en  vers,  mdlee  de  musique;  par 
M.  Riccoboni.  Representee,  pour  la  premiere .  fois,  sur  le  The&tre 
des  Comediens  italiens  ordinaires  du  roi,  le  jeudi  6  novembre  1760. 

Paris,  deLormel,  1760.     72  p.     19'''^. 

Cast  and  name  of  Pierre  GaviniSs  as  composer.  ML  50.2.P63G2 

Les  pretendus,   comedie-lyrique  en  un  acte,  representee  pour  la 
premiere  fois,  par  I'Academie  royale  de  musique,  le  mardi  2  juin  1789. 
Paris,  P.  de  Lormel,  1789.     viii,  55  p.     28^"^. 

One  act.     By  Marc  Antoine  Jacques  Rochon  de  Chabannes,  who  is  not  mentioned. 
"Avertissement,"  name  of  Le  Moine  as  composer,  and  cast.  Schatz  5487 

Les  preux  chevaliers.     See  Dorothee. 

La  pre2dosa  ridicola.     Intermezzi  in  II  Radamisto,  Firenze,  1728. 

La  preziosa  ridicola.     Intermezzi  comici  musicali  da  rappresen- 
tarsi  nel  Teatro  di  S,  Angelo  il  carneval  dell'  anno  1719. 
Venezia,  Marino  Rossetti,  1719.     20  p.     15^'^'^. 

Three  parts.    Neither  the  author,  marchese  Trotti,  nor  the  composer,  Giuseppe 
Maria  Orlandini,  is  mentioned. 

First  performed  at  Bologna,  Teatro  Formigliari,  June  14,  1718.  Schatz  7346 

Le  preziose  umiliate,  ballet.     See  Winter's  BeL'sa. 

Le  prie  del'oiseau  ou  du  papegai,  ballet.  See  Bemasconi's  Didone 
abbandonata. 

La  prigionia  di  Dario.  A.  T.  of  Stabingher's  ballet  II  trionfo  di 
Alessandro. 

II  prigioniero  fortunato.  Drama  per  musica  di  Francesco  Maria 
Paglia  .  .  . 

Napoli,  Dom.  Ant.  Parrino  e  Michele  Luigi  Mutio,  1698.     70  p. 

14'='^. 

Three  acts.     Author's  dedication,  notice  to  the  reader,  cast,  and  scenario.     The 
composer,  Alessandro  Scaxlatti,  is  not  mentioned. 

First  performed  at  Naples,  Teatro  di  San  Bartolomeo,  December  14,  1698. 

Schatz  9529 

—  II  prigioniero  fortunato.  Drama  per  musica  da  rappresentarsi 
in  Mantova  1'  anno  1699  .  .  . 

[Mantova],  Gio.  Batt.  Grana,  n.  d.  91,  [2]  p.  15^^- 
Three  acts.  Dedication,  notice  to  the  reader,  cast,  scenario,  and  names  of  Paglia 
as  the  author,  of  Alessandro  Scarlatti  as  the  composer.  On  the  [2]  p.  "Arie  mutate  ": 
"Segni  d'un  bel  valore"  instead  of  "Cangia  il  cielo,"  "Ben  mio  tii  non  vedrai" 
instead  of  "Quell'  ardore"  (both  act  I),  "Son  nata  per  quegl'  occhi"  instead  of  "Mi 
tormenta,"  "Sapr5  svenar  con  I'armi"  instead  of  Flagellate  "  (both  act  II),  and  in 
act  III  "Quanto  sarei  beata"  instead  of  "FoUi  amanti'  and  "Bella  prova  de  la  mia 
fade"  instead  of  "M'  incatena."  ML  50.2.P65S2 

La  prima  eta  dell'  innocenza  o  sia  La  Rosaja  di  Salency,  ballet. 
See  Borghi's  Artaserse. 


894  LIBRARY   OF   CONGRESS 

»  Primislao,  prime  re  di  Boemia.  Drama  per  musica.  Da  rappre- 
sentarsi  nel  Teatro  di  S.  Cassiano  1'  anno  1698.  Di  Giulio  (Jesare 
Corradi  .  .  . 

Venetia,  Per  il  Nicolini,  1697.     60  p.     l^""^. 

Three  acta.  Author's  dedication  dated  Venice,  November  9,  1697,  ai^naent, 
scenario.    The  composer,  Tommaso  Albinoxd,  is  not  mentioned.  Schatz  124 

II  primo  giorno  dell'  anno  nella  China,  ballet.  See  Tarchi's  Ifi- 
genia  in  Aulide. 

II  primo  navigatore,  ballet.     See  Minoja's  Tito  nelle  Gallie. 

The  prince  of  Arragon.     A.  T.  of  Arnold's  The  birth-day. 

The  princess  of  Tarento.     A  comedy  in  two  acts. 

[189]-236  p.  21^"^'  {The  miscellaneous  ivories  of  A.  M' Donald, 
London,  J.  Murray,  1791.) 

Interspersed  with  airs,  songs,  etc.,  composed  by  Corelli,  Vanliall,  Gluck,  Giar- 
dini,  MiUico,  Handel,  Harrington.  Lonoe  282 

La  princesse  d'Elide,  ballet  heroique,  represents  par  I'Academie 
royale  de  musique,  Fan  1728.  Paroles  de  M.  Pellegrin.  Musique  de 
M.  ViUeneuve.     CX.  opera. 

n.  i.,  n.  d.  pi.  253-296  p.  14''^.  (Recueil  general  des  opera,  t.  xiv, 
Paris,  1734). 

Detached  copy.     Prologue  and  three  acts. 

First  performed,  as  indicated,  July  20,  1728.  Schatz  10738 

Second  copy.    ML  48. R4 

La  princesse  de  Carizme.  Pi^ce  en  trois  actes.  Par  Monsieur  le 
S  *  *.  Representee  k  la  Foire  de  Saint  Laurent  1718.  Et  pen- 
dant le  cours  de  la  m^me  foire,  sur  le  Theatre  de  I'OpSra,  par  ordre 
de  S.  A.  Royale  Madame. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  Hi,  pi,  [9S]-199  p.     17'="'. 

By  Alain  Ren^  Le  Sage.  Largely  en  vaudevilles.  The  airs  selected  or  composed 
and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  theatre,  are  printed 
at  the  end  of  the  volume  in  the  "Table  des  airs.  ML  48. L2  III 

La  princesse  de  la  Chine.  Piece  en  trois  actes.  Par  M""^  le 
S    *     *     &  d'Or    *    *     representee  k  la  Foire  Saint  Laurent  1729. 

Le  Thedtre  de  la  Foire,  Paris,  1731,  t.  viii,  pi,  [121]-212  p.     17'='^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  composed 
and  arranged  dy  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs." 

Firtft  performed  June  25,  1729.  ML  48.L2  VII 

La  princesse  de  Navarre,  com6die-ballet ;  feste  donn^e  par  le  roy 
en  son  ch&teau  de  Versailles,  le  mardi  23.  fevrier  1745.  Cfette  pi^ce 
est  du  Sr.  Arrouet  de  Voltaire. 

[Paris],  BaUardfils,  n.  d.     88  p.     21"'^. 

Prologue,  three  acts,  and  final  Divertissement.  The  latter  was  intended  entirely 
for  music,  whereas  in  the  com6die-ballet  proper  music  figured  only  incidentally  in 
the  form  of  dances  and  choruses.  The  composer,  Jean  Philippe  Rameau,  is  not 
mentioned.    Cast  and  Avertissement,  reading,  in  part: 

"Le  Roi  a  voulu  donner  h  Madame  la  Dauphine  une  Fete  qui  ne  ffit  pas  seulement 
un  de  ces  Spectacles  pour  les  yeux,  tels  que  toutes  les  Nations  peuvent  les  donner,  & 
qui  passant  avec  I'^clat  qui  lee  accompag^e.  ne  laissent  apr^s  eux  aucune  trace.    II  a 


OPERA   LIBEETTOS  895 

La  princesse  de  Navarre — Continued. 

commande  un  Spectacle  qui  pM  h  la  foie  eervir  d'amusement  k  la  Cour,  &  d'encourage- 
ment  aux  beaux  Arts,  dont  il  e^ait  que  la  culture  contribue  a  la  gloire  de  son  Royaume. 
M.  le  Due  de  Richelieu,  Premier  Gentilhomme  de  la  Chambre  en  exercice,  a  ordonn6 
cette  Fete  magnifique. 

"II  a  fait  elever  un  Theatre  de  cinquante-six  pieds  de  profondeur  dans  le  grand 
Manege  de  Versailles,  &  a  fait  construire  une  Salle,  dont  les  decorations  &  les  embel- 
lissemens  sont  tellement  menag^s,  que  tout  ce  q\xi  sert  au  Spectacle  doit  s'enlever  en 
une  nuit,  &  laieser  la  Salle  omee  pour  un  Bal  par6,  qm  doit  former  la  F^te  du 
lendemain. 

"Le  Theatre  &  les  Loges  ont  6t6  construits  avec  la  magnificence  convenable,  & 
avec  le  gofit  qu'on  connoit  depuis  long-tems  dans  ceux  qui  ont  dirige  ces  preparatife. 

"On  a  voulu  r^unir  sur  ce  Theatre  tous  les  talens  qui  pourroient  contribuer  aux 
agr^mens  de  la  Fete,  &  rassembler  k  la  fois  tous  les  charmes  de  la  declamation,  de  la 
Danse  &  de  la  Musique,  afin  que  la  Personne  Auguste,  k  qui  cette  Fete  est  consacr^e, 

f)fit  connoitre  tout  d'lm  coup  les  talens  qui  doivent  ^tre  doresnavant  employes  k 
ui  plaire. 

"On  a  done  voulu  que  celui  qui  a  et6  charg6  de  composer  la  Fete,  fit  un  de  cea 
ouvrages  Dramatiques,  ou  les  divertissemens  en  musique  torment  une  partie  du  sujet, 
ou  la  plaisanterie  se  mele  a  I'Heroique,  &  dans  lesquels  on  voit  im  melange  de  1' Opera, 
de  la  Com^die,  &  de  la  Trag^die. 

"On  n'a  p<i  ni  dH  donner  a  ces  trois  genres  toute  leur  ^tendue;  on  s'est  efforc6 
seulement  de  reimir  les  talens  de  tous  les  Artistes  qui  se  distinguent  le  plus,  &  I'unique 
m^rite  de  I'Auteur  a  ete  de  chercher  k  faire  valoir  celui  des  autres  .  .  . 

"Ce  Divertissement  a  6t6  ex6cut6  le  23.  Fevrier  de  cette  ann^e  1745.  vers  les  six 
heures  du  soir.  Le  Roi  s'est  place  au  milieu  de  la  Salle,  ayant  aupres  de  lui,  la  Reine, 
Monsieur  le  Dauphin,  Madame  la  Dauphine  &  Mesdames. 

"Les  Princes  &  les  Princesses  du  Sang  achevoient  le  cercle.  Les  Grands  Officiera 
de  la  Couronne  etoient  derriere  la  Famille  Royale. 

"II  efit  6t6  k  desirer  qu'un  plus  grand  nombre  de  Fran^ais  eAt  pfi  voir  cette  assem- 
bl^e,  tous  les  Princes  de  cette  maison  qui  est  sur  le  Trone  long  tems  avant  les  plus 
ancienes  du  monde,  cette  foule  de  Dames  parses  de  tous  les  omemens  qui  sont  encore 
des  chef-d'oeu\Te8  du  go<it  de  la  Nation,  &  qui  Etoient  effaces  par  elles;  enfin  cette 
joye  noble  &  d^cente  qui  occupoit  tous  les  coeurs  &  qu'on  lisoit  dans  tous  les  yeux. 

"On  est  sorti  du  Spectacle  a  neuf  heures  &  demie  dans  le  meme  ordre  qu'on  6toit 
entr6,  &  alors  on  a  trouv6  toute  la  facade  du  Palais  &  des  Ecuries  illumin^e.  La 
beaut6  de  cette  Fgte  n'est  qu'ime  foible  image  de  la  joye  d'lme  Nation  qui  voit  r^unir 
le  sang  de  tant  de  Princes  ausquels  elle  doit  son  bonheur  &  sa  gloire. 

"Sa  Majesty,  satisfaite  de  tous  les  soins  qu'on  a  pris  pour  lui  plaire,  a  ordonn^  que 
ce  Spectacle  f<it  repr^sent6  encore  une  eeconde  fois."  ML  52.2. P7 

II  principato  cifistodito  dalla  frode.  Drama  per  music  a  da  rap- 
presentarsi  nel  Teatro  Tron  in  S.  Casciano  I'anno  1705  .  .  .  Poesia 
di  Francesco  Silvani  ... 

Veneda,  Marino  Rossetti,  1705.     72  p.     16"'^. 

Three  acts.  Author's  dedication,  dated  Venice,  January  31, 1705,  argument,  notice 
to  the  reader,  cast,  scenario,  and  name  of  the  composer,  Carlo  Francesco  G-asparini. 

ScHATz  3577 

n  principe  di  Lago  Nero  ossia  La  contadina  in  corte,  ballet.  See 
di  Palma's  Gli  amanti  dellasorte. 

II  principe  di  Taranto.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  Elettorale  di  Sassonia. 

Dresda,  n.  puhl,  1798.     155  p.     15^"^- 

Two  acts.  Ferdinand©  Francesco  PaSr  is  mentioned  aa  the  compoeer.  The 
author,  Filippo  Livigni,  is  not  mentioned.  German  title  page,  "Der  ^ler8t  von 
Taranto,"  ana  text  face  Italian.  The  text  is  an  altered  version  of  Livigni's  "La  finta 
principessa." 

First  performed  March  24,  1798,  as  indicated;  previously  at  Parma,  Teatro  Ducale, 
carnival,  1797.  Schatz  7524 


896  LIBBARY  OF   CONGRESS 

II  principe  selvaggio.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo.     L'anno  1695  .  .  . 
Venetia,  Nicolini,  1695.     66  p.     H^^. 

Three  acts.  Dedication  signed  by  the  author,  Francesco  Silvani,  with  his  initials 
and  dated  Venice,  January  10,  1695,  notice  to  the  reader,  argument,  and  scenario. 
The  composer, -Michel  Angelo  Gaspaxini,  is  not  mentioned.  Schatz  3603 

La  principessa  di  Amalfi.     O.  T.  of  Weigl's  La  contessa  di  Amalfi. 

La  principessa  di  Tingi,  ballet.     See  Insanguine's  Calipso. 

La  principessa  fedele.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  Ti'on  di  San  Cassiano  per  I'autunno  dell'  anno  1709  .  .  . 
Venezia,  Marino  Rossetti,  n.  d.     65  p.     15'^'^. 

Three  acts.  Neither  the  author,  conte  Agostino  Piovene,  nor  the  composer,  Carlo 
Francesco  Gasparini,  are  mentioned.  Dedicatory  poem,  argument,  cast,  and 
scenario.  Schatz  3578 

La  principessa  filosofa  ossia  II  contraweleno.  Commedia  ridotta 
ad  uso  melodraramatico  da  rappresentarsi  nel  nobilissimo  Teatro 
Venier  in  S.  Benedetto  I'autunno  dell'  anno  1794. 

Venezia,  Andrea  Alhrizzi,  n.  d.     viii,  56,  [12]  p.     18Y'^. 

Two  acts.  By  Antonio  Simone  Sografi,  who  is  not  mentioned.  Impresario's  dedi- 
cation, cast,  and  name  of  Gaetano  Andreozzias  composer.  Vittorio  Trento  is  men- 
tioned as  composer  of  the  music  for  the  ballets  "Fallaride,  tiranno  d'Agricento,  ballo 
eroico  tragico  pantomimo  "  and  "II  ratto  delle  castellane  fatto  dai  Triestini."  Of  the 
first  a  complete  synopsis  of  plot  is  given  by  its  author;  Giuseppe  Trafieri  on  the 
unnumbered  pages  of  the  libretto. 

First  performed,  as  indicated,  October  6,  1794.  Schatz  198 

Le  printemps,  divertissement  pastoral  en  un  acte  et  en  vaudevilles 
par  MM.  de  Pils  &  Barr6;  repr6sent6  pour  la  premiere  fois,  "k  Marly^ 
devans  Leurs  Majest^s,  le  samedi  29  mai  1781,  &  k  Paris,  le  mardi 
22  du  m^me  mois,  par  les  Com6diens  italiens  ordinaires  du  roi. 

Paris,  CaiUeau,  1784.    2^  p.     18^^. 

The  composer,  F61ix  Jean  Prot,  is  not  mentioned.  Schatz  8471 

The  prisoner:  a  musical  romance,  in  three  acts.     First  performed 

by  His  Majesty's  company  from  the  Theatre-Royal,  Drury-Lane,  at 

,the  King's  Theatre,  Hay-market,  on  Thursday,  October  18th,  1792. 

London,  C.  Lovmdes,  n.  d.     2  p.  I.,  28  p.     21^"^. 

Cast.  The  air  "Where  the  banners  of  glory  "  is  headed  as  by  Mozart.  Neither 
the  author,  John  Rose,  is  mentioned,  nor  the  composer,  Thomas  Attwood.  In 
Longman  &  Broderip's  vocal  score  the  last  finale  is  headed  as  by  "Giomovichi 
and  Attwood. 

Long  e  236 

The  prisoner  or  The  resemblance.  Tr.  of  Delia  Maria's  Le  prison- 
nier  ou  La  ressemblance. 

Le  prisonnier,  ou  La  ressemblance,  com^die.  En  un  acte  et  en 
prose,  m^lee  de  chants;  jou6e  sur  le  Th6Mre  Favart,  le  10  pluviose, 
an  VI.  [January  29,  1798].  Parole  [!]  du  citoyen  Alex.  Duval, 
musique  du  citoyen  Domenico  della  Maria. 

Amsterdam,  Le  Franc,  an.  VI— 1798.    36  p.    19^"^. 

With  cast.  Schatz  2485 


OPERA  LIBRETTOS  897 

Le  prisonnier — Continued. 

—  The  prisoner;  or,   The  resemblance.     (From  the  French.)     A 
comic  opera,  in  one  act.     Adapted  to  the  English  stage  by  Henry 
Heartwell,  Esq. 
London,  CadeU  and  Davies,  1799.     viii,  [9]-40  p.     ^l*^. 

Cast  and  preface  which  makes  it  clear  that  the  translation  had  not  yet  been  per- 
formed and  in  which  Heartwell  says : 

"Very  few  liberties  have  been  taken  with  the  original  ["Le  prisonnier,  ou  La 
ressemb lance,"  text  by  Duval,  music  by  Delia  Maria]  which,  to  stamp  its  celebrity, 
boasts  of  one  hundred  successive  representations  in  the  year  1798.  It  does  not  open 
with  Roeina's  son^;  has  no  change  of  scene;  with  those  exceptions,  the  situation, 
interest,  and,  it  is  noped,  simplicity,  will  be  found  faithfully  preserved." 

This  translation  was  found  to  be  too  simple  for  the  English  stage.  With  the  cooper- 
ation of  Geoi^e  Colman  for  the  text  and  Thomas  Atfrwood  for  the  music  "The 
prisoner"  was  much  altered  and  expanded  to  two  acts.  In  this  form  it  was  first 
performed  as  "The  castle  of  Sorrento"  at  the  Haymarket,  July  13,  1799.  (See  this 
imder  its  title.)  Longe  254 

—  Arien  und  gesaenge  aus  der  oper:  Der  arrestant,  in  einem  auf- 
zuge.  Aus  dem  franzoesischen  uebersetzt  von  Ihlee.  Die  musik  ist 
von  Domenico  della  Maria . 

Frankfurt  am  Main,  n.  puhl.,  1799.     16  p.     16^'^. 

First  performed  at  Francfort  o/M,  Nationaltheater,  January  23,  1800. 

ScHATZ  2486 

Le  prix  de  Cythere,  opera-comique ;  par  M.  le  marquis  D.  P.  &  M. 
Favart;  represents  pour  la  premiere  fois  sur  le  Th6S,tre  du  fauxbourg 
S.  Germain,  le  12  fevrier  1742.     Nouvelle  Edition. 

Paris,  Duchesne,  1761.  72  p.  19""^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  vi.) 

Prologue,  one  act.  Prose,  vaudevilles,  and  original  ariettes,  which  are  printed  in 
the  text.  Written  in  collaboration  with  the  marquis  de  Paulmy.  Font  does  not 
mention  their  musical  collaborator.  He  gives  February  13,  1742,  instead  of  Feb- 
ruary 12  as  the  date  of  first  performance.  ML  49.A2F1 

The  prize,  or,  2,  5,  3,  8.     A  musical  farce  in  two  acts.     Written  by 
Prince  Hare  [!],  Esq.     The  music  by  Storace. 
Dublin,  Patrick  Conner,  1793.     U  p.     17^'='^. 

Cast.     By  Prince  Hoare. 

First  performed  at  London,  March  11,  1793.  '  Longe  233 

Proceguimento  ou  Segimda  parte  do  Falador.  Tr.  of  Marescalchi's 
II  proseguimento  del  Cmarlone. 

Procris  et  Cephale.     Tr.  of  Reichardt's  Cephalus  und  Prokris. 

Procris  och  Cephal,  opera  uti  tvo  acter,  uti  deras  Kongl.  Majes- 
taters  och  Kongl.  Husets  narvaro  forsta  g&ngen  upford  den  8  jannarii 
1778. 
Stockholm,  Kongl.  Tryckeriet,  1778.     18  p.    22'^'^. 

Cast  and  prefatory  note,  according  to  which  the  text  was  based  on  Marmontel's 
"Procris  et  Cephale,  by  Gudmund  Goran  Adlerbeih,  who  is  not  mentioned,  and  the 
music  partly  selected  by  Lars  Samuel  Lalin  from  "goda  mastares  arbeten,"  partly 
composed,  *'recitativerne  och  en  del  chorer,"  by  the  court  conductor,  Henrik  Filip 
Johnsen.  Schatz  4967 

72251°— VOL  1—14 57 


898  LIBRARY  OF   CONGRESS 

Procris  und  Cephalus  in  einem  singe-spiel  vorgestellet. 
Hamburg,  Nicdlaus  Spieringlc,  1701.     [5^]  p.     18'=^. 

Three  acts.  By  Friedrich  Christian  Bressand.  Neither  he  is  mentioned,  nor  the 
composer,  Georg  Bronner. 

First  performed  at  Hamburg,  Opemhaus  b.  Gansemarkt,  in  1701;  at  Brunswick, 
Hochfiirstl.  grosses  Theater,  in  1694.  Schatz  1333 

I  prodigi  d'amore,  ballet.     See  Sarti's  II  militare  bizzarre. 

I  prodigi  dell'  innocenza.  Drama  per  musica  rappresentato  in 
Firenze  nel  carnevale  dell'  anno  1708  .  .  . 

Firenze,  Vincenzo  Vangelisti,  1707.     64  p.     15^^. 

Three  acts.  Argument,  cast,  scenario,  and  prefatory  note,  in  which  the  unknown 
author  acknowledges  his  indebtedness  to  the  text  ["Ottone"]  by  conte  Roberto 
Frigimelica,  for  "pensieri "  not  only,  but  in  many  places  for  "sue  parole  medeeime." 
Composer  not  mentioned,  and  unknown  to  Schatz. 

P^rst  performed,  as  indicated,  Teatro  in  via  della  Pergola.  Schatz  11359 

•  II  prodigio  dell'  innocenza.     Drama  per  musica  da  rappresentarsi 
nel  Teatro  Grimano  de  Ss.  Gio.  e  Paolo.     L'anno  1695  .  .  . 
VeTietia,  Per  il  Nicolini,  1695.     70,  [1]  p.     l^Y"^- 

Three  acts.  By  Fulgenzio  Matteo  Gualazzi.  Neither  he  is  mentioned,  nor  the  com- 
poser, Tommaso  Albinoni.     Dedication,  argument,  scenario,  notice  to  the  reader. 

Schatz  104 

Progne  e  Filomene,  o  sia  Tereo,  tiranno  di  Nasora,  ballet.  8ee 
Nasolini's  Timoleone. 

The  progress  of  a  harlot.     A.  T.  of  The  jew  decoy'd. 

Les  projets  de  1' Amour,  ballet-heroique,  en  trois  actes;  represents, 
a  Versailles,  devant  Sa  Majesty,  le  mercredi  29  mai  1771 

[Paris],  Pierre  Robert  Christophe  Ballard,  1771.     4  p.  l,  61  p.     21^.'"'^ 
Cast  and  name  of  Jean  Joseph  Cassanea  de  Mondonville  as  composer.    The  author 
of  the  text  is  not  mentioned  and  is  not  recorded.    The  single  acts  were  called  "L'Hi- 
men  et  I'Amour,"  "Jupiter  et  Calisto,"  and  "Mirzele."  ML  52.2.P75 

Prologue  des  deux  pieces  suivantes.  Represents  par  la  Troupe  du 
Sieur  Francisque  a  la  Foire  de  Saint-Germam.  1721  .  .  . 

Below  the  title,  the  Avertissement: 

"Quelques  personnes  de  la  premiere  distinction  s'^tantinteress^s  pourcette  troupe, 
on  la  laissa  joiier  ce  prologue  &  les  deux  pieces  qui  le  euivent  en  prose,  mel^e  de 
vaudevilles." 

—  Arlequin  Endymion.  Piece  d'un  acte.  Representee  par  la 
Troupe  du  Sieur  Francisque  a  la  Foire  de  Saint  Germain  1721  .  .  . 

Below  the  title,  this  Avertissement: 

"Les  com^diens  italiens  dans  ce  temps-l^  repr^sent^rent  devant  le  roi  une  pi^ce 
intitul^e  Diane  &  Etidymion,  ce  qui  donna  occasion  de  faire  celled,  qui  contient 
quelques  scenes  parodides." 

—  La  foret  de  Dodone.  Representee  par  la  troupe  du  Sieur 
Francisque  a  la  Foire  de  Saint  Germain  1721. 

Le  Theatre  de  la  foire,  Paris,  1724,  t.  iv,  3  pi.,  {21S\-251  p.     17^-^. 

From  264  the  pagination  jumps,  by  printer's  error,  to  295!  According  to  a  note  on 
2d  p.  1.,  the  plays  in  t.  iv  were  by  Le  Sage,  Fuzelier,  and  d'Omeval.  The  "prologue  " 
is  entirely  in  prose;  the  two  other  plays  en  prose,  wtlee  de  vaudevilles.  The  airs, 
gfilected  or  composed  and  arranged  by  Jean  Claude  Grillier,  the  "compositeur"  of  the 
theatre,  are  printed  at  end  of  the  volume  in  the  "Table  des  airs." 

ML  48.L2  IV 


OPERA   LIBEETTOS  899 

Prologue  des  Indes  galantes.     See  Rameau's  Les  Indes  galantes. 

La  promessa  serbata  al  primo.  Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  de'  SS.  Gio.  e  Paolo  I'anno  1697. 

Venetia,  Nicolini,  1697.     4  p.  I.,  48  p.     15^"^. 

Three  acts.  Author  unknown  to  Schatz.  Argument,  notice  to  the  reader,  scenario. 
The  composer,  Antonio  Caldara,  is  not  mentioned.  Schatz  1496 

Les  promesses  de  mariage,  suite  de  L'^preuve  villageoise,  op^ra 
boufFon  en  deux  actes  et  un  vers,  par  M.  Desforges.     Musique  de  M. 
Berton.     Represente,  pour   la    premiere    fois,    par    les    Com^diens 
italiens  ordinaires  du  roi,  le  4  juillet,  1787. 
Paris,  Brunei,  1788.     26  p.     19^""^.  Schatz  902 

The  prophetess  or,  The  history  of  Dioclesian.     Written  by  Francis 
Beaumont  and  John  Fletcher.     With  alterations  and  additions,  after 
the  manner  of  an  opera.     Represented  at  the  Queen's  theatre,  by 
Their  Majesties  servants. 
London,  Jacob  Tonson,  1690.     2  p.  I.,  74,  [2]  p.     21'^'^. 

Five  acts  and  epilogue.  The  operatic  adaptation  was  made  by  Thomas  Betterton. 
Neither  he  nor  the  composer,  Henry  Purcell,  is  mentioned.  This  copy  contains  no 
preliminary  matter  of  any  kind  except  the  title  page  and  list  of  characters. 

First  performed  in  the  early  summer  of  1690.  ML  48.M2D 

—  The  prophetess ;  or.  The  history  of  Dioclesian.  A  dramatic 
opera,  with  all  the  new  songs,  and  the  masque.  As  performed  at  the 
Theatre-Royal  in  Covent-Garden. 

London,  J.  and  R.  Tonson,  1759.     72  p.     16'='^. 

Five  acts.  Cast.  Neither  authors  nor  composer  mentioned,  but  Cummings  lists 
this  modernization  under  the  works  of  Thomas  Aug.  Ame.  Longe  72 

n  prosegmmento  del  Chiarlone,  dramma  giocoso  per  musica  di 
Giacomo  Fiorini,  da  rappresentarsi  nel  Teatro  rua  dos  Condes  in 
Lisbona  I'autunno  dell'  anno  1766  .  .  . 

Lishona,  Pietro  Ferreira,  n.  d.     8  p.  I.,  179  p.     14Y™- 
Three  acts.    Author's  dedication,  cast,  scenario,  and  name  of  Luigi  Marescalchi 
as  the  composer.    Portuguese  title-page,   "Proceguimento,  ou  Segunda  parte  do 
Falador,"  and  text  face  the  Italian.  Schatz  5947 

Proserpina  rapita.  Intermedio  pe  rmusica  di  Benedetto  Ferrari 
dalla  Tiorba. 

n.  i.,  n.  d.  p.  [29S]S03  (Poesie  drammatiche  di  Benedetto  Ferrari, 
Milano,  I644.)    13^^"^. 

Detached  copy.  One  act,  composed  by  the  author,  as  appears  from  the  sonnet 
addressed  to  the  author  on  p.  295. 

First  performed  at  Bologna,  Teatro  Guastavillani,  1645.  Schatz  3069 

Proserpina  rapita.  Intermedii  in  musica  per  la  pastorale  da  reci- 
tarsi  in  casa  de  gl'illustriss.  Signori  Co.  Costante,  et  Alessandro  Ben- 
tivogli.     D.  C.  R.  C. 

Bologna,  per  gli  heredi  di  Giovanni  Rossi,  1613.    30  p.     19^^. 

Prologue  and  four  intermedii.  The  dedication  "Ad  Amore"  contains  no  special 
data.  No  composer  recorded  by  Ricci  or  Schatz,  but  from  Solerti's  "L'origine  del 
melodramma,"  p.  236,  it  appears  that  conte  Ridolfo  Campeggi  was  the  autnor  and 
Girolamo  Giacobbi  perhaps  the  composer.  ML  50.2.P68 


900  LIBRARY   OF   CONGRESS 

Proserpine,   tragedie  en  musique,   orn6e  d'entr^s   de   ballet,   de 
machines,   &  de  chan^ements  de  theatre.     Representee  devant  Sa 
Majesty  h,  Saint  Germain  en  Laye  le  [blanTc]  de  fevrier  1680. 
Paris,  Christophe  Ballard,  1680.     7  p.  I  {inc.  front),  70  p.    23"^. 

Bound  in  with  Bellerophon,  1679,  also  composed  by  Lully. 

Prologue  and  five  acte.  Casta.  Neither  the  company  nor  the  author,  Philippe 
Quinault,  is  mentioned. 

First  performed,  as  indicated,  February  3,  1680  (Schatz),  February  5  (Pruni^res), 
and  at  Paris,  Academic  royale  de  musique,  November  15,  1680.        ML  50.2.B35L9 

—  Proserpine,  tragedie  en  musique,  om^e  d'entr^es  de  ballet,  de 
machines,  &  de  changements  de  theatre.  Represents  devant  Sa 
Majest6  h,  Saint  Germain  en  Laye.  Suivant  la  copie  imprim6e,  k 
Paris. 

[Amsterdam,  Antoine  Schelte],  1688.     72  p.  {incl.  front.)     IS^^"^. 
Five  acts  and  prologue.    Cast.     Neither  Quinault  nor  LuUy  are  mentioned. 

ML  50.2.P7L9 

—  Proserpine,  tragedie  represents  par  I'Academie  royale  de  mu- 
sique I'an  1680.  Les  paroles  de  M.  Qmnault,  &  la  musique  de  M.  de 
Lully.     XII.  opera. 

n.  i.,  n.  d.  14'^'^.  front.,  197-268  p.  (Recueil  general  des  opera, 
t.  a,  Paris,  1703.) 

Detached  copy.     Prologue  and  five  acta.  Schatz  5770 

Second  copy.    ML  48.R4 

—  Proserpine.  Tragedie  en  musique  omS  d'entrSes  de  ballet,  de 
machines  &  de  changemens  de  theatre.  Representee  devant  Sa 
Majeste  h,  Saint  Germain  en  Laye,  le  3.  fevrier  1680. 

Quinault,  Theatre,  Paris,  1739,  t.  v.,  pi.,  68  p.     17^'^. 

Five  acts.    Without  name  of  Lully  as  the  composer.  PQ  1881. Al    1739 

—  Proserpine,  tragedie,  representee  devant  le  roi,  a  Saint  Germain 
en  Laye,  en  1680;  et  par  1  Academie-royale  de  musique,  en  juillet 
1699.  Mars  1715.  Janvier  1727.  Janvier  1741.  Et  remise  au 
the&tre,  le  mardi  14  novembre  1758. 

Paris,  Aux  depens  de  VAcademie,  chez  la  V.  De  Lormel  <&  fils,  1758. 
71  p.    22^' 


^cm 


Five  acts  without  prologue.    Cast.    Names  of  Quinault  and  Lully. 

ML  50.2.P72L9 

—  Petrine,  parodie  de  Proserpine.  Representee  pour  la  premiere 
fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  13  Janvier  1759. 

Paris,  N.  B.  Duchesne,  1759.  64  p.  W"^.  (Theatre  de  M.  Favart, 
Duchesne,  1763-77,  t.  iv.) 

One  act.  Prose  and  vaudevilles.  Many  airs  printed  in  the  text.  Cast.  The 
arranger  or  composer  is  not  mentioned  and  is  unknown  to  Font.  According  to  the 
preface  (v.  I,  p.  xix)  some  of  the  couplets  were  written  by  Sedaine.  According  to 
Font  "Petrine  is  merely  a  much  altered  version  of  Favart's  "Farinette,"  a  parody 
(performed  March  9,  1741)  of  LuUy's  "Proserpine,"  revived  January  31,  1741.  The 
original  version  was  "tout  en  vaudevilles."  ML  49.A2F1 

La  prosperita  di  Elio  Sejano.  O.  T.  of  Minato's  libretto  La  gene- 
rositk  di  Tiberio. 


OPERA   LIBRETTOS  901 

La  prosperita  di  Elio  Seiano.     Dramma  per  musica  nel  Teatro  a 

S.  Salvatore  I'anno  MDCLXVII  .  .  . 
'Venetia,  Bcfrtolo  Tramontino,  1667.     72  f.     HY"^- 
Three  acts.     Dedication  by  the  author,  conte  Nicolo  Minato,  and  dated  Venice, 

January  15,  1666,  argument,  scenario,  and  notice  to  the  reader  which  reads,  in  part: 
"A  questo  drama,  nominato  La  prosperity  di  Seiano,  doveva  la  sera  immediata- 

mente  vedersi  I'altro  intitolato  La  caduta  di  Seiano,  ma  per  non  ritardarti  il  godimento 

de  gl'insigni  virtuosi  ohe  v'intervengono,  &  il  diletto  della  musica  del  Signor  Antonio 

Saxtorio  .  .  .  s'^  voluto  prevenire  con  questa,  per  farti  poi  in  breui  giomi  eentire 

anco  I'altra  compositione." 

This  notice,  therefore,  would  cancel  the  one  at  the  end  of  the  text: 

"Segue  poi  1' opera  intitolata  La  Caduta  di  Seiano,  che  si  rappresenta  la  sera  segu- 

ente  alia  recita  di  questa."  Schatz  9486 

La  prosperita  infelice  di  Giulio  Cesare  dittatore.  Opera  musi- 
cale  di  Gio.  Francesco  Busenello. 

Venetia,  Andrea  Giuliani,  1656.     64  p.     15*^^. 

Five  acts,  with  prologue.  Argument  and  scenario,  but  without  name  of  the  com- 
poser. Music  attributed  by  Schatz  and  Wiel  (in  the  "Musical  Antiquary")  to  Pietro 
Francesco  Cavalli.  Both  date  the  first  performance  1646,  Teatro  Novissimo,  Venice, 
though  the  libretto  plainly  has  date  of  1656.  Schatz  1726 

Pro  tec  sul  Reno.  Poemetto  drammatico  nel  giomo  del  gloriosis- 
simo  nome  della  Sac.  Real  Maesta  di  Giuseppe  I.  r^  de'  Romani. 

Pietro  Antonio  Bemardoni,  Poemi  drammatici,  parte  terza,  Vienna, 
van  Ghelen,  1707,  p.  79-90.     16^^. 

The  composer,  Giovanni  Battista  Bononcini,  is  not  mentioned. 
First  performed  at  Vienna,  Hoftheater,  as  indicated,  March  19,  1703. 

ML  49.A2B4 

Protesilao.     Dramma  per  musica  in  due  atti  con  cori  e  balli  ana- 
loghi  composto  dal  Signor  abate  Sertor  di  Venezia  e  messo  in  musica 
dal    Signor  Amedeo    Naumann  ...  da    rappresentarsi    nel    Regio 
Teatro  di  Berlino  il  carnovale  dell'  anno  1793. 
Berlino,  Haude  e  Spener,  n.  d.     7S  p.     16^*'"*. 

Argument  and  cast.  German  title  page,  "Protesilaus,"  and  text  face  Italian. 
{See  next  entry.) 

First  performed,  as  indicated,  in  January,  1793.  Schatz  7055 

Protesilao.  Dramma  per  musica  in  due  atti  con  cori  e  balli  ana- 
loghi.  Composto  dal  Signor  abate  Sertor  di  Venezia.  E  messo  in 
musica  il  primo  atto:  dal  Sign.  Gio.  Feder.  Reichardt  .  .  .  ed  il 
second'  atto  dal  Signor  Amadeo  Naumann  .  .  .  Da  rappresentarsi 
nel  Regio  Teatro  di  Berlino  il  carnovale  MDCCLXXXIX. 

Berlino,  Haude  e  Spener,  n.  d.     73,  [2]  p.     16'^. 

Argument  and  cast.   German  title-page,  "Protesilaus,"  and  text  face  Italian. 

First  performed,  as  indicated,  January  26,  1789.  Schatz  8654 

Protesilaus.  Tr.  of  Naumann's  Protesilao,  also  of  his  and  Reich- 
ardt's  opera  of  this  title. 

II  protettor  del  poeta.  Intermezzi  per  musica  a  tre  voci  da  rap- 
presentarsi nel  Teatro  alia  Valle  nel  carnevale  dell'  anno  1754  .  .  . 

Roma,  Si  vendono  nella  Libraria  di  S.  Michele,  1754.     24  p.     15^^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  signed 
by  G.  Puccinelli  and  Angelo  Lungi,  cast  and  name  of  Gaetano  LatiUa  as  composer. 

ML  50.2.P73L2 


902  LIBRARY   OF   CONGRESS 

II  protettore  alia  moda.  Dramma  comico  per  musica  da  rappre- 
sentarsi  nel  Teatro  Tron  di  S.  Cassiano  I'autunno  dell'  anno  1749. 

Venezia,  Modesto  Fenzo,  1749.     60  p.     i5<"". 

Three  acts.  A  new  version  of  "Chi  non  ik  non  falla,"  by  GiTieeppe  Maria  Biiini, 
who  is  not  mentioned,  and  who  also  was  responsible  for  the  music  (Bologna,  1729). 
For  the  replica,  Qaluppi  reset  more  or  less  the  whole  libretto,  but  it  is  probable  that, 
besides  Buini  and  Gafuppi's  music,  music  by  several  other  composers  was  used  in  this 
pasticcio  (Piovano).  Tne  libretto  for  this  further  replica  of  1749  contains  no  reference 
to  the  composers.  Schatz  3520 

La  prova  del  draxuma  serio.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  in  Firenze  nel  R.  Teatro  di  via  del  Cocomero  nel  came- 
vale  deir  anno  1797  .  .  . 

Firenze,  Anton  Giuse'p'pe  Pagani  e  comp.,  1797.     19  p.     16^'^'^. 

One  act.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Ferdinando  Butiri  as  the  composer.     ("La  musica  h  tutta  nuova.")      Schatz  9185 

La  prova  del  vero  amore.     A.  T.  of  the  ballet  Le  due  rivali. 

La  Provengale.     Entree  in  Mouret's  Les  festes  de  Thalie. 

La  Provengale.  For  Duni's  parody  of  this,  see  his  La  fiUe  mal 
gard^. 

The  prude,  a  comic  opera  .  .  . 

n.  i.,  n.  d.     [97]-176  p.    ^0<=™. 

Three  acts.  By  Eliza  Ryves,  who  is  not  mentioned,  and  from  whose  Poems  on 
several  occasions  (London,  1777),  this  appears  to  be  detacned.  She  says,  in  a  footnote 
on  p.  [97]: 

The  author  hopes  her  readers  will  be  so  indulgent,  as  to  consider  that  this  opera 
was  intended  for  the  stage,  and  most  of  the  airs  composed  for  particular  tunes  ..." 

The  titles  of  these  are  given  on  p.  175-176,  in  a  table  of  the  "Old  tunes,  to  which 
the  .airs  are  adapted."  "  Longe  197 

La  prudenza  vittoriosa.     See  M.  Curzio. 

Prunella:  an  interlude  perform'd  in  the  The  Rehearsal,  at  the 
Theatre-RoyaJ  in  Drury-Lane.  The  sense  and  musick  collected 
from  the  most  famous  masters.  By  Mr.  Airs,  for  the  advantage  of 
Mr.  Estcourt  .  .  . 

London,  Printed  for  Bernard  Lintott,  n.  d.     2  p.  I.,  16  p.     21^'^'^. 

A  prefatory  note  by  Estcourt  precedes  the  list  of  characters.  The  interlude  has 
four  scenes  spread  over  the  four  acts  of  "The  Rehearsal,"  a  comedy  by  George  Villiers, 
duke  of  Buckingham.  In  the  margin  some  of  the  airs  are  indicated  to  which  the 
airs  in  "Prunnella"  were  to  be  sung.  The  indicated  airs  were  taken  from  Clayton's 
"Arsinoe,"  from  Bononcini's  "Camilla"  and  from  "Thomyris."  Also  popular  airs 
(ballad  airs?)  seem  to  have  been  used!    On  the  title  page  is  this 

"Note,  that  an  opera,  of  which  this  is  but  a  part,  will  be  soon  finished  and  printed, 
with  a  prologue  and  epilogue;  and  a  preface  in  praise  of  the  fineness  and  delicacy  of 
operas,  and  the  difference  between  an  Italian  opera  and  an  opera  in  Italy." 

According  to  Clarence  "Printed  before  1713  .  .  .  Acted  Drury  Lane,  Februray 
12,  1708,"  the  same  date  as  given  by  Genest.  ML  50.2. P74 

La  pruova  reciproca.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  second'  opera  di 
quest'  anno  1789. 

Napoli,  n.  puhl.,  1789.     j8  p.     IjY'^. 

Two  acts.     Cast  and  name  of  Giacomo  Tritto  as  the  composer.         Schatz  10474 


OPEKA  LIBEETTOS  *  903 

Psiche,  componimento  musicale  cantato  in  Vienna,  a  di  19.  novembre 
1720  e  replicato  nel  1721. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744,  ^-  "^i}  V-  [359}S90. 

No  composer  is  mentioned.  (The  music  was  composed  by  Fux  and  Gaidar  a.)  In 
the  ' '  Catalogo  "  at  end  of  t.  x  it  is  said  of  this  text :  ' '  ora  per  la  prima  volta  stampata. ' ' 

ML  49.A2Z3 

—  Psiche,  componimento  musicale  cantato  in  Vienna. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  xi,  p.  349-^ 
382.    21'"^. 

One  act.    No  composer  is  mentioned.  ML  49.A2Z4 

La  Psiche.  Poemetto  drammatico  nel  giomo  del  gloriosissimo  nome 
della  Sac.  Ces.  Real  Maestk  delF  imperadrice  Eleonora  Maddalena 
Teresa. 

Pietro  Antonio  Bemardoni,  Poemi  drammatid,  parte  terza,  Vienna, 
vanGhelen,  1707,  p.  107-121. 

Argument.     The  composer,  Carlo  Agostino  Badia,  is  not  mentioned. 
First  performed  at  Vienna,  Hoftheater,  February  21,  1703,  as  indicated. 

ML  49.A2B4 

La  Psiche.  Dramma  musicale  di  Franc?  di  Poggi?  Cantato  in 
Lucca  nell  anno  MDCVL  .  .  . 

Lucca,  Francesc".  Marescandoli,  1654.     1  p.  I.,  76  p.     21*^^. 

The  publisher's  dedication,  Lucca,  1654,  is  followed  by  a  notice  to  the  reader,  a 
dedication  by  "Li  sei  Accademici  deputati"  dated  October  25,  1648,  beginning 
"Esce  finalmente  questa  nuova  Psiche  da'  Teatri  alle  stampe,"  but  from  the  pub- 
lisher's dedication  and  notice  to  the  reader  it  apj)ear8  that  the  publication  was  delayed 
until  1654.  Madrigal  (words)  by  Antonio  Fortini,  argument,  "  AUegoria della  favola," 
"  Distributione  dell*  apparato.  Architettura  di  Paulo  Lipparelli,  list  of  characters, 
prolqgue  and  five  acts.    The  "Distributione"  reads,  in  part: 

"Fv'  promoseo  il  trattenimento  di  quest'  Opera  in  Lucca,  per  gl'otij  Cameualeschi 
del  1645.  dalla  Accademia  delli  Accesi;  e  lu  espresso  nella  Sala  del  Palazzo  de' 
Borghi,  che  nella  sua  mole  antica,  non  punto  violata  da  gl'anni,  confessa  d'hauer 
assistito  k  i  nobili  natali  di  questa  Etrusca  Figlia  di  Roma.  Alia  Poesia  di  Francesco 
di  Poggio  succesee  la  Musica  spiritosa  di  Tomaso  Breni;  che  articolata  con  v-iuacissima 
leggiaSria,  fu  poi  cantata  con  straordinaria  lode  da  varij  Cantori,  tanto  nationali,  che 
forestieri;  ma  tr^  tutti,  dal  Caualiere  Nicolo  Margheritoni,  virtuoso  Seruitore  dell' 
Eccellentiss.  Si^.  Prencipe  di  Maesa,  che  con  energia  molto  efficace,  vestitosi  delle 
tenere  conditioni  di  Psioie,  seppe  violentare  al  diletto  egualmente,  &  alia  com- 
miseratione  I'vniuersal  sentimento  delli  Ascoltanti.  Paulo  Lipparelli,  so^etto  di 
celebrate  grido,  adempiendo  le  parti  d'officiosissimo  Accademico,  arrichi  lo  spetta- 
colo  con  merauigliose  inuentioni  di  Apparato,  &  di  Machine;  di  che  all'  altrui  curiosity 
qui  ^  parte  si  disegnano  le  memorie;  &  Francesco  Sbarra,  quell'  ingegno  grande,  che 
nelle  sue  numeroee,  &  bizzarre  composition!  Drammatiche  h^  saputo  erudire  i  costumi 
del  nostro  secolo,  con  arti  non  piii  godute  sopra  le  Scene,  hebbe  gusto  di  sopr'  inten- 
dere  alia  vniuersale  Economia  di  tutta  I'Attione  rappresentatiua.  Con  appassionata 
applicatione  inseruirono  ^  quest'  Opera  molti  altri  Accademici,  &  soggetti  ai  quality ; 
ma  tr^  tutti  si  v-ide  risplendere  con  singolarit^  di  vantaggio  la  persona  dell'  Arci- 
diacono  Francesco  Sardi,  che  con  laiga  contributione  d'afietto,  &  d'oro,  le  adom6  la 
comparsa,  &  le  assicurb  opportunamente  ogni  applauso."  Schatz  1315 

Psiche.  Tragicomedia  rappresentata  in  musica,  et  dedicata  alia 
serenissima  Isabella  Clara  arciduchessa  d'Austria,  etc  neUe  sue 
augustissime  nozze  col  serenissimo  Carlo  Secondo,  duca  di  Man- 
tova  .  .  . 

Mantova,  Osanmi,  1649.     1  p.  I.,  96  p.    22""^. 

Prologue  and  five  acts.  Dedication  by  the  editor,  F'rancesco  Bulgarini  of  date 
Mantova,  October  [hUmk],  1649,  with  name  of  Diamante  Gabrielli  as  author,  Alle- 


904  LIBRARY   OF   CONGRESS 

Psiche — Continued. 

goria,  and  editor's  lengthy  notice  to  the  reader  on  the  character  of  this  drama,  includ- 
ing remark: 

"essendo  il  drama  composto  da  rappresentarsi  in  mneica,  e  con  machine  apparenti. 
poca  vaghezza  havrebbe  avuta,  comdnciandoei  dopo  che  Peiche  fosee  tomata  dall 
inferno:  come  all'  incontro  era  necessario  il  farlo  breve  diversi,  perche,  portando 
lunghezza  la  mueica,  non  haveseero  i  Serenissimi  prencipi,  che  v'intervennero,  k 
etare  k  disaggio.  Non  dur6  piil  di  tre  hore  in  quattro;  tempo  nondimeno  aggiustato 
alle  Bceniche  poesie;  di  modo  che  al  eentire  d'Angelo  Ingegneri  nel  luogo  eopracitato, 
Be  pill  durassero,  benche  dilettevoli,  eempre  noiose  riuecirebbono.  Si  potrebbe 
aggiungere,  che  il  teseer  lunga  la  favola,  6  cosi  eenza  la  mira,  che  possa  commoda- 
mente  recitarsi  in  musica,  b  difetto;  che  ee  bene  oggidi  ei  recitano  epeseo  i  drami 
eenza  mueica,  non  h  il  dovere,  che  si  tolga  loro  il  potersi  almeno  in  musica  rappre- 
sentare  .  .  .' 

On  p.  91-96  laudatory  sonnets,  etc.  The  composer,  Alessandro  Leardini,  is  not 
mentioned. 

First  performed  in  September,  1649,  as  indicated.  ML  50.2.P78L3 

La  Psiche,  o  vero  Amore  innamorato.  Drama  per  musica  rappre- 
sentato  nel  Real  Palazzo,  in  ossequio  del  compleafLos  della  Maest^ 
della  Regina  Madre  nostra  signora,  (che  Dio  guardi.)  .  .  . 

Napoli,  Carlo  Porsile,  1683.     6  p.  I.,  68  f.     14'^'^. 

Three  acts.  Argument,  cast,  "Apparenze,"  name  of  Alessandro  Scarlatti  as 
composer,  and  dedication  signed  by  Filippo  Schor,  Nicola  Vaccaro,  e  Francesco  della 
Torre  and  dated,  Naples,  December  21,  1683: 

"La  Psiche,  che  affidata  nella  protezzione  dell'  E.  V.  altre  volte  nel  idioma  spag- 
nuolo  fece  pompa  de  suoi  trarici  avecenimenti,  trasportata  hora  da  un  humilissimo 
servitore  di  V.  E.  nella  favella  italiana  no  ardirebbe  esporsi  di  nuovo  sii  le  scene 
eenza  la  benigna  assisteza  del  primiero  suo  protettore  ..." 

Mentioned  by  Dent?    Not  recorded  by  Schatz.  ML  50.2.P78S2 

Psiche  ed  Amore,  intermedii.     See  Descrizione  de  gl'intermedii. 

Psyche,  tragedie.  Representee  par  L'Academie  royale  de  musique. 
Suivant  la  copie  imprim^  h  Paris. 

[Amsterdam,  Antoine  Schelte],  1688.     60  p.  (incl.  front.)     13^'^'^. 

Prologue  and  five  acts  and  the  dedication  "L'Academie  royale  de  musique  au 
roy."    Neither  Comeille  nor  LuUy  is  mentioned.  ML  50.2.P8L92 

—  Psyche,  tragedie  representee  par  I'Academie  royale  de  musique 
I'an  1678.  Les  paroles  sont  de  M*"  Corneille  &  la  musique  de  M.  de 
Lully.     X.  opera. 

n.  i.,  n.  d.  14^^.  pi.,  69-134  p.  (Recueil  general  des  opera,  t.  ii, 
Paris,  1703.) 

Detached  copy.  The  dedicatory  poem,  prologuej  and  five  acts.  Fontenelle  is 
sometimes  said  to  have  been  a  joint  author,  but  Pruniferes  questions  .this.  He  claims 
that  Thomas  Comeille  simply  turned  his  and  Molifere's  "  Psyche  "  of  1671,  for  which 
Lully  had  composed  the  intermMes,  etc.,  into  an  opera.  Lully  composed  the  neces- 
sary new  music  in  three  weeks.    In  this  form  "  Psyche ' 


was  first  performed,  as 
in({icated,  April  9,  1678  (Schatz),  April  19  (Pruniferes)'.  Schatz  5771 

Second  copy.    ML  48. R4 

Psyche.     L.  T.  of  Mondonville's  L' Amour  et  Psyche. 

Psyche.  Singespiel  in  zwei  aufzuegen  von  Karl  Muechler  [portrait 
vignette]. 

Berlin,  Friedrich  Maurer,  1789.     1  p.  I.,  86  p.     16^*^^. 

The  title  page  contains  the  portrait  of  ' '  Friederike  Auguste  Conradine  Unzelmann 
geb.  Flittner."    The  composer,  Carl  Bemhard  Wessely,  is  not  mentioned. 

First  performed  at  Berlin,  Nationaltheater,  November  18, 1789.       Schatz  10990 


OPERA   LIBRETTOS  905 

Public  Cornelio  Scipione.     Dramma_per  musica  da  rappresen- 
tarsi  nel  Regio  Teatro  di  Torino  r anno  MDCCXX VI  .  .  . 
Torino,  Francesco  Antonio  Gattinara,  n.  d.     60,  {1\  p.     15'^'^. 

Three  acts.     Dedication,    "notizie  storiche,"   cast,   and  scenario.     Neither  the 
author,  Antonio  Salvi,  nor  the  composer,  Giovanni  Antonio  Giai,  is  mentioned. 
First  performed,  as  indicated,  December  26,  1725.  Schatz  3817 

Public  Ccrnelic  Scipicne.  Drama  per  musica  da  rappresentarsi 
nel  famoso  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  carnovale  dell' 
anno  1712  .  .  . 

Venetia,  Marino  Rossetti,  n.  d.     79  p.     IS*^^. 

Five  acts.  Neither  the  author,  conte  Agostino  Piovene,  nor  the  composer,  Carlo 
Francesco  Pollaroli,  is  mentioned.  Dedicatory  sonnet,  historical  notes,  cast,  and 
scenario.  Schatz  8313 

Pub.  Eliq  Pertinace.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Vendramino  di  San  Salvatore  I'anno  MDCLXXXIV  .  .  . 

Venetia,  Francesco  Nicolini,  168^.     70  p.  (incl.  front.)     IJ^.'^™'. 

Three  acts.  Dedication  by  the  author,  Pietro  d'Averara,  argument,  cast,  scenario, 
and  name  of  Giovanni  Legrenzi  as  composer.  Schatz  5538 

Second  copy.    ML  48.M20 

II  Pub?  Scipicne.     Dramma  per  musica.     MDCCLXXXVIV. 

Author's  manuscript.     [61]  p.     20^'^' 

Two  acts.  Text  preceded  by  the  list  of  characters,  argument,  and  the  anonymous 
author's  dedicatory  Lettera  al  Sig.  Deifebo  Romagnoli.  According  to  Piovano,  in 
the  Supplement  to  Eitner,  the  composer,  Deifebo  Romagnoli,  since  1795  organist  at 
the  cathedral  of  Siena,  was  also  a  poet.  If  that  is  correct,  it  is  possible  that  he  is  the 
author  of  this  libretto,  since  the  "Lettera"  is  written  in  a  curiously  facetious,  self- 
ironical  tone.  At  any  rate,  the  libretto  appears  to  have  been  written  at  the  request 
of  Romagnoli  for  his  use.    Whether  or  not  ne  composed  it,  is  not  known  to  me. 

ML  48.A5    V.  32 

Le  public  venge,  com6die-yaudeville  en  un  acte,  avec  un  prologue; 
representee  pour  la  premiere  fois,  par  les  Com^diens  italiens  ordi- 
naires  du  roi,  k  la  rentr^e  du  9  avril  1782. 

Paris,  la  veuve  Ballard  &  fits,  1782.     96,  {4]  p.    20""^. 

Cast.  The  prologue  is  called  "  Le  poisson  d'avril."  The  4  p.  contain  the  vaude- 
villes "Loind  ici  la  morale"  and  "Autheursque  la  cabale."  Composer  and  authors 
unknown  to  me.  ML  50.2.P85 

Die  puecefarbnen  schuhe  oder  Die  schoene  schusterinn.  Ein 
komisches  singspiel  in  zwey  aufzuegen.  Aus  dem  franzoesischen  des 
herrn  baron  v.  Serrieres  frey  uebersetzt  und  bearbeitet  von  Stephanie 
dem  juengern.  Die  musick  ist  neu  gemacht  vom  herm  kapell- 
meister Umlauf.     Aufgefuehrt  im  K.  K.  Nationaltheater. 

Wien,  beymLogenmeister,  1779.     69  p.     15Y^- 

Haas  says  that  Stephanie  took  over,  without  alterations,  several  arias  in  Joh. 
Andre's  translation  of  de  Serriferes's  "Les  souliers  mordor^s"  (1776). 

First  performed,  as  indicated,  June  19, 1779  (Schatz),  June  22,  1779  (Haas). 

Schatz  10529 

—  Die  schcene  schusterinn.  Ein  komisches  singspiel  in  zwey 
aufzuegen. 

n.  i.  p.  1-68.  16Y^.  (Gottlieh  Step/ianie  d.  jiing.,  Singspiele, 
Liegnitz,  1792.)  Schatz  10530 


906  LIBBABY  OF   CONGRESS 

Die  puecefarbnen  schuhe — Continued. 

—  Arien  und  gesaenge  ans  der  operette  in  zwey  auf zuegen :  Die 
schoene  schusterinn,  oder  Die  schuhe  k  la  Marlborough.  Aus 
dem  franzoesischen  des  baron  du  [!]  Serrieres.  Die  musik  vom  herrn 
Umlauf  ... 

Berlin,  n.  puhl,  1794.     24  p.     15^""^. 

Cast. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  1794.  Schatz  10531 

La  pulcella  d' Orleans.     A,  T.  of  Andreozzi's  Giovanna  d'Arco. 

Pulcinella,  cavaliere  d'industria,  ballet.  See  Monza's  Ifigenia 
in  Tauride. 

Puntigli,  e  gelosie  tra  moglie,  e  marito.  Commedia  per  musica 
di  Giuseppe  Palomba  da  rappresentarsi  nel  Teatro  Nuovo  nell' 
autunno  dell'  anno  1784. 

Napoli,  n.  puhl,  1784.     59  p.     14^'^. 

Three  acts.     Cast  and  name  of  the  composer,  Luigi  Caruso.  Schatz  1650 

I  puntigli  gelosi.  Dramma  giocoso  per  musica  di  Filippo  Livigni. 
Da  rappresentarsi  nel  nobile  Teatro  in  San  Samuele  il  carnovale  dell' 
anno  1783. 

Venezia,  Modesto  Fenzo,  1783.     62,  [1]  p.     17^"^. 

Two  acts.  Cast,  scenario,  and  name  of  Felice  Alessandri  as  composer.  The 
"Secondo  ballo"  was  entitled,  "II  trionfo  d'Arianna  o  sia  Arianna  abbandonata  da 
Teseo,  e  soccorsa  da  Bacco  d'invenzione  del  Sig.  Onorato  Vigan5."        Schatz  154 

II  puntiglio  amoroso.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  di  S.  Moise  il  presente  carnovale 
MDCCLXIII. 

Venezia,  Francesco  Valvasense,  n.  d.     56  p.     15Y^- 
Three  acts.    The  author  is  not  mentioned.     Cast,  scenario,  and  name  of  Galuppi 

as  the  composer.     Schatz  and  Wotquenne  attribute  the  text  to  Carlo  Gozzi,  Pavan 

to  Gaspare  Gozzi,  Wiel  and  Piovano  leave  the  question  open. 

First  performed,  as  indicated,  December  26,  1762.  Schatz  3507 

La  pupilla.     Intermezzo. 

[176]-192  p.  16^'^^.  {Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  iv,  Torino,  1757.) 

Two  parts.    First  compiler  not  recorded  by  AUacci,  Wiel  or  Schatz. 

ML  49.A2G6 

—  La  pupilla.  Intermezzo  di  due  parti  per  musica.  R^presen- 
tato  per  la  prima  volta  in  Venezia  I'autunno  dell'  anno  MDCCXaXI  V. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  t.  35, 
[51h70  p.     18^"^.  PQ 

La  pupilla.  O.  T.  of  d'  Avossa's  La  pupilla  ed  il  Ciarlone  and  II 
Ciarlone. 

La  pupilla.     Farsetta  in  musica  a  tre  voci  a  recitarsi  nel  Teatro  alia 
Valle  il  carnevale  dell'  anno  1755  .  .  . 
Roma,  Ottavio  Puccinelli,  1755.     22  p.     15^"^- 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  The  text  is  neither 
by  Ant.  Palomba  nor  by  Goldoni,  though  "Signor  tutore,  non  dubitare"  has  been 


OPERA   LIBRETTOS  907 

La  pupilla — Continued. 

borrowed  from  his  "La  pupilla"  and  "Al  mio  ben  d  tu  dirai"  from  hia  "II  filosofo  di 
campagna."  None  of  the  other  arias  listed  in  Wotquenne's  Verzeichnis.  They  are 
"Luci  care,  luci  belle,"  "Non  mi  state  a  infastidire,"  "Va  cantando  I'augellino," 
etc.  Cast,  name  of  Francesco  Saverio  Gaxcia  as  composer  and  dedication  by  (the 
author?)  Angelo  Lungi.  ML  50.2.P9G2 

—  Die  pfleg-tochter,  ein  lustig  musicalisches  zwischen-spiel  zu  drey 
stimmen  so  auf  gnaedigstem  befehl  Ihro  Churfuerstl.  Durchlaucht 
aufgefuehrt  worden.  den  21ten  novembris  1758. 

Mannheim,  CJiurfuerstliche  Hof-  und  cantzley-huchdruckerei,  n.  d. 
67  p.     16\'''^. 

'■'Francesco  Saverio  Gurzia  [!]  der  sogenannte  Spagnoletto"  is  mentioned  as  the 
composer.  Consequently  a  German  version  of  Francesco  Saverio  Garcia's  "La 
pupilla."    The  translator  is  not  mentioned  and  is  unknown  to  Schatz. 

ScHATz  3555 

La  pupilla  astuta.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobiliss.  Nuovo  Teatro  di  Padova  I'autunno  delF  anno  1794  .  .  . 

Padova,  fratelli  Conzatti,  n.  d.     81  p.     17'^^. 

Two  acts.  Neither  the  author  (unknown  to  Schatz)  nor  the  composer,  Giuseppe 
Ella,  is  mentioned.  Cast.  Because  of  the  radical  changes  in  Harnaud's  "Follie 
amorose"  the  anonymous  author  says  "posso  dirmi  piii  compositore,  che  traduttore." 

First  performed  at  Palermo,  Teatro  di  S.  Cecilia,  fall  of  1792.  Schatz  2913 

La  pupilla,  ed.  11  ciarlone,  dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Regio  Teatro  danese. — Myndlingen  og  Sladdreren,  at 
lystigt  synge-spil  .  .  . 

Ki^henhaim,  L.  N.  Svare,  1769,     177  p.     17^"^- 

Three  acts.  Danish  text  faces  Italian.  By  Antonio  Palomba,  who  is  not  men- 
tioned.   Cast  and  name  of  Giuseppe  Abbos  (=Giu8eppo  d'Avossa)  as  composer. 

IHrst  performed  at  Naples,  Teatro  dei  Fiorentini,  carnival,  1763,  as  "La  pupilla." 

Schatz  511 

—  II  ciarlone.  Dramma  giocoso  per  musica  da  rappresentarsi  nei 
Teatri  privilegiati  di  Vienna  nell'  anno  1770. 

Vienna,  Giovanni  Tomaso  di  Trattnem,  n.  d.     6^  p-     16^*^. 

Argument,  but  without  name  of  composer,  Giuseppe  d'Avossa,  or  librettist, 
Ant.  Palomba.  Schatz  512 

La  pupilla  rapita.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  S.  Moise  il  presente  autunno  AIDCCLXIII. 

Venezia,  n.  publ.,  n.  d.     69  p.     15^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario,  and 
note: 

"La  musica  ear^  tutta  nuova  del  Sig.  maestro  Saverio  Lauxenti  romano,  eccet- 
tuate  alcune  arie,  che  saranno  pure  nuove  del  Sig.  maestro  Antonio  Boroni  romano 
a  mottivo  della  ristrettezza  del  tempo  per  la  absenza  del  Sig.  maestro  Gio.  Battista 
Ruttini,  e  saranno  contradistinte  dal  segno  *." 

The  only  arias  thus  marked  are:  "Ah  sposina  mia  carina"  (III,  12),  'Le  donne 
col  cervello"  (III,  6),  "Oh  che  bile,  oh  che  tremore"  (II,  11),  "Quel  piacer  d'ee- 
servi  spoea"  (II,  6),  "  Vo  moetrarAd  alia  francese"  (I,  7).  Schatz  5473 

La  pupilla  scaltra.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  Venier  m  San  Benedetto  il  camovale  deli' 
anno  1795. 

Venezia,  Modesto  Fmzo,  1795.    88  p.     18^"^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Pietro  Guglielmi  as  the  composer.    On  p.  50-59  argument,  cast,  and  descrip- 


908  LIBRARY   OF   CONGRESS 

La  pupilla  scaltra — Continued. 

tion  of  Giuseppe  Traffieri's  "Bianca  de'  Roeei,  ballo  tragico  pantomimo"  in  five 
acts,  music  (''tutta  nuova")  by  Vittorio  Trento.  TraflBeri'e  second  comic  ballet  was 
called  "Roea  e  Nicola." 

First  performed  as  indicated,  January  8, 1795.  Schatz  4257 

The  purse;  or,  Benevolent  tar.    A  musical  drama,  in  one  act,  as 

gerformed   at  the  Theatre   Royal  in  the  Hay-Market.     By  J.   C. 
ross.     (The  music  by  Mr.  Reeve.) 
London,  Printed  hy  WiUiam  Lane,  1794.    82  p.    W"^. 

Cast  and  prefatory  note. 

First  performed  February  8,  1794.  Lonob  227 

Pursignacco  e  Qrilletta.  See  Orlandini's  Pourceaugnac  and  Gril- 
letta. 

Die  puzmacherinn.  Eine  operette  in  drei  akten  von  J.  W.  A. 
Schoepfel,  und  in  musik  gesezt  von  Friedrich  Preu. 

Baireuth,  Johann  Andreas  Lueheks  erhen,  1790.     176  p. 

On  p.  174-176  sale's  catalogue  of  the  publisher.  Schatz  8465 

Pygmalion.  Ein  monodrama  von  J.  J.  Rousseau.  Neu  uebersetzt 
von  herrn  Gotter.     Die  musik  ist  von  herrn  Georg  Benda. 

24  p.  14^^'  ^No.  /.  of  "  Melodramen,"  Joseph  Johann  Morgen- 
saeuler,  Pilsen  und  Klattau,  1791.) 

First  performed  at  Gotha,  Hoftheater,  September  20,  1779.  Schatz  775 

Pygmalion.     See  Coignet  and  Rousseau's  Pigmalion. 

The  comick  masque  of  Pyramus  and  Thisbe.     As  it  is  perform'd  at 
the  Theatre  in  Lmcoln's-Inn  Fields  ... 
London,  W.  Mears,  1716.     4  p.  I.,  16  p.     W"^. 

One  act.  Cast,  argument,  and  preface  signed  by  the  author,  Richard  Leveridge,  in 
which  he  says: 

"As  diversion  is  the  business  of  the  stage,  'tis  variety  best  contributes  to  that 
diversion  .  .  .  And  as  our  present  encouragers  of  this  part  of  the  theatrical  labours, 
have  for  some  late  years  been  chiefly  regaled  with  high  recitative  and  buskin  airs;  I 
have  here  endeavoured  the  quite  reverse  of  those  exalted  performances;  and  hope  I 
may  challenge  some  small  excuse  for  this  exotick  essay,  from  no  less  than  example 
and  precedent. 

"If  the  first  founders,  the  Italians,  in  the  grandest,  of  their  performances,  have 
introduced  lions,  bears,  monkiee,  dragons  etc  as  their  doughty  fables  require:  I  know 
no  reason  why  I  may  not  turn  moonshine  into  a  minstrel;  the  lion  and  stone  wall  into 
songsters;  and  make  them  as  diverting  as  a  dance  of  chairs  and  butterflies  have  been 
in  one  of  our  most  celebrated  British  entertainments  ..." 

At  the  end  of  the  argument  Leveridge  says  that  Shakespeare's  "The  Midsummer 
night's  dream"  he  "made  bold  to  dress  out  ...  in  recitative,  and  airs,  after  the 
present  Italian  mode,  hoping  I  have  given  it  the  same  comical  face,  though  in  a 
musical  dress."    Leveridge  also  composed  the  music. 

Yitst  performed  October  29,  1716,  as  indicated.  Longe  54 

Pyramus  und  Thisbe.  Ein  musikalisches  duodram.  Fur  das 
K.  K.  National-Hoftheater. 

Wien,  Johann  Baptist  WaUishausser,  1795.     16  p.     17''^. 

Author  unknown  to  Schatz.     Composed  by  Anton  Eberl,  who  is  not  mentioned. 
First  performed,  as  indicated,  December  7,  1794;   privately,  1793,  at  the  Gesell 
echaftstheater  of  coimt  v.  Stockhamjner.  Schatz  2889 


•  OPERA  LIBRETTOS  *  909 

Pyramus  und  Thisbe.     Ein  musikalisches  duodram. 

HaUe,  Eemmerdesche  huchhandlung,  1787.     v,  [6]-32  f.     15*^. 

One  act.  Prefatory  note,  dated  "K  .  .  n  [Koeln]  im  maerz  1787,"  and  signed  by 
the  author  [Friedrich  Anton  Franz]  B[ertra]nd.     He  says: 

"  Wer  kennt  nicht  Ariadne  auf  Naxos,  und  Medea-durch  herm  Benda's  meisterhafte 
komposizion,  zwo  der  treflichsten  deutschen  originalstuekke?  Ich  wuenschte 
Pyramus  und  Thisbe  auf  gleiche  art  bearbeitet  zu  eehen,  schrieb  den  gegenwaertigen 
text,  und  theilt'  ihn  herm  Benda  mit  .  .  .  ich  erhielt  die  Bchmeichelhafte  versich- 
erung :  sowohl  gegenstand  als  behandlung  desselben  wuerden  vorzueglich  sein  musi- 
kalisches talent  aufgefordert  haben,  der  deutschen  buene  in  jener  manier  ein  drittes 
etueck  zu  liefern; — haetten  ihn  nicht  vorfaelle  mit  derselben  entzweiet,  die  mir  von 
zu  grossem  gewicht  schpinen,  als  dass  ich  so  indiskret  seyn  soUte,  sie  ohne  des  mannes 
erlaubnis  vor's  angesicht  des  publikuns  zu  bringen.  Vielleicht  ist  diese  arbeit  so 
gluecklich,  dass  sie — versoehnt  sich  herr  Benda  selbst  nicht  noch  in  der  folge  mit  dem 
theater; — irgend  eine  andre  meisterhand  der  voUendung  nicht  unwerth  haelt  ..." 

Composed  by  Daniel  Gottlob  Turk,  who  is  not  mentioned.  Schatz  records  no 
performance.  Schatz  10512 

Pyrrhus  and  Demetrius.     An  opera.     As  it  is  perform'd  at  the 
Queen's  Theatre  in  the  Hay-Market. 

London,  Jacob  Tonson,  1709.     3  p.  I.,  62  y.    22"'^. 

Three  acts.  Cast  and  dedication  by  "Owen  Swiny  "  (Owen  McSwiney).  His  text 
is  practically  a  translation  of  Adriano  Morselli's  "Pirro  e  Demetrio."  It  does  not 
include  the  seventeen  English  aria  translations  by  Armstrong,  printed  by  Walsh  in 
the  "Songs  in  .  .  .  Pyrrhus  and  Demetrius."  The  libretto  contains  the  Italian  text 
and  the  English  translation  of  all  the  arias,  etc.,  that  were  sung  in  English,  those  sung 
in  Italian  remaining  untranslated.  The  music  was  largely  that  composed  by  Ales- 
sandro  Scarlatti  for  Naples  (1694),  but  the  overture  and  not  less  than  twenty-one 
arias  were  by  Nicolo  Francesco  Haym,  ae  appears  from  Walsh's  "Songs." 

First  performed  at  London  December  14,  1708.  ML  50.2. P95 

Second  copy.    Longe  208 

Pythias  und  Damon,  ein  singspiel  von  zween  aufzuegen,  aufge- 

fuehrt  von  den  schuelern  der  ersten  rhetorik  am  KathoUschen  schul- 

hause  bey  St.  Salvator  im  Aprilmonathe  1781. 

Augshurg,  Joseph  Simon  Eueher,  n.  d.     8  p.     18^'^- 

With  "Vorbericht,"  cast,  and  name  of  the  composer,  Johann  Evangelist  Drezel. 

The  author  unknown  to  Schatz.    Preceded  by  "Der  patriotismus,  ein  trauerspiel." 

ScHATa  2819 

II  quacquero  burlato,  ballet.     See  Caruso's  Gli  amanti  dispettosi. 

II  quadro  animato,  ballet.    See  Portugal's  Lo  spazzacamino  prhi- 
cipe. 

II  quadro  movibile,  ballet.    See  Galuppi's  L'amante  di  tutte. 

The  quaker;  a  comic  opera.     As  performed  at  the  Theatre-Royal  in 
Drury-Lane. 

London,  John  BeU,  1777.    3  p.l.,  UV-     ^^''™- 

On  first  p.  1.  a  portrait  of  Mr.  Bannister  in  the  character  of  Steady.  Two  acts.  Cast. 
The  author-composer,  Charles  Dibdin,  is  not  mentioned.  In  Johnston's  vocal  score, 
"The  face  which  frequently  displays,"  is  headed  as  "composed  by  Mr.  Idnley." 

First  performed  April  3,  1775  (Clarence),  October  7,  1777  (Schatz),  May  3,  1775 
(Genest).  Longe  87 

La  quakera  spiritosa.     Commedia  per  musica  di  Giuseppe  Palomba 

da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  second'  opera  in  quest- 

anno  1783. 

Napoli,  n.  pull.,  1783.     58  p.     UY"^. 

Three  acta.    Argument,  cast,  and  name  of  Pietro  Quglielmi  as  the  composer. 

Schatz  4258 


910  LIBRARY   OF   CONGRESS  * 

The  quaker's  opera.  As  it  is  perform'd  at  Lee's  and  Harper's 
great  theatrical  booth  in  Bartholomew-fair.  With  the  musick  pre- 
fix'd  to  each  song. 

London,  Printed  for  J.  W.  and  sold  by  J.  Roberts  [etc.],  1728.  3  p.  I., 
49  p.     20'^'^. 

Three  acts  and  introduction.  By  Thomas  Walker,  who  is  not  mentioned.  The 
text  is  preceded  by  a  table  of  the  26  songs.  Ballad  opera,  the  airs  of  which  are  printed 
in  the  text  with  their  titles,  except  no.  8  "And  when  we  come  unto  the  whit"  and 
19  "O  Johnny,  thou  hast  done  me  wrong,"  which  have  none. 

According  to  Tufts,  altered  from  "The  Prison-breaker  or  The  adventures  ol  John 
Sheppard"  (printed  in  1725  but  not  acted.)  ML  50.5. Q91 

Second  copy.    Longe  47 

I  Quaqueri.  Dramma  giocoso  per  musica  di  un  atto  solo  di  Gio- 
vanni Bertati.  Da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Mois^ 
il  carnovale  dell'  anno  1779. 

n.  %.,  n.  d.     32  p.     IIY"^- 

Composed  by  Antonio  Bossetti  ("La  musica  earS,").  This  was  followed  by  "Il 
pi^  BEL  DONo  INUTILE,"  also  in  One  act,  by  the  same  author  and  composer  and 
forming  part  of  the  same  publication.  Schatz  8883 

Le  quart-d'heure  de  Rabelais,  com^die  en  un  acte,  en  prose, 
m^l6e  de  vaudevilles.  Par  les  CC.  Dieu-la-Foy  et  Prev6t-d'Iray. 
Representee  pour  la  premiere  fois,  sur  le  Th6&tre  du  Vaudeville  le 
25  nivdse,  an  7.     [Jan.  14,  1799.] 

Paris,  chez  le  libraire  au  Theatre  du  Vaudeville,  an  vii.  [1798-99.] 
64  p.     20<=^. 

Cast.  "Avec  9  airs  not^s,"  printed  in  the  text.  Not  recorded  by  either  CI.  &  L. 
or  Schatz.  ML  48.M2K 

II  quartiere  fortunate.     Intermezzo  di  tre  parti  per  musica. 
Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  35, 

[159]-180  p.     ISY"^- 

No  composer  recorded  by  Schatz.  PQ 

Der  Qruasi-mann,  eine  koniische  oper  in  zwey  aufzuegen.  In  musik 
gesetzt  von  herrn  Franz  Danzi  ... 

Muenchen  hey  Joseph  Lindauer,  1789.     62  [1]  p.     16'^"^. 

With  "Vorbericht, "  dated  April,  1789,  in  which  [Matthias  Geoi^]  Lambrecht  says: 
""Le  naufrage,  ou:  Lesfunirailles  de  Crispin,  wurde  in  Wien  unter  dem  titel:  T^eue 
und  undank,  neu  bearbeitet.  Man  fand,  dass  dieses  nachspiel  zu  sehr  far^e  sey; 
auch  erinnere  ich  mich  nicht,  dass  es  auf  einem  andern  deutschen  theater  in  diesem 
neuen  gewande  sey  gegeben  word  en.  Mir  schien  der  stoff  zur  komischenoperunver- 
besserlich.  Ich  denke,  man  wird  ihm  itzt  den  vorwurf  des  uebertriebenen  nicht 
macheUj  da  man  sich  eogar  an  italienische  opem  hat  gewoehnen  koennen.  Am 
musikahschem  interesse  wird  es  ebenfalls  nicht  fehlen,  da  herr  Danzd  sicii  schon  als 
ein  mann  von  talent,  dempubliko  bekannt  gemacht  hat." 

First  performed  at  Munich,  Opemhaus  bei  St.  Salvator,  August,  1789. 

Schatz  2410 

Les  quatre  saisons,  divertissement  de  jnusique  &  de  dance,  pour 
c61ebrer  le  mariage  de  Son  Altesse  Roy  ale  de  Pologne  &  Electorale  de 
Saxe  1719. 

Dresde,  Jean  Conrad  Stossel,  n.  d.      Unpaged.     17^'^'^. 

Prologue  and  five  entries.  Argument,  cast,  names  of  Jean  Poisson  as  author  and 
of  Johann  Christoph  Schmidt  as  the  composer  and  "avant-propos, "  which  says  that 
the  king  himself,  wanting  for  the  festivities  "un  espk:e  d 'opera  fran^ais,"  selected 
the  Bujef ,  formed  the  plan,  and  designated  the  list  of  characters,  thxis  leaving  to  the 


OPERA   LIBRETTOS  911 

Les  quatre  saisons — Continued. 

goet  practically  only  the  versification.    The  spoken  and  danced  parts  were  all  taken 
y  members  of  the  nobility,  almost  sixty  persons,  whereas  for  the  chorus  and  orchestra 
the  king's  musicians,  more  than  one  himdred  persons,  were  employed. 
First  performed  September  23,  1719,  at  Dresden  in  the  Royal  Gardens. 

SCHATZ  9641 

Li  quattro  elementi :  Carrosello  tra  le  feste  celebrate  in  Dresda  per 
comando  di  S.  M.  in  occasione  delle  nozze  di  L.  L.  A.  A.  R.  R. 

Dresda,  G.  C.  Stossel,  n.  d.      Unpaged.     18"'^. 

French  title-page  "Carrousel  des  quatre  elemens,"  and  text  face  Italian,  the  author 
of  which  is  not  mentioned.     A  prefatory  note  says: 

' '  Cangiato  in  anfiteatro  il  giardino  degli  aranci  contiguo  al  Regio  elettoral  palazzo 
servendo  k  ci5  mirabilmente  la  magnifica  loggia,  che  regna  intomo  ad  esso  giardino, 
comparisce  Giove  sopra  macchina  mobile  rappresentante  il  Caos,  introducendo  nell' 
anfiteatro  suddetto  con  ordinata,  e  vaga  marchia  quattro  quadriglie  ..." 

The  names  of  the  noblemen  taking  part  in  these,  representing  the  four  elements, 
are  given  on  the  next  pages  together  with  the  name  of  Antonio  Lotti  as  composer  oi 
Glove's  monologue. 

First  performed  during  the  marriage  festivities  for  prince  Friedrich  August  and 
Maria  Gioseffa,  princess  of  Austria,  on  September  15,  1719.  Schatz  5725 

Le  quattro  nazioni.     L.  T.  of  Bernardini's  La  donna  di  spirito. 

Le  quattro  stagioni.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  .  .  . 

Nayoli,  n.  puhl,  1784.     58  p.     15^"^. 

Three  acts.  Impresario's  dedication,  dated  Napoli,  June  12,  1784,  cast,  and  name 
of  the  composer,  Luigi  Caruso.  Schatz  1651 

Que  ne  peut  pas  ramour  ?    Com^die  lyrique. 
Le  mxigasin  des  modemes,  La  Haye,  Propice,  [1768].     p.  51-98,  67  p. 

One  act.  The  text  proper  on  p.  53-94.  In  the  prefatory  remarks  it  is  said  that 
"cette  petite  piece  .  .  .  n'est  faite  que  pour  paroltre  dans  I'asile  d'une  soci6t6." 
Interesting  is  also  the  remark : 

"J'ai  done  fait  un  opera-comique ;  ou  plutot,  comme  I'on  dit  aujourd'hui,  une 
com^die  lyrique." 

The  67  p.  contain  the  airs  notes  belonging  to  the  piece.  Neither  author  nor  com- 
poser is  mentioned.     Not  recorded  by  Schatz.  ML  20.M14 

The  Queens  masque.     A.  T.  of  Loves  mistresse. 

Quello  che  puo  accadere.  Dranuna  giocoso  per  musica  da  rappre- 
sentarsi nel  nobile  Teatro  di  San  Samuele  U  carnovale  dell'  anno  1784. 

Venezia,  Gio.  Battista  Ca^ali,  n.  d.     63  p.     18'^'^. 

Two  acts.  Cast,  scenario,  and  name  of  composer,  Gaetano  Andreozzi,  but  not  of 
librettist,  who  is  imknown  to  Schatz.  Schatz  218 

La  quereUe  des  theatres.  Prologue.  Par  Messieurs  le  S**  & 
de  la  F*.  Represent 6  h  la  Foire  de  Saint  Laurent  1718.  Et 
ensuite  sur  le  Tn64tre  de  I'Op^ra,  par  ordre  de  Son  A.  R.  Madame. 

Le  TMdtre  de  la  foire,  Paris,  1737,  t.  Hi,  pi,  [37]-S9  p.     i7^"». 

By  Le  Sage  and  Lafont.  The  airs,  selected  or  composed  and  arranged  by  Jean 
Claude  Gillier,  the  ' '  compositeur  "  of  the  theatre,  are  printed  at  the  end  of  the  volume 
in  the  "Table  des  airs."  ML  48.L2III 

La  queue  de  verite.     See  Le  diable  d'argent. 


912  LIBRARY  OF   CONGRESS 

Quinto  Fabio.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  nuovo  Teatro  di  Padova  nella  fiera  di  Giugno  dell'  anno  1778  .  .  . 

Padova,  n.  publ,  1778.     ^8,  [1]  p.     17 Y"^- 

The  additional  unnumbered  i)age  contains  Volunnio'e  aria  (I,  4),  "Dell'  amico  i 
perigli."  Three  acts.  Impresario  b  dedication,  argument,  cast,  scenario,  and  name 
of  Ferdinando  Giuseppe  Bertoni  as  composer  ("musica  sar^  tutta  nuova  ").  Apostolo 
Zeno  not  mentioned  as  author  of  the  libretto,  which  in  its  original  version  was  called 
"Lucio  Papirio  dittatore." 

First  performed  at  Milan,  Teatro  Interinale,  Janxiary,  1778  (Schatz).     Schatz  932 

Quinto  Fabio.     Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  Torre  Argentina  il  came  vale  dell'  anno  1783  .  .  . 
Roma,  Cannetti,  1783.     ^6  p.     16^"^. 

Three  acts.  By  Apostolo  Zeno.  Originally  called  "Lucio  Papirio  dittatore." 
Amiment,  scenario,  cast,  and  name  of  the  composer,  Cherubini.  Onorato  Vigan6'8 
ballets  (music  by  Luigi  Mareschalchi),  "La  dolce  vendetta"  and  "II  rfe  de'  ciarla- 
tani,"  were  performed  with  the  opera. 

Yirst  performed  in  January,  1783,  as  indicated.  Schatz  1847 

Quinto  Fabio.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  dell'  Accademia  degli  Awalorati  in  Livorno  I'autunno  dell' 
anno  1794. 

[Livorno],  Tommaso  Masi  e  compagno,  n.  d.     Jfi  p.     17^™. 

Two  acts.  Author  of  this  complete  modernization  of  Zeno's  "Lucio  Papirio  ditta- 
tore" not  mentioned,  and  unknown  to  Schatz.  Impresario's  dedication,  argument, 
cast,  scenario,  and  name  of  Nicola  Antonio  Zingarelli  as  the  composer  ("La  musica 
6 tutta  nuova").  With  the  opera  were  performed  Carlo  Augusto  Favier's  ballets, 
"Ezio"  and  "La  contadina  spiritosa,"  the  composers  of  the  music  not  mentioned. 

Schatz  11255 

Quinto  Lucrezio  proscritto.  Dramma  musicale  fatto  rappresen- 
tare  da'  Signori  Accademici  del  Carino  per  festeggiare  il  giorno  nata- 
lizio  del  sereniss.  principe  Francesco  Maria  di  Toscana. 

Firenze,  Vincenzo  Vangelisti,  1681.     4  P-  ^y  IO4  p.     16Y^. 

Three  acts.  By  Giov.  Andrea  Moniglia,  who  is  not  mentioned.  Dedication  dated 
November  12, 1681  (the  prince's  birthday),  notice  to  the  reader,  with  name  of  Lorenzo 
Cattard  as  composer,  argument.  Schatz  1713 

—  Quinto  Lucrezio  proscritto.  Drama  musicale  fatto  rappresen- 
tare  da'  Signori  Accademici  del  Casino  per  festeggiare  il  giorno  nata- 
lizio  del  sereniss.  principe  cardinale  Francesco  Maria  di  Toscana. 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Vincenzio  Vange- 
listi, Firenze,  1689,  p.  [503]-69S.    24'="'. 

Three  acts.    Argument  and  prefatory  note  with  name  of  Lorenzo  Cattani  as  com- 

Eoser.    The  text  is  followed  on  p.  584-593  by  "Lettera  apologetica  per  lo  Quinto 
lUcrezio  Proscritto.    Scritta  da  F.  N.  all'  autore."  ML  49.A2M7 

Les  quiproquo  nocturnes,  op6ra  bouffon,  en  deux  actes.  Paroles 
de  J.  G.  A.  Cuvelier,  musique  de  L.  Morange.  Representee,  pour  la 
premiere  fois,  le  23  frimaire,  an  6,  [Dec.  13,  1797]  sur  le  TheMre 
Montansier. 

Paris,  Barha,  (1798)  An  VI.     38  p.    20^"^. 

Cast.  Schatz  6627 


OPERA  LIBRETTOS  91S 

Gesaenge  aus  dem  singspiele :  Der  rabe,  in  vier  aufzuegen  nach  dem 
italienischen  des  grafen  Gozzi.  In  musik  gesetzt  von  Andreas 
Romberg. 

Hamburg,  FreystatzJcy  und  Rahe,  1794.     31  p.     15^'^'^. 

By  Schwick,  who  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gaensemarkt,  April  7,  1794. 

ScHATz  8870 

Les  racoleurs,  opera-comique  en  un  acte.     Par  M.  Vade.     Repr6- 
sent6  pour  la  j)remiere  fois  snr  le  Th6Mre  de  FOp^ra-comique  k  la 
Foire  S.  Germain  le  11  mars  1756. 
Paris,  Duchesne,  1756.     61,  [3]  p.     19^"^. 

On  the  [3]  p.  lists  of  plays  by  Vad6,  etc.  Prose  and  en  vaudevilles.  Cast.  On  p. 
60-61  the  airs  of  "D'un  faraut  de  note  quartier,"  and  "Le  zh\e  ardent  nous  en^ge." 
Composer  imknown  to  me.  ML  50.2.K15 

—  Les  racoleurs,  op6ra  comique,  en  un  acte,  repr^sente,  pour  la  pre- 
miere fois,  sur  le  The&tre  de  I'Op^ra  comique,  "k  la  Foire  Samt- 
Germain,  le  11  mars  1756. 

{181]-250jp.  WY™'.  {Jean  Joseph  Vade,  Oeuvres  complettes,  t.  Hi, 
Nouv.  ed.,-Troyes,  an  VI  [1798]. 

The  arranger  of  the  music  is  not  mentioned.  PQ2068.V2 

II  Radamisto.     Drama  per  musica  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  del  Cocomero  I'estate  delF  anno  MDCCXXVIII  .  .  , 
Firenze,    Melchiorre  Alberighi   e  Giuseppe  Pagani,    1728.     88  p. 

15Y'^- 

Three  acts.  Impresario's  dedication,  dated  Florence^  June  18,  1728,  argument, 
cast,  scenario.  On  p.  [71J-88  text  of  the  three  intermezzi  "La  preziosa  ridicola." 
Not  recorded  by  Schatz  and  not  fo\md  elsewhere  by  me.  ML  48.A5    v. 18 

Radamisto.     Musicalisches  zwischenspiel  .  .  .    Vorgestelletimjahr 
1734.  im  monat  October. 
n.  i.,  n.  d.    34  p.     Id""^. 

The  title  is  followed  by  ailment  and  list  of  characters.  At  end  of  the  text  the 
note:  "Die  buechlein  seynd  zu  bekommen  in  dem  kaiserlich-privilegirten  theatro 
bey  dem  Kaemtner-Thor    [Vienna].     Not  recorded  by  von  Weilen.     Schatz  11643 

Radamisto.     Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  I'anno  1698.     Di  Antonio  Marchi  .  .  . 
Venetia,  Nicolini,  1698.     63  p.     14""'. 

Three  acts.  Author's  dedication  dated  Venice,  November  11,  1698,  notice  to  the 
reader,  argument,  scenario.    The  composer,  Tommaso  Albinom,  is  not  mentioned. 

Schatz  97 

II  Radamisto.  Drama  per  musica  fatto  rappresentare  nel  Teatro  di 
Piedemonte  ...  in  occasione  degli  acclamati  sponsali  delF  eccellen- 
tisR.  Sig.  D.  Antonio  di  Sangro  .  .  .  coll'  eccellentiss.  Signora  D. 
Cecilia  Gaetano  d'Aragona  ...eh.  medesima  consacrato  dalF  abb. 
Nicold  Giuvo. 

Venetia,  Per  il  Prodocimo,  1707.     4  p.  l,  76  p.     13h'^"'. 

Three  acts.  Author's  dedication,  argument,  cast,  scenario,  and  name  of  the  com- 
poser, "Nicol6  Pago,  detto  il  Tarantino."  Schatz  2981 

72251"— VOL  1—14 58 


J 


914  LIBRABY  OF   CONGRESS 

Badamisto. 

Three-act  opera  by  (Jeorg  Friedrich  Handel.    Text  by  Nicola  Francesco  Haym. 
First  performed  at  London,  Haymarket,  April  27,  1720. 

—  Zenobia,  oder  Das  muster  rechtschaffener  ehelichen  liebe,  in 
einer  opera  auf  dem  Hamburgischen  Schau-platze  vorgestellet  im 
jahr  1726. 

[Hamhurg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.     Unpaged. 

Three  acts.  Argument.  Neither  Johann  Mattheson,  the  translator  of  Haym'e 
"Radamieto,"  nor  the  composer,  Georg  Friedrich  Handel,  is  mentioned.  Italian 
text  of  the  arias  is  added  to  the  German. 

First  performed  at  Hamburg,  1722.  Schatz  4502 

The  raft;  or,  Both  sides  of  the  water,  a  musical  drama.  As  per- 
formed with  universal  applause  at  the  Theatre-Royal,  Covent- 
Garden.     By  J.  C.  Cross  .  .  .     The  music  composed  by  Mr.  Reeve. 

London,  J.  Barker,  1798.     29,  [S]  y.    21'^. 

The  [3]  p.  contain  advertisements. 

One  act.    Cast. 

First  performed,  March  31,  1798.  Lokoe  246 

The  ragged  uproar:  or,  The  Oxford  roratory:  A  new  draraatick 
satire;  in   many  scenes,    and   one   very  long   act  .  .  .     Originally 

Elann'd  bv  Joan  Plotwell;  and  continued  by  several  truly  eminent 
ands,  well  vers'd  in  the  art  of  designing  .  .  . 
London,  G.  Pote,  n.  d.     32  p.     20'^'^. 

In  form  almost  of  a  ballad-opera,  the  airs  being  indicated  by  title.  Author  unknown 
to  Clarence,  who  records  neither  date  of  publication  nor  a  performance.    Longe  195 

II  raggiratore  di  poca  fortuna.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Nuovo  Teatro  de'  Fiorentini  per  prim' 
opera  del  corrente  anno  1779. 

Napoli,  n.  pull.,  1779.     72  p.     W"^. 

Three  acts.     Prefatory  note,  cast,  and  name  of  Pietro  Guglielmi  as  the  composer. 

First  performed,  as  indicated,  August  1,  1779.  Schatz  4259 

I  raggiri  d'amore.     L.  T.  of  Tritto's  Le  vicende  amorose. 

I  raggiri  fortunati.  Farsa  di  un  atto  solo  del  Signor  abate  Pietro 
Chiari  da  rappresentarsi  nel  nobilissimo  Teatro  Venier  in  San  Bene- 
detto il  camovale  dell'  anno  1795. 

Venezia,  Modesto  Fenzo,  1796.     40  p.     18""^. 

Cast,  scenario,  and  name  of  Sebastiano  NasoUni  as  the  composer.  The  text  is  an 
altered  version  of  Chiari 's  "II  marchese  villano." 

First  performed,  as  radicated,  February  5,  1795.  Schatz  7029 

Li  raggiri  fortunati.     L.  T.  of  Robuschi's  Castrini,  padre  e  figlio. 

I  ragg^  scoperti.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  della  molto  ille.  cittk  di  Barcellona,  Fanno  1792. 

BarceU.,  Francesco  Generas,  n.  d.     78  p.     16'^'^. 

Two  acta.  Author  not  mentioned  and  imknown  to  Schatz.  Cast  and  name  of 
Giacomo  Tritto  as  composer. 

First  performed  at  Rome,  Teatro  alia  Valle,  carnival  1791.  ML  50.2.R17T8 

II  Ramiro  in  Norvegia.     A.  T.  of  M.  A.  Ziani's  Gl'amori  tra  gl'odii. 


OPERA   LIBRETTOS  915 

Raol  de  Crequi,  ballet.     See  Winter's  Belisa. 

Raollo,  signore  di  Crequi.  Tr.  of  Dalayrac's  Raoiil,  sire  de 
Crequi. 

Raoul,  Barbe  Bleue,  com^die  en  prose  et  en  3  actes,  m^lee  d'ariettes; 
par  M.  Sedaine.  Miisique  de  Mr.  Gr^try.  Representee  pour  la 
premidre  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le  lundi  2 
mars  1789. 

Amsterdam,  Gabriel  Dufour,  1791.    4^  p.    20^^. 

Label  of  Vente  pasted  over  imprint.  ML  50.2.R22G72 

—  Baoul  Barbe  Bleue,  comMie  en  trois  actes  et  en  prose,  repre- 
sentee pour  la  premiere  fois,  par  les  Comediens  italiens  ordinaires  du 
roi,  le  lundi  2  mars  1789.  Paroles  de  M.  Sedaine.  Musique  de  M. 
Gr^try. 

BruxeUes,Loiseau,  1791.     39  p.     20^^.' 

Label  of  Vente  pasted  over  imprint.  ML  50.2.R22G73 

Raoul,  herr  von  Crequi  oder  Die  verhinderte  ^ausamkeit.  Tr.  of 
the  ballet  Raul,  signore  di  Crechi  o  sia  La  tirannide  repressa.      / 

Raoul,  sire  de  Crequi,  com^die  en  trois  actes,  en  prose.     Par  M? 
Monvel.     Representee  pour  la  premiere  fois  par  les  Comediens  italiens 
ordinaires, du  roi,  le  samedi  31  octobre  1789.     Mise  en  musique  par 
M?  Dalayrac. 
Paris,  n.  puhl,  1790.     75  p.     19""^.  ML50.2.R24D3 

' —  Arien  und  gesaenge  aus  Rudolph  von  Creki.     Ein  singspiel  in 
drey   aufzuegen.     Nach   dem   franzoesischen.     Die    musik   ist   von 
d'Alayrac. 
Riga,  Julius  Conrad  Daniel  MuUer,  1792.     16  p.     16^"^. 


German  version,  by  Heinr.  Gottlieb  Schmieder. 
,  performed  at  Ri^ 
Nationaltheater,  Dec.  17,  1791.  Schatz2374 


First  performed  at  Riga,  Theater  i.  d.  gr.  Konigetrasee,  1/12,  Febr.  1793 ;  at  Mayence, 


—  Raollo,  signore  di  C»equi,  tragi-commedia  in  prosa  di  tre  atti, 
mista  d'arie  per  musica,  e  tolta  dal  francese  da  reppresentarsi  nel 
Reggio  Teatro  di  S.  Carlo  .  .  .  li  17  decembre  dell'  anno  1795. 
Lishona,  Simone  Taddeo  Ferreir,  1795.     187  p.     15'^. 

Italian  version,  by  Giuseppe  Carpani,"  with  hie  name  and  those  of  Monvel  and 
Dalayrac.    Portuguese  text  faces  Italian.  Schatz  2376 

The  rape  of  Colombine  or  The  flying  lovers.    See  Perseus  and 
Andromeda. 

The  rape  of  Europa  by  Jupiter.     A  masque  as  it  is  sung  at  the 
Queens  Theatre  in  Dorset-Garden.     By  their  Majesties  servants. 
London,  M.  Bennet,  1694.     2  p.  l,  8  p.     21^^. 

One  act.    Cast  and  argument.    Author  not  known  to  Clarence.     Composer  not 
mentioned,  and  unknown  to  me.  ML  50.2. R2 

The  rape  of  Helen,  a  mock  opera.     As  it  is  acted  at  the  Theatre 
Royal  in  Covent-Garden.     By  John  Breval,  Esq.  ...  ^' 

London,  J.  Wilford,  1737.     2  p.  I.,  48  p.     19'='^. 

One  act.     Ballad  opera,  but  quite  a  few  of  the  25  songs  lack  indication  of  the  air  to 
be  Bung. 

First  performed  May  19,  1733,  as  indicated.  Longb  52 


916  LIBRARY   OF   CONGRESS 

The  rape  of  Proserpine:    as  it  is  acted  at  the  Theatre-Royal  in 
Lincoln's-Inn-Fields.     Written     by    Mr.     Theobald.     And    set     to 
miisick  by  Mr.  Galliard. 
London,  T.  Wood,  1727.     mii,  17  p.     17^"". 

One  act.  Caat  and  J.  Rich'a  dedication,  recommending  his  "part  in  this  work" 
(the  design  of  it),  and  dated  "  Lincoln's-Inn-Fields,  Feb.  10,  1726.'^  This  dedication, 
to  Thomas  Chamber,  reads  in  part: 

"Though  mj^  inclination  to  musick  frequently  leads  me  to  visit  the  Italian  opera; 
yet,  I  confess,  it  is  not  in  the  power  of  the  present  excellent  performers  to  prevent 
my  falling  into  the  very  common  opinion,  that  there  are  many  essential  requisites 
BtiU  wanting,  to  establish  that  entertainment  on  a  lasting  foundation,  and  adapt  it  to 
the  taste  of  an  English  audience. 

"For  not  to  mention  the  trite  objection  of  the  performances  being  in  Italian,  and 
the  general  ill  choice  of  the  subjects  for  those  compositions,  it  is  evident  that  the  vast 
expence  of  procuring  foreign  voices,  does  necessarily  exclude  those  various  embellish- 
ments of  machinery,  painting,  dances,  as  well  as  poetry  it  self,  which  have  been 
always  esteemed  (except  till  very  lately  in  England)  auxiliaries  absolutelv  necessary 
to  the  success  of  musick;  and,  without  which,  it  cannot  be  long  supported,  unless  by 
very  great  subscriptions,  of  which  we  naturallv  grow  tired  in  a  few  years. 

"It  seems,  therefore,  the  only  way  by  whicn  musick  can  be  establish'd  in  England, 
is  to  give  it  those  assistances  from  other  arts  which  it  yet  wants,  and  by  that  means  to 
adapt  it  still  more  to  the  public  taste;  to  moderate,  as  much  as  possible,  the  expence 
of  it,  and  thereby  to  make  it  a  general  diversion,  which  hitherto  it  has  not  been. 

"You  will  perceive,  Sir,  that  in  the  following  entertainment,  the  vocal  parts  of 
which  are  here  presented  to  you,  I  have  endeavoured  to  introduce  that  variety,  which 
has  usually  been  thought  agreeable  on  the  stage;  and  have  attempted  to  lorm  the 
serious  part  of  it  upon  the  above  mentioned  plan,  as  a  specimen  of  what  may  not  be 
displeasing  to  an  English  audience,  and  from  which  the  town  may  be  ^le  to  form  a 
judgment  of  the  effect  an  opera  wou'd  have,  if  conducted  (by  an  abler  hand)  in  the 
same  manner. 

"As  for  the  other  parts,  it  might,  perhaps,  seem  an  affectation  in  me  to  detain  you 
with  the  history  of  the  ancient  pantomime  entertainments,  or  to  make  a  long  apology 
for  the  revival  of  them  at  present.  Thus  much,  however,  may  be  said  in  their  favour, 
that  this  theatre  has  of  late  ow'd  its  support  in  great  measure  to  them.  I  own  my  self 
extremely  indebted  to  the  favour  with  which  the  town  is  pleas 'd  to  receive  my 
attempts  to  entertain  them  in  this  kind;  and  to  engage,  for  my  own  part,  that  when- 
ever the  publick  taste  shall  he  disposed  to  return  to  the  works  of  the  drama,  no  one 
shall  rejoice  more  sincerely  than  my  self  ..." 

According  to  Grove's  Diet.,  this  pantomime  was  first  performed  in  1725,  forming 
part  of  "Harlequin  sorcerer,"  as  "The  loves  of  Pluto  and  Proserpine."  "The  rape 
of  Proserpina"  is  not  mentioned  by  Genest.  ML  50.2.R24 

« 

II  rapimento  di  Cefalo  rappresentato  nelle  nozze  della  Chris- 
tianissima  Maria  Medici  regina  di  Francia  d  di  Nayarra.  Di  Gabri- 
ello  Chiabrera  [vignette], 

Firenze,  Giorgio  Marescotti,  1600.     [3],  4-27,  \l]  p.     21<''». 

At  end,  on  the  unnumb.  p.  printer's  mark.  Five  acts.  On  p.  [2]  Interlocutori, 
on  p.  [3J-4  Prologo.  No  composer  is  mentioned,  but  Michelangelo  Buonarroti  in  his 
very  minute  and  interesting  "Descrizione,"  1600,  of  the  festivities  (quoted  by 
Solerti)  says: 

"Giulio  Caccini  ebbe  il  carico  di  tutta  la  musica,  e  funne  il  componitore;  se  non 
che  dei  cori,  il  primo  da  Stefan  Venturi  del  Nibbio,  insieme  con  ima  gran  musica 
delli  Dei  simili  a  coro,  ed  il  terzo  e'l  quarto  da  Messer  Luca  Bati  maestro  della  catte- 
dral  cappella  composti  furono.  II  secondo  per  maggiormente  onorarsi  musica  e  scena 
reale,  di  fare  compiacquesi  il  Signor  Pietro  Strozzi,  gentiluomo  non  solamente  di 
tale  arte,  ma  di  ogni  nobile  facolt^  adomissimo:  per  la  cui  opera  altresi  ricevette 
molto  giovamento  I'esercizio  di  tale  impresa,  siccome  per  quella  del  Signor  Cosimo 
de'  Medici  ancora." 

Caccini  did  not  mention  these  facts  when  he  published  part  of  his  music  in  hia 
"Nuove  musiche,"  1601  [1602],  p.  19-24  with  these  introductory  remarks: 

"Non  havendo  lo  potuto  per  molti  impediment!  far'  istampare  com'  era  il  desiderio 
mio  il  Rapimento  di  Cefalo  composto  in  musica  da  me  per  comandamento  del  Sere- 
niseimo  Gran  Duca  mio  signore  ...  mi  6  parso  ora  con  I'occasione  di  quest'  altre 
mie  musiche  aggiagnere  k  quelle  I'ultimo  coro  di  esso  Rapimento  .  .  ." 


OPERA  LIBRETTOS  917 

II  rapimento  di  Cefalo^ — Continued. 

Besides  this  chorus  "Ineffabile  ardore"  he  published  the  arias  "Muove  ei  dolce," 
"Caduca  fiamma,"  "Qual  trascorrendo,"  and  the  chorus  "Quand  il  bell'  anno." 
After -the  first  two  arias  the  chorus  "Ineffabile  ardore"  was  repeated.  The  whole 
publication,  therefore,  forms  what  might  be  termed  the  finale  of  "II  rapimento  di 
Cefalo." 

Final  rehearsal  on  October  7,  1600;  first  performance  on  October  9,  1600. 

SCHATZ  1449 

II  rapimento  di  Proserpina,  ballet.  See  G.  F.  de  Majo's  Catone 
in  Utica. 

II  rapitore  punito,  ballet.     See  P.  v.  Winter's  I  sacrifizi  di  Creta. 

Le  rappel  de  la  Foire  a  la  vie.  Piece  d'un  acte.  Par  Mrs  le  S  *  *. 
&D'Or    *    *  .  .  . 

Le  Theatre  de  la,  foire,  Paris,  1737,  t.  Hi,  pi,  [411]-4'54  p.     17'^'^. 

By  Le  Sage  and  D'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  theatre,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs."  A  note  on  the  title  page 
reads: 

"Les  auteurs  de  cette  pi^e  I'avoient  compos^e  pour  le  d^but  de  I'Op^ra  comique, 
qui  s'est  retabli  ^  la  Foire  de  S.  Laurent  de  cette  presente  ann^e  1721:  mais  comme 
la  permission  de  r'ouvrir  ce  theatre  n'a  pas  ete  accordee  aux  acteurs  qu'on  auroit 
Boimait^,  on  n'a  pas  voulu  la  faire  repr^senter.  Le  lecteur  sera  peut-^tre  bien  aiee 
de  voir  par  oil  ces  auteurs  se  proposoient  de  recommencer  les  representations  de  ce 
spectacle. " 

First  performed  Sept.  1,  1721.  ML  48.L2III 

Rappresentanza  allegorica  che  serve  d'introduzione  alia  festa  di 
ballo  da  darsi  nel  Real  Casino  delle  cascine  e  nell'  annesso  parterre 
la  sera  de'  iv  luglio  MDCCXCI.  In  occasione  delle  pubbliclie  feste 
di  gioia  date  da  S.  A.  R.  Ferdinand©  III  Gran-duca  di  Toscana 
ec.  ec.  ec.  nelle  cascine  dell'  isola  i  giomi  iii.  iv.  e  v  del  detto  mese 
di  luglio. 

Firenze,  Grazioli,  n.  d.     24  p.     23^'^. 

The  text  is  preceded  by  a  kind  of  ailment.  Neither  the  author  nor  the  composer 
ifi  mentioned.    The  allegory  deals  with  Diana,  Cerere,  Flora,  and  Bacco. 

ML  48.M2A 

Le  rapt  des  Sabines,  ballet.     See  P.  Guglielmi's  L'impostore  punito. 

The  raree  show:  or,  The  fox  trap't.  An  opera.  The  second  edi- 
tion, with  alterations.     Written  by  Joseph  Peterson,  comedian  .  .  . 

Chester,  Printed  by  Roger  Adams,  for  the  author,  1740.  4  P-  ^-y  ^1} 
[1]  p.     19^"^. 

Two  acts.  Dedication,  prologue,  and  two  epilogues.  Largely  a  ballad  opera,  the 
airs  used  in  which  are  indicated  by  title.     According  to  Tufts,  acted  at  York,  1739. 

LONQE  271 

Die  rasereyen  des  Rolands.  Tr.  of  Touchemolin's  I  furori  di 
Orlando. 

Raton  et  Rosette.     Parody  of  Mondonville's  Titon  et  I'Aurpre. 

H  ratto  della  sposa,  ballet.    See  Baroni's  Artaserse. 


918  LIBRARY   OF   CONGRESS 

II  ratto  della  sposa.  Dramma  giocoso  per  musica  .del  Sig^nor 
Gaetano  Martinelli  Romano  da  rappresentarsi  nel  Teatro  Giustiniani 
di  San  Mois^  I'autunno  dell'  anno  1765. 

Venezia,  Modesto  Fenzo,  1765.   '  60  p.     14^"". 

Three  acts.    Caat,  scenario,  and  name  of  Pietro  Ouglielmi  as  the  composer. 

ScHATz  4280 

—  II  ratto  della  sposa.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Real  Teatro  dell'  Ajuda  in  occasione  di  festeggiarsi  il  giorno 
natalizio  del  fedelissimo  monarca  D.  Giuseppe  I  .  .  .  nel  di  6.  giugno 
MDCCLXVII. 
Lisbona,  Michele  Mane^cal  da  Costa,  n.  d.     16"^. 

Imperfect,  wanting  the  pages  after  p.  82. 

Three  acts.  By  Gaetano  Martinelu,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Pietro  Guglielmi  as  composer.  ML  50.2.R27G9 

II  ratto  delle  castellane  fatto  dai  Trlestini,  barllet.  See  Andre- 
ozzi's  La  principessa  filosofa. 

II  ratto  delle  Sabine.  Drama  per  musica  nelP  augusto  Teatro 
Grimani  di  S.  Gio.  Crisostomo  I'anno  MDCLXXX  del  Bussani  .  .  . 

Venetia,  Francesco  Nicolini,  1680.     66  p.     IJfY"^- 

Three  acts.  Dedication,  ar^ment,  scenario,  cast,  and  name  of  composer,  Pietro 
Simone  Agostini.  The  dedication  signed  in  full  by  Giacomo  Francesco* Bussani. 
The  composer  is  referred  to  as  Augustini.  Schatz  65 

II  ratto  delle  Sabine,  ballet.     See  Bertoni's  Narbale. 

II  ratto  delle  Sabine.  Drama  per  musica,  nel  giorno  nata- 
lizio della  S.  C.  R.  M.*^  dell'  imperatore  Leopoldo.  ,  .  I'anno 
MDCLXXIV  .  .  .  Posto  in  musica  dal  S^  Antonio  Draghi  .  .  .  con 
I'arie  per  li  balli  del  Sig.  Gio.  Enrico  Smelzer  .  .  . 

Vienna  d' Austria,  Gio.  Christoforo  Cosmerovio,  n.  d.     7  p.  I.,  129  p. 

Three  acts.  Argument.  By  conte  Nicol5  Minato,  who,  in  his  dedication,  dated 
June  9,  1674  (the  emperor's  birthday),  calls  this  "il  prime  tributo  della  mia  penna," 
and  who,  in  a  prefatory  note  to  the  reader,  says: 

"Questo  drama  fu  concepito  per  le  scene  dell'  Adria,  m^  direttione  d'astri  piii  fortu- 
nati  Vhk  scorto  six  (juelle  di  Cesare  ...  Lo  vederai  framezato  con  I'introduttione 
de'  Giuochi  olimpici,  per  dividerne  in  due  giomi  la  rappresentatione:  k  causa  di  non 
recar'  in  una  sol  volta  incommodo  alle  M.  M.  Augustissime  in  staggione  di  troppo 
fervidi  giomi.  Comtisci  la  debolezza  della  mia  penna,  gi^  da  te  conosciuta:  e  se  ^  IX 
mie  dramatiche  compositioni  in  Venetia,  &  ad  altre  XIV  in  questa  Cesarea  Reggia 
porgesti  il  dono  del  tuo  cortese  gradimento,  non  defraudame  anco  questo,  che  dalla 
tua  benignity  se  lo  spera :  e  vi\'i  felici."  ML  50.2.R28D7 

II  ratto  delle  Sabine,  ballet.     See  Mortellari's  Semiramide. 

II  ratto  delle  Sabine.  Dramma  per  musica  di  Gaetano  Rossi  da 
rappresentarsi  nel  nobilissimo  Teatro  La  Fenice  per  prima  del  carno- 
vale  1800. 

Venezia,  Stamperia  Valva^ense,  1799.     84,  [1]  p.     17^'^. 

Two  acts.  Cast,  name  of  Nicola  Antonio  Zingarelli  as  the  comp>o8er,  and  prefa- 
tory note  by  the  author,  Gaetano  Rossi,  who  says: 

"Quando  si  rifletta,  che  un  povero  autore  e  oggidi  obbligato  a  servire  alia  musica, 
alia  Bcena,  ma  piu  di  tutto  alle  ognor  nuove  Convenienze  teatrali  (a  queste  capricriose 
e  irragionevoli  dietruggitrici  dell'  ordine  drammatico)  non  si  potr^,  non  compatirlo,  e 
lacciarlo  di  prolissit^,  e  d'arbitrio." 


OPERA   LIBRETTOS  919 

II  ratto  delle  Sabine — Continued. 

On  p.  [39]-44,  prefatory  note,  argument,  ca«t,  and  name  of  Vittorio  Trento  as  com- 
poser of  the  music  of  Lorenzo  JPanzieri's  "IQldar,  ballo  tragico  pantomimo."  The 
second  ballet  was  called  "Gl'inganm'  delusi." 

First  performed,  as  indicated,  December  26,  1799.  Schatz  11256 

II  ratto  di  Prosperpina.  Favola  per  musica  da  eseguirsi  nella 
nobile  Accademia  de'  Rinnovati  il  camovale  dell'  anno  1791. 

Venezia,  Typograjia  Valvasense,  n.  d.     16  f.     19^"^. 

Two  acts.  By  Mattia  Botturini.  Names  of  the  author  and  the  composer,  Giovanni 
Battista  Cimador.  Schatz  1902 

II  ratto  di  Prosperpina,  ballet.    See  Naumann's  Ipermestra. 

II  ratto  di  Prosperpina.  Dram  ma  per  musica  da  cantarsi  nella 
Real  Villa  di  Queluz  per  celebrare  il  felicissimo  giorno  natalizio  della 
serenissima  Signora  Donna  Maria  Francesca  Benedetta  principessa 
del  Brasile  li  25  luglio  1784. 

[Lishoa],  Stamperia  reale,  n.  d.     35  p.     15'^™^. 

One  act.  Argument,  cast,  and  names  of  Gaetano  Martinelli  as  author,  of  Jo3o 
Cordeiro  da  Silva  as  composer.  Schatz  9884 

Der  rauchfangkehrer,  oder  Die  unentbehrlichen  verraether  ihrer 
herrschaften  aus  eigennutz.  Ein  musikalisches  lustspiel  in  drey 
aufzuegen.  In  musik  gesetzt  von  herm  Anton  Salieri  .  .  .  Aufge- 
fuehrt  mi  K.  K.  Nationaltheater. 

Wien,  heym  Logenmeister,  1781.     108,  [1]  p.     W^. 

Three  acts.    By  Leopold  von  Auembrugger,  who  is  not  mentioned. 
First  performed  at  Wien,  Buigtheater,  April  30,  1781  (Schatz),  April  20,  1781 
(Haas).  Schatz  9313 

Raul,  signore  di  Crechi  o  sia  La  tirannide  repressa,  baUet.  See 
HimmeFs  Semiramide. 

Le  ravisseur  poll.     A.  T.  of  Pierrot  Romulus. 

II  rawedimento  del  figliuol  prodigo,  dramma  sacro  in  musica  di 
Giuseppe  Palomba  da  rappresentarsi  al  Teatrino  del  largo  del  Castello 
nella  quaresima  di  quest   anno  1790. 

Napoli,  n.  puhl.,  n.  d.     4^  p.     i^*^"** 

Two  acts.    Cast  and  name  of  the  composer,  Giuseppe  Coppola.        Schatz  2211 

II  re  alia  caccia.  Dramma  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  Tautunno  dell'  anno  MDCCLXIII,  con 
musica  del  Buranello. 

Carlo  Goldoni,  Opere  teatrdli,  Venezia,  Zatta  ejigli,  1788-95,  v.  37, 
[71]-135  p.     18i<^'^.  PQ 

II  re  alia  caccia.  Dramma  giocoso  di  Polisseno  Fegejo  da  rappre- 
sentarsi nel  Teatro  di  S.  Samuelle  I'autunno  dell'  anno  MDCXHLXIII. 

Venezia,  Antonio  Bassanese,  n.  d.     66  p.     15^*^. 

Three  acts.  By  Goldoni.  Notice  to  the  reader,  cast,  scenario,  and  name  of 
Baldaseare  Galuppi  as  composer.  Schatz  3475 

II  re  alia  caccia,  ballet.     See  Naumann's  Solimano. 


920  LIBRARY  OF   CONGRESS 

D  re  alia  caccia.  Commedia  per  musica  di  Pasq^uale  Mililotti  da 
rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nell'  autunno  del 
corrente  anno  1780. 

Nafoli,  n.  puhl,  1780.     66  p.     15^"^. 

Three  acts.     Cast  and  name  of  Angelo  Tarchi  as  the  composer.       Schatz  10224 

D  rd  alia  caccia,  ballet.     See  Tarchi's  Giulio  Sabino. 

D  rd  de'  ciarlatani,  ballet.     See  Cherubini's  Quinto  Fabio. 

/  II  re  infante.     Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimano  di  San  Gio.  Grisostomo.     L'anno  MDCLXXXIII. 
Di  Matteo  Noris.     Ristampata  con  riforma  .  .  . 
Venetia,  Francesco  Nicolini,  1683.     80  p.     14"^. 

Three  acts.  Author's  dedication  and  scenario.  The  composer,  Carlo  Pallavicino, 
is  not  mentioned.  Schatz  7734 

II  re  infante.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Malvezzi  l'anno  1694.     Del  Sig.  Matteo  Noris  .  .  . 
Bologna,  Giulio  Borzaghi,  n.  d.     87.     14*^"^. 

Three  acts.  Dedication  dated  Bologna,  January  18,  1694,  and  signed  by  Giacomo 
Antonio  Perti  and  Ceare  Bonazzoli  apparently  as  impresarios,  scenario,  and  notice 
to  the  reader  which  reads,  in  part: 

"Lo  vedrai  cangiato  in  varij  luoghi  con  nuove  ariette  .  .  .  Averti  ancora,  che  si 
h  posto  in  scena  nella  maniera,  che  f  ii  scritto  di  prima  impressione  supponendo  questa 
la  vera  intentione  del  medesimo  autore." 

The  words  in  the  dedication  "eccolo,  che,  dovendo  ritomar  alle  stampe,  e  di 
nuovo  comparir  sopra  le  scene  in  Bologna  "  make  it  clear  that  the  opera  must  have 
been  performed  there  before  1694.     Bound  in  is  the  following  (same  imprint,  21  p.): 

Intermezzi,  et  aggiunte  al  drama  intitolato  II  rb  infante,  che  si  rappresenta  nel 
Teatro  Malvezzi  l'anno  1694. 

The  reader  is  informed  that,  in  order  to  please  the  audience,  in  many  places  of  the 
opera  arias  have  been  cancelled  and  others  "di  maggior  genio  de'  virtuosi  cantanti" 
have  been  substituted,  also  that 

"  vi  si  sono  ancora  aggiunti  due  intermezzi,  accioch^  piii  ti  sia  grato  il  serio,  veden- 
dovi  framezzato  il  faceto." 

The  characters  in  these  intermezzi  are  "Dircea,  poiGildo"  and  "Gildo,  poi  Despina 
e  Livio."  The  substitute  arias  printed  are  "Merc6  de  la  mia  ih"  (I,  5),  "Sembra 
riso,  ed  h  sol  pianto"  (I,  7),  "Se  costante  6  la  mia  bella"  (I,  11),  "Sol  per  voi  fogli 
amorosi"  (I,  12),  "  Vaghi  rai  del  mio  bel  Sole"  (II,  1),  "Quand  un  ayme  tendrement" 
and  "Les  amantes,  qui  sont  fidfeles"  (II,  3),  "Kissolvi  6  cor  tradito"  (II;  5),  "Come 
al  Polo  si  rivolge"  (II,  17),  "Sei  vago,  sei  vezzoso"  (II,  17),  "Nel  seno  amante" 
(III,  2),  "BeM  costante"  (III,  3),  "Fiero  Pluto  de  I'lnfemo"  (III,  3),  "Bel  gioia, 
gioiasoave"  (III,  24).  Schatz  attributes  the  music  to  Perti,  probably  because  he 
signed  the  dedication.  Comparison  proves  that,  barring  many  alterations,  the  text 
is  the  same  aa  the  one  performed  1683  at  Venice,  the  setting  of  which  is  attributed 
also  by  Schatz  to  Carlo  Pallavicini.  If  correctly  attributed  to  him,  it  therefore  may 
be  that  Perti  either  did  not  compose  the  text  for  Bologna  (1694)  at  all  or  that  he  was 
merely  responsible  for  the  additional  music,  etc.  Schatz  7953 

II  re  pas  tore. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t,  v,  [359]-425  p. 

IQcm 

Three  acts.    Ar^ment.  ML  49.A2M42 

—  II  re  pastore.  Dramma  scritto  dall'  autore  in  Vienna  .  .  .  rap- 
presentato  la  prima  volta  con  musica  del  Bonno  da  giovani  distinte 
dame,  e  cavalieri  nel  teatro  dell'  Imperial  Giardino  di  Schonbrunn  .  .  . 
nella  primavera  dell'  anno  1751. 

pi.,  [107]-180  p.  26'^'^.  (Metastasio,  Opere,  t.  vii,  Parigi,  vedova 
Herissant,  1780.) 

Three  acts.    Argument.  ML  49.A2M44 


OPERA  LIBRETTOS  921 

H  re  pastore.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Lucca  nell'  autunno  dell'  anno  MDCCLXV. 
Lucca,  Filippo  Maria  Benedini,  n.  d.  63  p.  HY"^- 
Three  acts.  By  Metastaeio.  Argument,  scenario,  cast,  and  note:  "La  musica  h 
di  diversi  celebri  autori."  On  p.  62,  a  schedule  of  the  performances  from  August  17  to 
October  16;  on  p.  63,  the  substituted  arias,  "Al  tuo  pensier  richiama"  (I,  1)  and  "In 
mezzo  a  tanti  affanni  "  (III,  4).  ML  50.2.R29 

II  re  pastore,  ballet.     See  Anfossi's  Gli  artigiani. 

II  re  pastore,  ballet.     See  Anfossi's  Gengis-Kan. 

II  re  pastore,  ballet.     See  Borghi's  Creso  re  di  Lidia. 

II  re  pastore.  Dramma  per  musica  da  rappresentarsi  nel  nobil 
Teatro  di  San  Benedetto  di  Venezia  nell  estate  dell'  anno 
MDCCLXIX. 

Venezia,  Modesto  Fenzo,  1769.     ^5  p.     19'''^. 

Two  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author  and  of 
Baldassare  Galuppi.  An  adaptation  of  the  original  drama,  as  remarked  on  p.  8.  On 
p.  25-28  and  41-45,  a  description  of  the  ballets,  the  second  being  called  "Rinaldo 
nella  isola  incantata  d'Armida." 

First  performed  at  Parma,  Teatro  Ducale,  April,  1762  (Schatz);  at  Milan,  Teatro 
Ducale,  April,  1758  (Piovano).  Schatz  3468 

II  re  pastore.  Dramma  per  musica  da  rappresentarsi  nel  nobilis- 
simo  Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascensione  deU'  anno 
1767  .  .  . 

Venezia,  Modesto  Fenzo,  1767.     54  p.     17^"^. 

Three  acts.  By  Metastaeio,  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, cast,  scenario,  and  name  of  Pietro  Gugliehni  as  the  composer. 

First  performed  at  Turin,  Teatro  Carignano,  fall  of  1765,  according  to  Schatz  and 
others,  but  Piovano  makes  it  clear  that  this  is  a.  mistake;  that  the  composer  of  the 
Turin  opera  of  that  title  is  not  known ;  and  that  Guglielmi's  opera  was  probably  first 
performed  as  indicated  in  the  title  of  the  Venetian  libretto.  Schatz  4302 

II  re  pastore.  Dramma  per  musica  da  recitarsi  nella  Regia  elettorale 
villa  di  Sant'  Uberto,  per  festeggiare  il  felicissimo  giorno  natalizio  di 
S.  S.  R.  M.  il  rS  di  Polonia  Augusto  III  .  .  .  li  7  ottobre  dell'  anno 
1755  .  .  . 

Dresda,  la  vedova  Stoessel  e  Giovanni  Carlo  Krause,  n.  d.  3  p.  I., 
58,  [2]  p.     21  <^. 

Three  acts  and  licenza.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Johann  Adolph  Ha^se  as  the  composer.  Schatz  4556 

—  II  re  pastore.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Sans  Souci  .  .  . 

Berlino,  Haude  e  Spener,  1770.     107,  U]  p.     16'^'^. 

Three  acts.  German  title-page,  "Der  im  schaefer  verborgene  koenig,"  and  text 
face  Italian,  which  follows  the  original  Dresden  (1755)  edition  closely,  except  that  a 
prologue  has  been  added  as  ' '  Vorspiel  zu  der  oper  der  Koenigliche  schaefer.  Aus  dem 
ranzoesischen  uebersetzt."    Joh.  Ad.  Hasse  is  mentioned  as  composer  of  the  opera. 

First  performed,  aa  indicated,  October  1,  1770.  Schatz  4557 


922  LIBRARY  OF   CONGRESS 

II  re  pastore.  Dramma  per  musica  del  Sig.  abate  Pietro  Metas- 
tasio  .  .  ,  Da  rappresentarsi  nel  Teatro  Giustiniani  di  San  Mois^ 
il  carnovale  dell'  anno  1753. 

Venezia,  n.  puhl,  1753.     47  p.     W'^. 

Three  acts.    Argument,  cast,  scenario,  and  name  of  Giuseppe  Sarti  as  the  composer. 
First  performed  at  Pesaro,  Teatro  del  Sole,  carnival,  1752.  Schatz  ^66 

II  rd  pastore,  ballet.  See  Sarti's  Fra  i  due  litiganti  il  terzo  gode, 
Milano,  (1795). 

II  re  pastore,  ballet.     See  Sarti's  Giulio  Sabino. 

II  re  Teodoro  in  Venezia.     Dramma  eroi-comico  per  musica  da 
rappresentarsi  nel  Teatro  alia  Scala  la  quaresima  dell'  anno  1788  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     1  p.l.,  80  p.     16^'^. 

Two  acts.  By  Giambattista  Casti,  who  is  not  mentioned.  Dedication,  argument, 
scenario,  and  name  of  Giovanni  Paisiello  as  the  composer.  With  the  opera  were 
performed  (composers  of  the  music  not  mentioned)  Ranieri  Pazzini's  ballet,  "La  pas- 
torella  rapita  da  Corsari"  and  Giuseppe  Scalesi's  "Gelosia  per  gelosia." 

First  performed  at  Vienna,  Burgtheater,  August  23, 1784.  ML  50.2.R3P22 

—  II  re  Teodoro  in  Venezia.  Dramma  eroico-comico,  da  rappre- 
sentarsi nel  Teatro  di  Monsieur. — Le  roi  TGheodore  k  Venise.  Op6ra 
h6roi-comique,  repr^sente  pour  la  premiere  fois,  le  21  fevrier  1789, 
sur  le  Theatre  de  Monsieur. 

Paris,  de  L'imprimerie  de  Monsieur,  1789.     (double)  62  p.     21,^^. 

Two  acts.  Not  Dubuisson's  translation.  French  text  faces  Italian.  Cast,  name 
of  Giovanni  Paisiello  as  the  composer  and  Avertiseement: 

"En  traduisant  ce  pofeme.  Ton  s'est  propose  deux  principaux  objets,  I'un,  de  faci- 
liter  aux  personnes  peu  versees  dans  la  langue  italienne,  I'lntelligence  du  texte,  que 
Ton  a  suivi  d'aussi  pr^s  qu'il  a  6t6  possible;  I'autre,  d'etablir  des  distinctions  sensibles 
entre  le  r^citatif  simple,  le  r^citatif  oblige,  et  les  airs.  On  a  done  rendu  en  prose  le 
r^citatif  simple,  et  le  reste  en  vers  blancs  ou  non  rimes  ...  Si  les  personnes  qui 
lisent  pendant  la  representation,  6prouvent  que  cette  forme  de  version  distrait  moins 
leur  oreille  du  rythme  musical,  que  ne  le  feroit  de  la  prose  absolue,  on  ne  regrettera 
pas  de  s'dtre  impost  cette  contrainte  de  plus."  ML  50.2.I&P27 

—  Le  roi  Theodore  a  Venise,  opera-heroi-comique  en  trois  actes, 
.  .  .  repr6sent6  devant  Leurs  Majest6s,  k  Fontainebleau,  le  28 
octobre,  &  k  Versailles,  le  18  novembre  1786.  Musique  du  c616bre 
Pasi^lo  [!J;  Paroles  imitees  de  I'italien  par  M.  Dubuisson. 

Versailles,  Le  Coutre,  1787.     66  p.     18""^.  ML50.2.R3F25 

—  Der  koenig  Theodor  in  Venedig.  Ein  aus  dem  italiaenischen 
uebersetztes  grosses  sing-spiel  in  zween  aufzuegen  mit  der  musik  des 
kapellmeisters  Paisiello,  aufgefuehrt  von  der  scnauspieler  gesellschaft 
des  herrn  Boehm. 

Kodn  am  Rhein,  gedruckt  mit  Langischen  schriften,  1786.  62  p, 
16^"^. 

Cast.    Two  acts.     By  Johann  Boehm. 

First  performed  1785,  as  indicated.  Schatz  7651 

—  Der  koenig  Theodor  zu  Venedig.  Eine  komische  oper.  Auf 
dem  Hof theater  vorzustellen. 

Stuttgart,  Buclidruckerei  der  Herzogl.  Hohen  Carls-SchuLe,  1785. 
189  p.     ISY"^. 

Two  acts.  Paisiello  is  mentioned,  but  not  Casti.  Argument  in  German  and 
Italian  as  is  the  text. 

First  performed  1785,  as  indicated.  Schatz  7682 


OPERA  LIBRETTOS  923 

II  re  Teodoro  in  Venezia— Continued. 

—  Gesaenge  aus  dem  sin^spiele:  Koenig  Theodor  in  Venedig,  in 
zwey  aufzuegen.  In  musik  gesetzt  von  Paisiello.  Nach  dem  italie- 
niscnen  des  abbate  Casti,  frey  bearbeitet  von  d'Arien. 

Hamburg,  J.  M.  Michaehen,  1788.     54  p.     16^"^. 

First  performed  at  Hamburg,  Theater  b.  Gansemarkt,  April  14,  1788. 

ScHATZ  7653 

—  Gesaenge  aus  dem  sin^piele  Der  Koenig  Theodor  in  zwey  auf- 
zuegen.    Aus  dem  italienischen.     In  musik  gesetzt  von  Paisello. 

n.  pi.,  n.  puhl,  1792.     Ifi  p.     15^'^.  Schatz  7683 

—  Alien  und  gesaenge  aus  dem  singspiel :  Theodore  in  Venedig, 
mit  der  musik  des  kapellmeisters  PaesieUo. 

Befrlin,  n.  pull,  1799.     47  p.     W"^. 
Two  acts.     Boehm'e  version  with  modifications. 

Performed  in  1799  at  Berlin,  Kgl.  National  theater;  first  performed  there  August  7, 
1786.  Schatz  7652 

The  reapers :  or  The  Englishman  out  of  Paris.     An  opera. 
London,  T.  Caman,  1770.     1  p.l,  63  p.     21'='^. 

Three  acts  with  prologue.  According  to  prefatory  note  the  piece  is  practically  "a 
translation,  or  rather  an  imitation"  of  "Les  Moissonneurs "  (by  Favart,  music  by 
Duni).    Neither  author  nor  performance  recorded.  Longe  204 

Das  recht  des  lehnsherrn.     Tr.  of  Martini's  Le  droit  du  seigneur. 

H  reclutamento  in  villaggnlp,  ballet.     See  Zingarelli's  Meleagro. 

Le  reclute  d'amore,  ballet.     See  Tritto's  Apelle  e  Camp^spe. 

Le  reclute  del  villaggio,  baUet.  See  Martin  y  Soler's  L'accorta 
cameriera. 

Le  reclute  per  inganno,  ballet.  See  Delia  Maria's  Chi  vuol  non 
puole. 

Le  reclute  villane,  ballet.     See  Caruso's  Gli  amanti  dispettosi. 

La  reconciliation.  A.  T.  of  Beffroy  de  Reigny's  Le  club  des 
bons-gens. 

The  reconciliation;  or  The  triumph  of  nature.  A  comic  opera,  in 
two  acts  by  Peter  Markoe.  v/ 

Philadelphia,  Prichard  &  HaU,  1790.     viii,  [9]-48  p.     20'^'^. 

A  ballad  opera,  the  tunes  indicated  in  the  text.    The  dedication  (p.  [m])  reads: 

"To  His  Excellency  Thomas  Miflin,  Esq.,  President  of  the  State  of  Pennsylvania; 
and  to  the  Honorable  Thomas  Af'Kean,  Chief  Justice  of  the  said  State;  this  comic 
opera  approved  of  by  them  in  their  official  capacity  according  to  law;  but  withdrawn 
from  the  managers  of  the  theatre,  after  it  had  remained  in  their  hands  more  than  four 
months;  is  .  .  .  inscribed." 

In  his  preface  (p.  [v]-vi)  Markoe  says: 

"A  revisal  and  correction  of  "Eraetus,"  literally  translated  by  a  native  of  Ger 
many,  lately  arrived  in  Pennsylvania,  gave  rise  to  the  following  piece. 

"The  happy  simplicity  of  the  German  original,  written  in  one  act  by  the  celebrated 
Gesner,  suggested  an  enlargement  of  the  plan.  A  new  character  is  added,  songs  are 
introduced,  and  the  dialogue  so  modelled  as  to  be  rendered  (it  is  presurned)  pleasing 
to  an  American  ear.  Those  who  understand  the  German  and  the  English  languages 
will,  on  comparing  the  two  pieces,  readily  perceive  the  difference  between  them  ..." 

ML  50.6.R28 
Second  copy.     Dram.  Pamphl.  v,  7 


924  LIBRABY  OP  CONGRESS 

La  reconciliation  genereuse,  ballet.  See  Bemasconi's  La  cle- 
menza  di  Tito. 

Die  recrouten  auf  dem  lande,  eine  komische  oper  in  clrey  acten. 
Wittenberg  und  Zerhst,  Samuel  Gottfried  Zimmermann,  1781.     135  p. 

Neither  the  author  (unknown  to  Schatz)  nor  the  composer,  Carl  David  Stegmannt 
ie  mentioned. 

First  performed,  as  "Die  rekniten  auf  dem  Lande,"  at  Konigsberg,  Acker- 
mann'sches  Schauepielhaus,  1775.  Schatz  10041 

« 

The  recruiting  serjeant.  A  musical  entertainment  as  it  is  per- 
form'd  at  the  Theatre-Royal  in  Drmy-Lane  [vignette], 

London,  William  Grijin,  1770.     28  p.     WY'^. 

One  act.  Cast  and  prefatory  note  stating  that  Charles  Dibdin  composed  the 
music,  and  that 

"This  piece  was  performed  last  summer  at  Ranelagh;  but,  though  very  much 
approved  by  the  best  judges  of  musical  composition,  by  being  performed  in  an 
orchestra,  lost  the  better  part  of  its  effect. 

"It  was  thought  it  would  please  more  in  action  upon  the  theatre;  and  with  the 
addition  of  a  new  scene  and  chorus,  and  a  ballet  suitable  to  the  subject;  is  now, 
accordingly,  once  more  presented  to  the  public  ..." 

The  author,  Isaac  Bickerstaffe,  is  not  mentioned. 

Firet  performed  1769,  as  indicated;  at  Drury  Lane,  January  19,  1771. 

LoNOB  37 

—  The  recruiting  serjeant.  A  musical  entertainment.  By  Isaac 
Bickerstaff,  Esq. 

[3SS]rS42  p.  W^.  (CoUection  of  the  most  esteemed  farces  and 
entertainments,  t.  vi,  Edinburgh,  1792.) 

One  act.    Drury-Lane  cast.    The  composer,  Dibdin,  is  not  mentioned. 

Schatz  11753F 

Der  redende  baum.  A.  T.  of  Boeklin  von  und  zu  Boeklinsau's 
Phaedon  und  Naide. 

Das  redende  gemaehlde.     Tr.  of  Gr^try's  Le  tableau  parlant. 

Die  redende  statue.     A.  T.  of  Mozart's  Don  Juan. 

Die  reformation  der  liebe.     A.  T.  of  Herklots'  play  Pigmalion. 

Arien  und  gesaenge  aus  dem  singspiele  Die  Regata  zu  Venedig, 
oder:  Die  nebe  unter  den  gondoliren  in  zwey  akten.  Komponirt 
vom  herm  doktor  Fliess. 

Berlin,  n.  pub.,  1798.     35  p.     W"^. 

By  Samuel  Gottlieb  Biirde.     Cast. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  August  3,  1798.        Schatz  3247 

Die  Regata  zu  Venedig  oder  Die  Hebe  unter  den  gondolieren. 
Eine  oper  in  drei  aufzuegen  von  S.  G.  Buerde. 

Koenigsberg,  Friedrich  Nicolovius,  1795.     112  p.     17^"^. 

Three  acts.  The  composer,  F.  Si^smund  Sander,  is  not  mentioned  in  the  "Vor- 
bericht,"  which  describes  the  Venetian  regattas,  and  states  that 

"der  vorfall,  welcher  die  entwicklung  des  gegenwaertigen  schauspiela  ausmacht, 
rich  bei  einer  Regata  im  jahr  1784  wirklich  ereignet  hat."  Schatz  9372 


OPERA   LIBRETTOS  925 

La  reggia  d'  Imeneo.  Festa  teatrale  per  le  felicissime  nozze  del 
serenissimo  principe  Antonio  di  Sassonia,  e  della  serenissima  arci- 
duchessa  Maria  Teresa  di  Austria. 

Dresda,  Stamperia  elettorale,  1787.     4^  p.     21^"^. 

One  act.  Giannambrogio  Migliavacca  is  mentioned  as  the  author,  Gio.  Amadeo 
[Johann  Gottlieb]  Naumann  as  the  composer.  Gennan  title  page,  "  Die  burg 
Hymens,"  and  text  face  Italian. 

First  performed,  as  indicated,  October  21,  1787.  Schatz  7056 

I  regii  equivoci.  Drama  per  musica  da  rappresentarsi  nel  famoso 
Teatro  di  Sant'  Angelo  V  anno  1697  .  .  . 

Venezia,  Nicolini,  1697.     2  p.  I,  72  p.     l^'""- 

Three  acts.  Dedication  by  the  author,  Matteo  Noris,  argument,  notice  to  the 
reader,  and  scenario.    The  composer,  Carlo  Francesco  Pollaroli,  is  not  mentioned. 

Schatz  8314 

Le  regiment  de  la  Calotte.  Piece  d'un  acte.  Representee  par 
rOpera  comique  a  la  Foire  de  S.  Laurent  le  1.  septembre  1721,  avec 
Les  funerailles  de  la  foire  &  son  Rappel  a  la  vie.  Et  ces  trois  pieces 
furent  joii^es  au  Palais  royal  par  ordre  de  S.  A.  R,  Madame  le  2. 
octobre  suivant. 

Le  Thedtre  de  la  foire,  Paris,  1724,  t.  v,  pi,  46  p.     17^"^. 

According  to  a  note  on  2d  p.  1.  of  t.  iv,  the  plays  in  t.  iv-v  were  written  by  Le  Sage, 
Fuzelier,  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  composed 
and  arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs."  The  final  vaudeville  was  composed  by  Aubert.  The  text  is 
preceded  by  this  Avertissement: 

"Le  22.  du  mois  d'Aoiit  le  Privilege  de  I'Opera  Comique  fut  6t6  &.  la  troupe  qui 
I'avoit,  &  donn^  h,  celle  du  Sieur  Francisque;  qui  commenga  ses  representations  en 
vaudevilles  le  I.  de  Septembre  suivant. 

"Pour  mettre  au  fait  du  Regiment  de  la  Calotte  ceux  qui  n'y  sont  pas,  ils  sauront 
que  e'est  un  regiment  metaphysique,  invent^  par  quelques  esprits  badins,  qui  s'en 
sont  fait  euxmemes  les  pnncipaux  officiers.  lis  y  enrolent  tous  les  particuliers, 
nobles  &  roturiers,  qui  se  distinguent  par  quelque  folie  marquee,  ou  quelque  trait 
ridicule.  Cet  enrolement  se  fait  par  des  brevets  en  prose  ou  en  vers  qu'on  a  soin  de 
distribuer  dans  le  monde.  Mais  la  plCipart  de  ces  brevets  sont  I'ouvrage  de  poetes 
t^m^raires,  qui  de  leur  propre  autorit^  font  des  levies  de  §ens,  qui  deshonoreroient  le 
corps  par  leur  merite  &  par  leur  eageese,  si  le  commissaire  ne  les  cassoit  point  aux 
rev^esf"  ML  48.L2  V 

La  regn^na  creduta  re.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  I'anno  1706.     Di  Matteo  Noris. 

Venetia,  Gio.  Battista  Zuccato,  1706.     70  p.     14"'^. 

Three  acta.  Prefatory  note  and  scenario.  The  composer.  Marc'  Antonio  Bonon- 
cini,  is  not  mentioned.     Between  p.  8-9  a  page  inserted  with  alterations. 

Schatz  1205 

Begina  de'  Volsci,  L.  T.  of  M.  A.  Bononcini's  D  trionfo  di  Camilla, 
regina  de'  Volsci. 

La  regina  Sant  [!]  Orsola  del  S^  Andrea  Salvador!  Rappres**  nel 
Teatro  del  sereniss.  Gran  duca  di  Toscana  al  sereniss.  Principe  Vla- 
dislao  Sigismondo,  Principe  di  Polonia  e  di  Suetia.  Aggiuntivi  i 
Fiori  del  Calvario  dello  stesso  autore  ... 

Fiorenza,  Pietro   CecconceUi,   1625.    5  fold,   pi.,   168  p.    (incl.  2  ^ 
engraved  t.-p.)     14\*^' 

Five  acta  and  prologue.  Author's  dedication  dated  Florence,  January  29,  1625, 
sonnet  by  Salvadori  to  the  Polish  prince,  two  sonnets  by  abate  A^olo  Capponi,  ode 
by  Gabriello  Chiabrera,  argument,  "Persone,  che  recitano"  (without  cast),  and, 
finally,  remarks  on  the  scenery,  after  which: 


926  LIBRARY    OF   CONGRESS 

La  regina  Sant  [!]  Orsola — Continued. 

"Quest  azzione,  acci6  poeea  recitarei  eenza  musica,  b  etata  dal  euo  autore  piu  allun- 
gata  in  etampa;  di  quelle  che  fu  cantata  in  scen^.  Le  musiche  furono  del  Sig.  Marco 
da  Oagliano. 

"La  scenaj  e  le  macchine  de  Sig.  Giulio  Parigi. 

"L'abbattimento  e'l  ballo  del  Signor  Agnolo  Kicci." 

The  plates  were  engraved  by  Alfonso  Parigi.     In  the  argument  we  read: 

"L'azzione  eroica  ai  questa  real  Vergine,  e  per  episodio  gl'accidenti  del  principe 
Ireo,  epiegati  in  poesia  drammatica,  sotto  le  note  di  musica  recitativa,  due  volte  con 
pompa  degna  dell'  antica  grandezza  Romana;  6  stata  rappresentata  a  due  de'  mag- 
giori  principi  d'Europa:  la  prima  volta  al  sereniss.  arciduca  Carlo  d'Austria,  &  ulti- 
mamente  al  sereniseimo  Vladislao  Sigismondo,  principe  di  Polonia,  e  di  Suezia,  sotto • 
I'ombra  della  cui  protezzione  h  venuta  in  luce.  Ne  forse  h  poca  gloria  del  nome 
Toscano,  che  si  come  sotto  gl'auspici  de'  sereniss.  gran  duchi,  prima  in  questo 
teatro  fii  rinovato  I'uso  de  gl'antichi  drammi  di  Grecik  in  musica,  coei  oggi  in  questo 
medesimo,  sia  stato  aperto  un  nuovo  campo,  di  trattare  con  piii  utile,  e  diletto  lasciate 
le  vane  favole  de  Gentili,  le  vere^  e  sacre  azzioni  Cristiane. 

Performed,  as  indicated,  at  the  Palazzo  Pitti,  January  29,  1625;  first  performed,  as 
indicated,  at  the  same  theatre  during  fall  of  1624,  but  under  the  title  "Santa  Orsola, 
Vereine  e  Martire." 

On  p.  [103J-168  of  the  book: 

FiORi  DEL  Calvario.  Souetti  del  S.  Andrea  Salvadori  nella  Santiss.  Passione  di 
Nostro  Sig.  dedicati  alia  principessa  M.  Maddalena  di  Toecana." 

Salvadori'e  dedication  is  dated  Florence,  December  20,  1623.  On  p.  167-168 
"Tavola  de  sacri  misteri  contenuti  ne'  Fiori  del  Calvario,"  which  comprise  a  "Pre- 
fazione  "  and  56  sonnets.  Schatz  3410 

—  La  regina  Sant'  Orsola  d'Andrea  Salvadori,  recitata  in  musica 
nel  Teatro  del  sereniss?  Gran  duca  di  Toscana  dedicata  al  serenissimo 
principe  Ladislao  Sigismondo  principe  di  Polonia,  e  di  Suezia. 

Fiorenza,  Pietro  Cecconcelli,  1625.  6  p.  I.  (incl.  engraved  t.-p.), 
104  p.     23^"^. 

Prologue  and  five  acts.  Contents  the  same  as  of  the  168  p.  ed.  except  that  Sal- 
vadori's  sonnet  to  Prince  Sigismondo  has  been  dropped  and  that  neither  the  "  Fiori 
del  Calvario"  appear  in  the  104  p.  ed.  nor  Parigi's  plates.  ML  50.2. R34 

Le  regina  di  Macedonia.     L.  T.  of  Gasparini'a  Statira. 

D  regie  schiavo  o  sia  La  Dori.     L.  T.  of  Cesti's  La  Dori. 

II  regno  della  luna.  Dramma  giocoso  da  rappresentarsi  nel  Regio 
Ducal  Teatro  di  Milano  nella  corrente  primavera  .  .  . 

Milano,  Gio.  Batista  Bianchi,  1770.     83,  [1]  p.     15'='^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication,  cast, 
and  name  of  Niccol5  Piccinni  as  the  composer.  On  p.  [69]-83  cast  and  description 
of  the  ballets  "Aci  e  Galatea"  and  "Gli  Americani.'  The  composers  of  the  music 
are  not  mentioned. 

The  imprimatur  on  the  last  p.  is  dated  April  14,  1770. 

Cametti  is  wrong  in  attributing  this  text  to  Goldoni.  It  is  a  pasticcio  with  next 
to  no  arias,  if  any,  from  Goldoni,  but,  for  instance,  "Non  vi  piacque,  ingiusti  Dei" 
(I,  5)  from  Metastasio's  Siroe  or  "Meglio  rifletti  al  dono"  (I,  10)  from  Metastasio's 
Antigono.  Schatz  8106 

—  II  regno  della  luna,  dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Piccolo  Teatro  di  S.  A.  S.  E.  di  Sassonia. 


cm 


Dresda,  n.  pull.,  1773.     I4I  p.     17 

Three  acts.  Niccol6  Piccinni  is  mentioned  as  the  composer.  German  title-page 
"Das  mondenreich  "  and  text  face  Italian,  from  which  the  arias  "Ah  sta  un  esercito  " 
(11,6),  and  "  Ve',  ve'  di  Florido"  (III, 3), and  the  whole  scene  "  Vane^a?  Delisa" 
(11,10)  have  been  dropped.    Otherwise  the  text  is  the  same  as  in  the  original  version. 

First  performed  1773,  as  indicated.  Schatz  8107 


OPERA   LIBRETTOS  927 

II  regno  delle  Amazoni.  Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Regie  Teatro  di  via  della  rergola  Testate  del 
MDCCLXXXIV  .  .  . 

Firenze,  Si  vende  da  Giovanni  Risaliti,  1784.     48  p.     16'^'^. 

Two  acts.  By  Giuseppe  Petrosellini,  who  is  not  mentioned.  Scenario,  cast  of  the 
ballet  "II  divertimento  traneburghese,"  name  of  Agostino  Accorimboni  as  composer. 

First  performed  on  July  16,  1784,  as  indicated;  at  Parma,  Teatro  Ducale,  Decem- 
ber 27,  1783.  ScHATZ  14 

II  regno  delle  donne.  L.  T.  of  Galuppi's  II  mondo  alia  ro versa  o 
sia  Le  donne  che  comandono. 

II  regno  galante.  Melodrama  per  musica  da  recitarsi  nel  Teatro 
Giustiniano  a  S.  Mois^  I'autunno  deU'  anno  1727  .  .  . 

Venezia,  Marino  Rossetti,  1727.     69  p.     14'^'^. 

Three  acts.  Dedication,  with  name  of  Giovanni  Beali  as  the  composer,  dated 
Venice,  October  25,  1727,  and  signed  by  cav.  Michel  Angiolo  Boccardi  di  Mazzera  as 
author,  argument,  cast,  scenario,  and  again  name  of  the  composer  Schatz  8619 

Regnlus.     Tr.  of  Metastasio's  text  Attilio  Regolo. 

The  rehearsal :  or,  Boys  in  petticoats.     A  comedy  in  two  acts.     As 
it  is  performed  at  the  Theatre  Royal  in  Drury-Lane.     Written  by 
Mrs.  Clive.     The  music  composed  by  Dr.  Boyce. 
London,  R.  Dodsley,  1753.     43  p.     21^^. 

The  second  act  only  contained  music.  Cast  and  prefatory  note  by  C.  Clive  that  she 
wrote  the  piece  about  1750  for  her  benefit  performance  (March  15,  1750). 

LONGE  270 

Reinald.     Tr.  of  Dalayrac's  Renaud  d'Ast, 

Reinald  und  Armide,  *baUet.     See  Holzbauer's  Hadrian  in  Syrian. 

La  reine  de  Golconde.     L.  T.  of  Monsigny's  Aline  reine  de  Golconde. 

La  reine  des  Peris.  Com^die  persane,  repre§ent6  par  TAcademie 
royale  de  musique,  I'an  1725.  Paroles  de  M.  Fuselier.  Musique  de 
M.  Aubert.     ClII.  opera. 

n.  %.,  n.  d.  pi.,  319-392  p.  {Recueil  general  des  opera,  Paris, 
1734,  t.  xiii.) 

Detached  copy.    "Five  acts  and  prologue. 

First  performed,  as  indicated,  April  10,  1725.  Schatz  486 

Second  copy.    ML  48. R4 

La  reine  du  Barostan.  Piece  d'un  acte.  Par  M?  le  S  *  *  & 
(j'Qj.    *     *      Representee  k  la  Foire  Saint  Germain  1730. 

Le  Thedtre  de  la  foire,  Paris,  1731,  t  vii,  pi,  [351]-401  p.     17""^. 

By  Le  Sage  and  d'  Omeval .  Largely  en  vaudevilles .  The  airs,  selected  or  composed 
and  arranged  by  Jean  Clkude  Gillier,  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs!" 

First  performed  February  28, 1729  (Parfaict).  ML  48.62  VII 

Reinold  und  Armida.     O.  T.  of  P.  v.  Winter's  Armida  und  Rinaldo. 

Die  rekruten  auf  dena  lande.  O.  T.  of  Stegmann's  Die  recrouten 
auf  dem  lande. 

Der  rekruten-aushub.     A.  T.  of  Dieter's  Die  familien-heirath. 


928  LIBRARY  OF   CONGRESS 

A  relation  of  the  late  royall  entertainment  given  by  the  Right 
Honorable  the  Lord  Knowles,  at  Cawsome  House  necre  Redding:  to 
our  most  Gracious  Queene,  Queene  Anne,  in  her  progresse  toward 
the  Bathe,  upon  the  seven  and  eight  and  twentie  dayes  of  Aprill, 
1613.  Whereunto  is  annexed  the  description,  speeches  and  songs  of 
the  Lords  Maske,  presented  in  the  hanquetting-house  on  the  marriage 
night  of  the  Hign  and  Mightie,  Count  Palatine,  and  the  Royally 
descended  the  Ladie  Elizabeth.  Written  by  Thomas  Campian. 
London,  John  Budge,  1613.     32  unnumbered  pages.     19'^^. 

Inigo  Jones  is  mentioned  as  having  invented  the  machines,  etc.  The  coinpoflers 
of  the  music,  Thomas  Campion  himself,  and  perhaps  Jeremy  Hearn,  Robert 
Johnson,  Giov.  Coperaxio,  Tnomaa  Giles,  Thomas  Lupo  are  not  mentioned. 

ML  52.2.R38 

Le  remouleur  d'amour.     See  L'ombre  du  cocher  po^te. 

Renaud,  tragedie,  representee  par  I'Academie  royale  de  musique, 
I'an  1722.  Paroles  de  M.  Pellegrin.  Musique  de  M.  Desmarests. 
C.  opera. 

n.i.,  n.  d.  pL,  p.  117-194.  {Recueil  general  des  opera,  t.  xiii,  Paris, 
1734.)    14'"^. 

Detached  copy.  Prologue  and  five  ^cts,  with  long  "Argument  de  la  tragedie" 
(p.  119-122). 

First  performed,  as  indicated,  March  5, 1722.  Schatz  2533 

Second  copy .    ML  48 .  R4 

Renaud.     French  version  of  Sacchini's  Armida. 

Renaud  d'Ast,  comedie  en  deux  actes  et  en  prose,  m616e  d'ariettes. 
Representee  pour  la  premiere  fois  par  les  Comediens  italiens  ordi- 
naires  du  roi,  le  jeudi  19  juillet  1787.  Les  paroles  de  MM.  Radet  & 
Barre.     La  musique  de  M.  d'Alayrac. 

Paris,  Prault,  1788.     37  p.     21^^^. 

Last  p.  incorrectly  numbered  33. 

Cast.  ML  50.2.R39D21 

—  Renaud  d'Ast,  comedie,  en  deux  actes  et  en  prose,  m^lee  d'ari- 
ettes ;  par  MM.  Radet  &  Barre.  Musique  de  M.  d'Alayrac.  Repre- 
sentee pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du 
roi,  le  jeudi  19  juillet  1787. 

Paris,  Brunei,  1788.     56  p.     19<=^. 

Cast.  ML  50.2.R39D22 

—  Renaud  d'Ast.     Syngespil  i  to  acter.     Musiken  af  D'almirac.  [fj 

n.  i.,  n.  d.     88  p.     16""^. 

Cast. 

First  performed  at  Copenhagen,  April  16,  1793.  Schatz  2379 

—  Gesaenge  aus  dem  singspiele  Reinald,  in  zwey  aufzuegen,  nach 
dem  franzoesischen.     In  musik  gesetzt  von  d'Alayrac. 

Hamburg,  Johann  Matthias  Michaelsen,  1790.     30  p.     15''^. 

German  version  by  H.  G.  Schmieder.  (Schatz.) 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  January  12,  1790;  at 
Mayence,  National  theater,  November  1788.  Schatz  2378 


OPERA  LIBRETTOS  929 

Renaud  d'Ast,  comedie  en  deux  actes,  meslee  d'ariettes,  represen- 
tee devant  Leurs  Majestes  k  Fontainebleau,  le  12  octobre  1765. 

[Paris],  CJiristo'pJie  Ballard,  1765.  60  p.  20^"^.  {Journal  des 
spectacles,  t.  i,  Paris,  1766.) 

Cast  and  names  of  Le  Monnier  as  author,  of  Trial  and  Pierre  Vachon  as  composers. 

ML  48.J7 

La  rencontre.     A.  T.  of  Delia  Maria's  Le  vieux  chMeau. 

La  rencontre  imprevue.     A.  T.  of  Le  trompeur  trompe. 

La  rencontre  imprevue,  opera  bouffon  en  trois  actes  et  en  prose, 
tir6  des  P^lerins  de  la  Mecque,  r6dig6  par  M.  Dancourt  &  mis  en 
musique  par  M.  le  chevalier  Gluk  [!]... 

Paris,  la  veuve  Duchesne,  1776.    56  p.     18^''^. 

By  L.  H.  Dancourt.  At  the  end  (on  p.  52-56)  the  airs  of  "J'ai  fait  un  r§ve"  and 
"Sans  I'esp^rance  du  retour." 

First  performed  at  Vienna,  Theater  n.  d.  Bui^,  January,  1764.  Schatz  3919 

—  Die  unvermuthete  zusammenkunft  oder  Die  pilgrime  von 
Mecca,  ein  singspiel  in  drey  aufzuegen  aus  dem  franzoesiscnen  ueber- 
setzt,  mit  musik. 

FranTcfurt  am  Mayn,  mit  Andreaeischen  schriften,  1772.  109  p., 
14  p.  {music).     16Y'^' 

Bj  Johann  Heinrich  Faber,  who  is  not  mentioned.  Cast.  The  fourteen  p.  of 
music  at  end  (voice  and  bass):  "Das  schicksal  bringt  mich  itzt  zuruck,"  "So  kommt, 
so  kommt,  holder  jungfrau'n  chore  "  and  "Einen  bach,  der  fliesst "  proved  that  this  is 
a  German  version  of  the  opera  by  Gluck.  Schatz  3920 

—  Det  uventede  ni0de.  Et  lystigt  syngestykke  i  tre  acter,  taget 
af  herr  Dancourts,  Pilligrimene  fra  Mekka.  Musikken  er  of  ridderen 
herr  Gluck.  til  samme  musik  oversat  of  P.  T.  Wandall. 

n.  i.,  n.  d.     96  p.     17"'^. 

First  performed  at  Copenhagen,  Hoftheater  i  Christiansbor^  Slot,  November  26, 
1776.  Schatz  3922 

Das  rendezvous  in  der  neuen  alee.  A.  T.  of  Tuczek's  Hanns 
Klachl. 

D  Reno  sacrificante,  attione  dramatica  in  musica  del  Sig.  Co.  Ridolfo 
Campeggi. 

Bologna,  Sebastiano  Bonomi,  1617.     35  p.     20'''^. 

On  p .  3 :  "  Fatta  rappresentare  in  Bologna  per  honore  de  gli  illustriss.  &  re verendiae. 
Signon  cardinal!  Caponi  le^to,  et  Ludovisi  arcivesc,  di  detta  citt^,  et  per  diporto  de 
i  suoi  nobiliseimi  cavallien  &  bellissime  dame,  dalla  magnanimity  de  griluistri,  & 
eccelsi  Si^ori  Anziani,  Cons,  e  confaloniero  di  giustitia  del  popolo  bolognese,  per  lo 
secondo  bimestre  dell'  anno  MDCXVII  .  .  .  Fece  la  musica  il  Sig.  Girolamo  Gia- 
cobbi  maestro  di  capella  di  San  Petronio  di  Bologna.  Sovraintese  alia  scena,  machine, 
ed  habiti  il  Sig.  Gio.  Lui^  Valesio." 

First  performed  as  indicated,  Teatro  della  Sala,  April  28, 1617.         Schatz  3804 

La  repetition  interrompue,  opera-comique  en  un  acte;  avec  un 
prologue.  Repr6sent6  pour  la  premiere  fois  sur  le  Th^Atre  de  la 
Foire,  en  1735. 

Charles  Franpois  Pannard,    Thedtre,  Paris,  Duchesne,  1763,  v.  2j 

[38S]-U4  V-     i'^'"^- 

In  prose  and  vaudevilles.  Composer  not  recorded  by  Parfaict,  who  dates  the  first 
performance  August  6,  1735,  and  attributes  the  text  jointly  to  Pannard  and  Favart. 
See  next  entry .  PQ  2019 .  P3 

72251"— VOL  1—14 59 


930  LIBEARY   OF   CONGRESS 

La  repetition  interrompue,  ou  Le  petit-maitre  malgr6  lui.  Opera- 
comique,  repr6sent6  pour  la  premiere  fois  sur  le  Th6&-tre  de  la  Foire 
S.  Germain,  le  14  mars  1757.     Et  reprise  le  3  f^vrier  1758. 

Paris,  N.  B.  Duchesne,  1768.  93,  [3]  p.  19'^'^.  {Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  viii.) 

Prologue  and  one  act.  In  prose  and  vaudevilles.  Caste.  On  p.  81-93  seven  aire 
and  a  duo;  on  the  [3]  p.  the  approbation  and  lists  of  plays.  Favart'e  musical  collabo- 
rator is  not  mentioned  by  Font. 

This  is  Favart's  much  altered  version  of  "La  r^p^tition  interrompue"  written 
originally  by  him  in  collaboration  with  Pannard  and  first  performed  at  Paris,  Foire 
St.  Laurent,  August  6,  1735.  The  original  version  was  incorporated  in  Pannard'e 
works,  as  published  by  Duchesne  in  1763.    See  preceding  entry.         ML  49.A2F1 

La  repetition  ordinaire  de  I'op^ra.  Tr.  of  Latilla's  L'opera  in 
prova  alia  moda. 

The  reprisal;  or,  The  tars  of  Old  England.  In  two  acts.  By  Dr. 
SmoUet. 

[30]-63  p.  19*^^.  {Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  ii,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  (1780)  casts. 

Composer  not  mentioned  by  W.  Barclay  Squire.  Schatz  11753B 

The  resemblance.     A.  T.  of  Delia  Maria's  The  prisoner. 

La  ressemblance.     A.  T.  of  Delia  Maria's  Le  prisonnier. 

La  ressource  comique,  piece  en  un  acte,  m^l^e  d'ariettes;  prec6d6e 
d'un  prologue.     Par  M.  Anseaume.     La  musique  de  M.  Merault. 
Representee  pour  la  premiere  fois  par  les  Com6diens  italiens  ordi- 
nau-es  du  roi,  le  Samedi  22  aofit  1772. 
Paris,  la  veuve  Duchesne,  1772.     80  p.    21^"^. 

Cast.  On  p.  75-80,  the  airs  of  the  ariettes,  "  Je  le  veux,  et  cela  euffit,"  "De  I'ordre 
expr^s  d'lm  petit  dieu,"  and  "Suis-je  digne."  The  composer's  correct  name  is  Jean 
Nicolas  Am6d^e  Le  Froid  de  M^reaux.  ML  50.2.R42M2 

La  ressource  des  theatres,  piece  en  un  acte.  Par  M.  C  *  *  * 
represents  pour  la  premiere  fois  sur  le  Theatre  de  I'Opera-comique, 
le  31  Janvier  1760. 

Paris,  Duchesne,  1760.     1^2,  [6]  p.     19^"^. 

Cast.  Running  title  calls  this  a  prologue.  Prose,  vaudevilles,  and  ariettes,  some 
of  which  are  printed  in  the  text,  as,  for  instance,  the  final  vaudeville,  "Toujours 
euivre  avec  uniformite, ' '  of  which  a  foot-note  says :  ' '  L'air  &  les  coiiplets  du  vaudeville 
sont  de  M.  Favart."  In  fact,  the  preface  of  the  "Theatre"  (v.  I,  p.  xxvii)  informs 
us  that  this  was  Favart's  only  contribution  to  the  play,  "mais  ce  vaudeville  a  fait 
preeque  seul  tout  le  succfes  de  la  pifece."    The  real  author  is  mentioned  neither  in  this 

Ereface  nor  by  Font,  who  is  silent  also  on  the  musical  collaborator.    The  [6]  p.  contain 
ste  of  plays,  etc.  Schatz  11509  . 

—  La  ressource  des  theatres,  piece  en  un  acte.  Par  M.  C  *  *  * 
Represents  pour  la  premiere  fois  sur  le  The§,tre  de  I'Opera-comique, 
le  31  Janvier  1760. 

Paris,  Duchesne,  1760.  42,  [6]  p.  19'^'^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  viii.) 

Prose,  vaudevilles,  etc.,  precisely  the  same  as  the  foregoing.  ML  49.A2F1 


OPERA  LIBRETTOS  931 

The  restauration  of  King  Charles  n.  or,  The  life  and  death  of 
OHver  Cromwell.  An  histori-tragi-comi  ballad  opera.  As  it  was 
forbid  to  be  acted  at  the  New  Theatre  in  the  Hay-Market  ... 

London,  R.  Waller,  1732.     2  p.  l,  vii,  [1],  54,  [2]  p.     18^"^. 

Three  acts.  Dedication  by  the  author,  Walter  Aston,  and  his  preface.  According 
to  this,  Aston  submitted  the  play  to  Mr.  Potter,  " master  "  of  the  New  Theatre  in  the 
Hay-Market,  who  told  him  that 

"nothing  must  be  play'd  there  till  a  gentleman  of  the  treasury,  and  another  of  the 
exchequer,  had  read  and  approv'd  it." 

They  were  approached.  They  claimed  to  liave  "not  time  to  look  over  such 
things,"  but  if  their  friend,  who  had  approached  them  in  behalf  of  Aston,  "was  satis- 
fied ,  there  was  no  offence ,  there  should  not  be  any  stop  put  to  it . "    Thereupon  Aston 

"distributed  the  parts  [the  proposed  cast  on  the  last  [2]  p.],  printed  bills  and 
tickets,  and  had  it  rehearsed  thrice;  but  unexpectedly  a  message  came,  to  stop  the 
performance  [which  was  planned  for  May  4th];  for  the  actors  should  be  all  taken  up: 
That  now  they  dare  not  play  treason,  they  put  treasonable  titles  to  their  bills;  and 
that  the  Restauration  of  King  Charles  II.  was  a  treasonable  title. 

"I  confess  lam  so  stupid,  I  cannot  apprehend  what  they  mean  ..."  When 
Aston  protested  and  asked  for  the  censor's  reasons,  the  final  answer  he  reports  to  have 
been,     the  story  is  too  recent." 

The  23  airs  used  in  this  ballad  opera  are  indicated  by  title.  Longe  275 

La  rete  di  Vulcano,  ballet.     See  Sacchini's  Creso. 

Le  retour.     Entree  in  Boismortier's  Les  voyages  de  I'amour. 

Le  retour  de  r opera -comique,  en  un  acte.  Par  Monsieur  *  *  * 
Reprfeent6  pour  la  premiere  fois  sur  le  Th6&tre  de  I'Opera-comique 
de  la  Foire  saint  Laurent,  le  28  juin  1759. 

Paris,  Duchesne,  1759.  56  p.  19'^'^.  (Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  viii.) 

Cast.  Prose,  vaudevilles,  and  ariettes.  Several  of  the  airs  are  printed  in  the 
text.    Font  does  not  mention  Favart's  musical  collaborator.  ML  49.A2F1 

Le  retour  de  1' Opera  comique  au  fauboui^  S.  Germain.     Piece 

en  un  acte  servant  de  prologue.  Representee  le  27  f^vrier  1734  k  la 
Foire  Saint  Germain. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  2,  pi.,  {287]-321  p.     17'^. 

By  Carolet.  Largely  en  vaudevilles.  The  airs,  a  few  of  which  by  Corette,  are 
printed  at  the  end  of  the  volume  in  the  "Table  dee  airs."  ML  48. L2  X 

Le  retour  de  tendresse,  comedie.     En  un  acte  et  en  vers.     Mel^e 
d'ariettes.     Representee  devant  Leurs  Majest^s,  k  Fontainebleau  le 
17  octobre  1777.     Les  paroles  du  Sieur  Anseaume.     La  musique  du 
Sieur  Mereau. 
Paris,  Ruault,  1778.    37,  [1]  p.    19\<^. 

Cast.  ML  50.2. R4M3 

Le  retour  du  seigneur  dans  ses  terras.  See  Floquet's  Le  seig- 
neur bienfaisant. 

Die  reue  vor  der  hochzeit.     Singspiel  in  einem  aufzuge. 
.  Berlin,  Friedrich  Maurer,  1782.    56  p.     16^"^. 
The  author,  Fr.  L.  W.  Meyer,  is  not  mentioned.    No  compoeer  or  performance 
recorded  by  Schatz.  ML  50.2.R44 

Die  reue  vor  der  that.     See  DezSde's  L'erreur  d'un  moment. 


932  LIBRARY   OF   CONGRESS 

Le  reve,  opera-comique  en  un  acte ;  represent  6  pour  la  premiere  fois 
sur  le  ThMtre  de  la  Foire,  en  1738. 

Charles  Francois  Pannard,  Thedtre,  Paris,  Duchesne,  1763,  v.  3, 
[203]-258  p.     17'="*. 

In  prose  and  vaudevilles.  Composer  not  recorded  by  Parfaict,  who  dates  first 
performance  Februan,^  15,  1738.  PQ  2019.P3 

Le  reveil  de  1' opera-comique.  Prologue.  Represents  h.  la  Foire 
Saint  Laurent.     1732. 

Le  Thedtre  de  la  foire,  Paris,  1737,  t.  ix,  2,  pi.,  15  p.     17""^. 

By  Carolet.  Largely  en  vaudevilles.  The  airs,  selected  or  composed  and  arranged 
by  Jean  Claude  Qillier,  are  printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed  August  13,  1732.  ML  48.L2  X 

The  revenge,  a  burletta;  acted  at  Marybone  Gardens,  MDCCLXX. 
With  additional  songs.     By  Thomas  Chatterton. 
London,  T.  King,  H.  Chapmann,  J.  Egerton,  1796.     1  p.  I.,  J^7  p. 

On  p.  [41]-47  the  additional  "Songs."    Two  acts.    A  prefatory  note  says: 
"This  burletta,  and  the  songs  which  follow  it,  were  printed  from  an  original  manu- 
script, in  the  hand-writing  of  the  celebrated  Chatterton,  who  received  five  guineas 
for  the  composition  from  the  proprietors  of  Marybone  Gardens,  July  6,  1770." 
The  composer,  Samuel  Arnold,  is  not  mentioned.  Longe  296 

Second  copy,  lacking  the  leaf  with  the  prefatory  note.  ML  50.2. R45 

The  revenge  of  Athridates.     A.  T.  of  the  pasticcio  Pharnaces. 

La  revolution  pacifique.  A.  T.  of  Beffroy  de  Reigny's  Nicod^me 
dans  la  lune. 

Rex  et  Pontifex:  being  an  attempt  to  introduce  upon  the  stage  a 
new  species  of  pantomime. 

London,  M.  Cooper,  17 J^.     15  p.     20"'^. 

By  R.  Dodsley,  who  is  not  mentioned.  ML  52.2.R4 

Rhea  Sylvia,  in  einem  singespiele  auf  dem  Hamburgischen  Theatro 
vorgestellet  im  jalir  1720. 

Hamburg,  Caspar  Jakhel,  n.  d.      Unpaged.     IS^'^. 

Three  acts.  Argument  and  scenario.  Neither  the  author  (resp.  translator,  im- 
known  to  Schatz)  nor  the  composer,  Melchior  Hofxaann,  is  mentioned. 

First  performed  at  Leipzig,  Opemhaus  im  Brtihle,  1714;  at  Hamburg,  Opemhaus 
beim  Gansemarkt.  Schatz  4760 

Rhea  Sylvia.     L.  T.  of  Porta's  Numitore. 

La  ricca  locandiera.  Intermezzi  per  musica  a  quattro  voci  da  rap- 
presentarsi  nel  Teatro  Capranica  nel  carnevale  dell'  anno  1759  .  .  . 

Roma,  Giuseppe  e  Nicola  Grossi,  n.  d.     35  p.     15^^. 

Two  intermezzi.  Dedication  by  the  bookseller,  Agoetino  Palombini,  of  "il  pre- 
sente  scherzo  di  poesia,"  cast,  and  name  of  Pietro  GugUelmi  as  composer.  Tlie 
author  is  unknown  to  Schatz.     •  ML  48.A5    v. 3 

II  Riccardo.  Drama  per  musica  da  rappresentarsi  nel  Teatro  de' 
Fiorentini  nel  carnevale  del  corrente  anno  1743* .  .  . 

[Napoli],  Nicola  de  Biase,  n.  d.     71  p.     l^Y"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, cast,  and  name  of  Nicola  Logroscino  as  composer.  Schatz  5674 


OPERA  LIBRETTOS 

Riccardo,  Cor  di  Leone.     Tr.  of  Gr^try's  Richard  Coeur  de  Lion. 

Riccardo  Cor  di  Leone.  Commedia  per  musica  da  rappresentarsi 
nel  nobile  Teatro  Giustiniani  in  San  Moise  per  la  prima  opera  del 
carnovale  1790.  .Tratta  dall'  originale  francese  di  M.  Sedaine  e 
ridotta  per  uso  del  Teatro  suddetto. 

Venezia,  Modesto  Fenzo,  1789.     49  p.     18''"'. 

Two  acts.     Cast  and  name  of  Ferdinando  Bobuschi  as  the  compoeer. 

First  perfonned  December  26,  1789,  as  indicated.  Schatz  8844 

Riccardo  I  re  d'Inghilterra. 

Three  acts.     By  Georg  Friedrich  Handel.     Text  by  Paolo  Antonio  RoUi. 
First  performed  at  London,  Haymarket,  November  11,  1727. 
Not  in  L.  of  C. 

—  Der  misslungene  braut-wechsel,  oder  Richardus  I,  koenig  von 
England,  in  einem  sing-spiele  aiif  dem  Hamburgischen  Schau-Platze 
fuergestellet  anno  1729. 

[Hamburg],  mit  Stromerschen  schrifften,  n.  d.      Unpaged.     18Y^- 

Three  acts.  With  names  of  C.  G.  Wend  as  translator  of  RoUi's  "Riccardo  I,  r^ 
d'Inghilterra,"  and  author  of  the  "untergemischten  teutechen  poesie,"  of  Georg 
Philipp  Telemann  as  the  composer  of  the  German  arias  and  of  Handel  as  composer 
of  the  Italian,  German  translation  of  which  is  added  to  the  Italian  texts.  Concerning 
the  " untergemischte  teutsche  poesie,"  Wend  says  in  the  "Vorbericht"  (with 
aigument): 

"die  hinzugefuegte  comische  untermischung  wird  der  geneigte  leser  eich  desto 
weniger  missfallen  lassen,  well  dergleichen  abwechselung  nunmehro  nicht  nur  zur 
mode,  sondem  auch  fast  zur  nothwendigkeit  geworden  ist,  womit  man  sich  zugleich 
zu  dessen  bestaendiger  gewogenheit  empfiehlet  and  eich  einer  frequenten  gegenwart 
getroesten  will." 

First  performed,  as  indicated.  Theater  beim  Ganeemarkt,  Febniary  3,  1729. 

ScHATZ  4488 

Richard  Coeur  de  Lion.  Com^die  en  trois  actes,  en  prose  et  en 
vers,  mise  en  musi^ue.  Representee,  pour  la  premiere  fois,  a  Paris, 
par  les  Com^diens  italiens  ordinaires  du  roi,  le  21  octobre  1784;  &  iL 
Fontainebleau,  devant  Leurs  Majesty,  le  25  octobre  1785. 

Paris,  Brunei,  1786.     48  p.     20^^^. 

Neither  the  author,  Michel  Jean  Sedaine,  is  mentioned,  nor  the  composer,  Gr6try. 

ML  48.M2H 

—  Richard,  Coeur  de  Lion,  comedie  en  trois  actes  en  prose  et  en 
vers,  mis  en  musique.  Reprfeent^e,  pour  la  premiere  fois,  a  Paris, 
par  les  ComMiens  italiens  ordinaires  du  Roi,  le  21  octobre  1781;  &  k 
Fontainebleau,  devant  Leurs  Majestes,  le  25  octobre  1785.  Nouvelle 
Edition. 

Paris,  Didor,  Vaine,  1787.     34  p.     W^. 

Neither  the  author,  Sedaine,  nor  the  composer,  Grfitry,  is  mentioned. 

Schatz  4177 

—  Richard  Coeur  de  Lion.  An  historical  romance.  From  the 
French  of  Monsr.  Sedaine.  As  performed  at  the  Theatre  Royal, 
Drury-Lane. 

London,  J.  Dehrett,  1786.     52  p.    20^"^. 

Three  acts.  Cast  and  Advertisement,  stating  this  to  be  an  adaptation  to  the  English 
stage  without  "adventitious  matter,"  except  that  "the  discovery  of  Richard's  con- 
finement being  now  given  to  Matilda  in  place  of  Blondel  ..." 


934  LIBRARY   OF   CONGRESS 

Richard  Coeur  de  Lion — Continued. 

Neither  John  Burgoyne  is  mentioned,  who  translated  and  adapted  Sedaine's  text, 
nor  Thomas  linley,  who  adapted  Grfitry's  music.  Not  to  be  confused  with  Shield's 
adaptation,  performed  at  Co  vent  Garden  in  the  same  year. 

First  performed  at  London  October  24,  1786,  as  indicated.  Lonoe  98 

—  ...  Arien  und  gesaenge  aus  dem  singspiel  Richard  Lowenherz, 
in  drei  aufzuegen.  Nach  dem  franzosischen  des  Sedaine.  Musik  von 
Gretry.     Nach  anordnung  der  konigl.  General-intendantur. 

Berlin,  n.  puhl,  n.  d.     31  p.     15'^'". 

By  Johann  Andr^. 

First  performed  at  Berlin,  Kgl.  Nationaltbeater,  February  9, 1790.     Schatz  4179 

—  Riccardo  Cor  di  Leone.  Commedia  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Monza  Fautunno  dell'  anno  1787  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     64  f.     16*^^. 

Three  acts.  Sedaine  and  QrStry  are  mentioned  by  the  anonymous  translator  in 
his  interesting  "Awertimento  del  traduttore"  (p.  7-12)  after  the  dedication.  He 
speaks  of  the  extraordinary  difficulty  of  translating  the  "scarsa,  laconica,  e  tronca  .  ,  . 
lingua  de'  Francesi  .  .  .  atta  a  rinchiudere  molto  senso  in  pochi  monosillabi"  into 
Italian  and  adjusting  it  to  the  score  without  changing  a  single  bar  of  the  music,  the 
first  time,  so  he  claims,  that  this  had  been  tried  by  a  translator.  Schatz  4201 

Richard  Lowenherz.     Tr.  of  Gretry's  Richard,  Coeur  de  Lion. 

Richardus  I,  koenig  von  England.  A.  T.  of  Handel's  Der  miss- 
lungene  braut-wechsel. 

Ricimero.  Drama  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  I'autunno  dell'  anno  MDCCLXXIII. 

Venezia,  Modesto  Fenzo,  1773.     1  p.l,  55  p.     17^'^. 

Three  acts.  ~By  Francesco  Silvani  (not  mentioned).  Text  originally  called  "La 
fede  tradita  e  vendicata."  In  the  present  libretto  IJmblo  has  become  Grimoaldo, 
and  Scandone  has  become  Rodoaldo.  Argument,  cast,  scenario,  and  name  of  the 
composer,  Giov.  Batt.  Borghi.  On  p.  20-27,  cast,  ar^ment,  and  detailed  description 
of  Antonio  Trancart's  "Ajace  e  Cassandra,  ballo  eroitragico,"  in  thirteen  scenes,  on 
p.  41^7  of  his  ballet,  "Le  feste  0  Le  gelosie  del  seraglio."  The  composers  of  the  music 
are  not  mentioned. 

First  performed  November  26,  1773.  Schatz  1236 

—  Ricimero:  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
dell'  illustrissima  Accademia  Filarmonica  m  Verona  nel  camovale 
deir  anno  1778  ..  . 

Verona^  Dionisio  Ramanzin,  n.  d.     1^7  p.     17Y'^. 

Three  acts.  By  Silvani,  who  is  not  mentioned.  Impresario's  dedication,  argu- 
ment, scenario,  cast  and  name  of  Borghi  as  composer.  ML  50.2.R47B6 

Ricimero.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnevale  del  1756  alia  presenza  di  S.  S.  R.  M. 

Torino,  Zappata  e  Avondo,  n.  d.     viii,  61,  [2]  p,     15^"^. 

Three  acts.  Author  unknown  to  Schatz.  Argument,  cast,  scenario,  and  name  of 
the  composer,  Giacinto  Calderara.  Vincenzo  Saunier  is  mentioned  as  the  "com- 
positore  of  the  three  ballets,  Rocco  Gionatti  [Gioanettil  as  the  "compositore  delle 
arie  de'  balli."  The  first  was  entitled,  "Cerere  e  Trittolemo,"  and  is  described  on 
p.  20-21.  The  second  is  called  "Giudicio  di  Paride,"  and  is  described  on  p.  41-42 j 
And  the  third,  "Sacrificio  detto  Taurobolio  pella  elezione  ed  inaugurazione  di  un  re  di 
Norvegia,"  and  is  described  on  p.  60-61.  The  two  additional  pages  contain  some 
changes  introduced  in  the  third  act. 

First  performed,  as  indicated,  December  26, 1755.  Schatz  1507 


OPERA  LIBRETTOS  935 

Ricimero.     See  also  Galuppi's  Emelinda. 

Ricimero.  Dramina  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  S.  Carlo  nel  di  13  di  agosto  1789  per  festeggiarsi  la  nascita  di  S.  M. 
la  regina  .  .  . 

Napoli,  Vincenzo  Flauto,  1789.    60  p.     -?5<=™. 

Two  acts.  Argumentj  cast,  scenario,  name  of  Giacomo  Siri  as  the  composer,  and 
impresario's  dedication,  in  which  this  is  called  a  replica  of 

"Ricimero,  ma  ridotto  in  una  forma  tutta  nuova:  ci6  si  h  fatto  a  solo  fine  di  adat- 
tarlo  al  gusto,  che  corre  pe'  spettacoli." 

The  author,  Francesco  Silvano,  is  not  mentioned  whose  "La  fede  tradita  e  vendi- 
cata  "  this  is  in  a  modernized  version.  Schatz  9896 

Ricimero  re  de'   Goti.     Drama  per  musica  da  rappresentarsi  il 
carnevale  dell'  anno  1740  nel  Teatro  a  Torre  Argentina  .  .  . 
Roma,  Antonio  de'  Rossi,  n.  d.     62  p.     16*^. 

Three  acts.  Rifadmento  of  Zeno  and  Pariati's  "Flavio  Anicio  OUbrio."  Argu- 
ment, cast,  scenario  and  name  of  Niccol6  Joromelli  as  composer. 

First  performed  as  indicated,  January  16, 1740.  ML  50.2.R48J6 

Ricimero  re  de'  Goti.  Drama  per  musica  da  rappresentarsi  in 
Roma  nel  nobil  Teatro  delle  Dame  nel  corrente  carnevale  dell'  anno 
MDCCLIX. 

Roma,  Stamperia  de'  Rossi,  n.  d,    Jfi  p.     16^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication,  argu- 
ment, scenario,  cast,  and  name  of  Giovanni  Francesco  de  Majo  as  composer. 

First  performed  at  Parma,  Teatro  Ducale,  carnival,  1758.  Schatz  5859 

«'  Ricimiero,  re  de  Vandali.  Drama  per  musica  nel  famosissimo 
Teatro  Grimano  in  S.  Gio.  Grisostomo  T  anno  1684.  Di  Matteo 
Noris  .  .  . 

Venetia,  Francesco  Nicolini,  I684.     79  p.     H*^. 

Three  acts.  Author's  dedication,  ailment,  and  scenario.  The  composer,  Carlo 
Pcdlavicino,  is  not  mentioned.  Schatz  7731 

H  riconoscimento  di  Teseo  ossia  Teseo  e  Medea,  ballet.  See  G. 
Giordani's  Ariarate. 

H  riconoscimento  inaspettato,  ballet.  See  Jommelli's  L'  isola 
disabitata. 

Le  rien.     Parody  of  Mondonville's  Titon  et  L'Aurore. 

I  rigiri  delle  cantarine.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  Cassiano.     L'  autunno  dell'  anno  1745  .  .  . 

Venezia,  Modesto  Fenzo,  17^5.     60  p.     16^'='^. 

Three  acts.  By  "Bartolomeo  Vitturi,  who  is  not  mentioned.  Impresario's  dedica- 
tion, cast,  scenario,  and  name  of  Francesco  Mag^giore  as  composer.      Schatz  5833 

Les  rigueurs  du  cloitre,  com^die  en  deux  actes,  en  prose,  m616e 
d'ariettes;  representee  pour  la  premiere  fois  par  les  com6diens  ita- 
liens  ordinaires  du  roi,  le  23  aoClt  1790.  raroles  de  M.  F6v6e. 
Musique  de  M.  Berton. 

Paris,  J.  L.  de  Bouhers,  179S.    24  p.    IS^'^. 

Cast.  Schatz  898 


936  LIBRARY  OF   CONGRESS 

Rinaldo.     Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  il  camovale  dell'  anno  1789. 

Venezia,  Modesto  Fenzo,  1789.     40  p.     19^"^. 

Two  acts.  By  Giuseppe  Foppa,  who  is  not  mentioned.  Argument,  cast,  and 
name  of  Pietro  Guglielini  as  the  composer.  On  p.  [17]  24  cast,  argument,  and 
description  without  name  of  the  composer  of  the  music  of  Francesco  Clerico's  "I 
eacrifizi  di  Taxiride,  ballo  serio  pantomimo."  The  second  ballet  was  called  "II 
filosofo  deriso." 

First  performed,  as  indicated,  January  28,  1789.  Schatz  4303 

I 

Rinaldo,  an  opera.     Perform'd  at  the  Queen's  Theatre  m  London. 
MDCCXI. 

[71]-143  p.  21'^'^.  {Aaron  HiU,  Dramatic  works,  London,  T. 
Lownds,  1760,  vol.  I.) 

Three  acts.  Cast  and  argument.  In  his  dedication  to  the  Queen  Aaron  Hill  pays 
"This  opera  is  a  native  of  Your  Majesty's  dominions"  and  speaks  of  his  "endeavour 
to  see  the  English  opera  more  splendid  than  her  mother,  the  Italian."  In  his  preface, 
Hill,  mentioning  Hendel  (Geoi^  Friedrich Handel)  as  the  composer,  gives  the  peculiar 
history  of  this  Rinaldo  text: 

"The  deficiencies  I  found,  or  thought  I  found,  in  such  Italian  opera's,  as  have 
hitherto  been  introduced  among  us,  were,  first,  that  they  had  been  composed  for 
tastes  and  voices,  different  from  those  who  were  to  sing  and  hear  them  on  the  English 
stage;  and  secondly,  that  wanting  the  machines  and  decorations,  which  bestow  so 
great  a  beauty  on  their  appearance,  they  have  been  heard  and  seen  to  verj-  con- 
siderable disadvantage. 

"At  once  to  remedy  both  these  misfortunes,  I  resolved  to  frame  some  drama,  that, 
by  different  incidents  and  passions,  might  afford  the  music  scope  to  vary  and  display 
its  excellence,  and  fill  the  eye  with  more  delightful  prospects,  so  at  once  to  give  two 
senses  equal  pleasure. 

' '  I  could  not  chuse  a  finer  subject  than  the  celebrated  story  of  Rinaldo  and  Armida, 
which  has  furnished  opera's  for  every  stage  and  tongue  in  Europe  ...     It  was  a  very 

Particular  happiness,  that  I  met  with  a  gentleman  so  excellently  qualify'd  as  Signor 
Lossi,  to  fill  up  the  model  I  had  drawn,  with  words  eo  sounding  and  so  nch  in  sense, 
that  if  my  translation  is  in  many  places  led  to  deviate,  'tis  for  want  of  power  to  reach 
the  force  of  his  original  ..." 

This  is  followed  by  Giacomo  Rossi's  notice  "II  poeta  al  lettore"  in  which  he  pays 
not  the  slightest  attention  to  Hill,  apologizes  for  the  defects  of  his  "parto  di  poche 
sere  "  due  to  lack  of  time 

"poiche  il  Signor  Hendel,  Orfeo  del  noetro  secolo,  nel  porla  in  musica,  a  pena  mi 


First  performed  at  London,  Haymarket,  February  24,  1711.  Longe  325 

—  Rinaldo,  [vignette].  Musicalisches  schau-spiel,  auf  dem  grossen 
Hamburgischen  Theatro  im  monath  novembr.  1715. 

Hamburg,  Friedrich  Conrad  Graeflinger,  n.  d.      Unpaged.     18^^- 

Publisher's  name  cut  off  in  binding. 

Three  acts.  In  the  lengthy  ' '  Kurtzer  vor-bericht "  Barthold  Feind  (not  mentioned 
by  name)  states  that  he  made  his  translation  of  Rossi's  "Rinaldo "  in  five  days;  that 
this  will  account  for  its  shortcomings;  but  that,  on  the  other  hand,  he  followed  Rossi 
"fast  sclavisch,"  so  not  to  miss  a  single  note  of  Hendel's  music.  He  means,  of  course, 
Georg  Friedrich  Handel.     This  incidental  remark  may  be  of  interest: 

"En  lin,  weil  noch  kein  Teutscher  als  Hendel  einen  Rinaldo  aus  der  italiaenischen 
sprache  in  die  music  gesetzet,  wird  ihm  wohl  niemand  den  glorieusen  musicalischen 
titel  eines  Orfeus  dieses  seculi,  als  der  neid  selber  disputirlich  machen ;  wiewol  ich 
mich  dabey  mit  plaisir  erinnere,  dass  alhier  ein  herr  von  den  gens  de  qualite,  welcher 
einen  staatacaracter  mit  besonderm  ruhm  bekleidet  und  dem  bey  muessigen  stunden 
die  music  sein  zeitvertreib'ist,  vor  einigen  jahren  in  der  allerzartesten  bluethe  seines 
alters  eine  von  mir  auf  befehl  seines  nunmehr  in  Gott  ruhenden  herm  vaters  Excellence 
verfertigte  italiaenische  opera,  "Virginia  generosa,  e  Don  Camillo  incostante" 
benahmet  in  die  music  gesetzt  und  der  Hochseeligsten  Koenigin  Anna,  glor-wuer- 


OPERA   LIBRETTOS  937 

Rinaldo — Continued. 

digsten  andenckens,  seine  vertii  dergestalt  gezeiget,  dass  ihm  der  titul  eines  Amphions 
von  vielen  Groeeen  der  music  kundigen  in  London  beygelegt  worden  ..." 

ScHATZ  4489 

—  Rinaldo.  In  einem  singe-spiele  auf  dem  Hamburgischen  Schau- 
platze  im  jahr  1723  vorgestellet. 

[Hamburg],  Caspar  JaJchel,  n.  d.      Unpaged.     18"^. 

Three  acts.  Neither  Feind,  the  author,  nor  Handel,  the  composer,  is  mentioned. 
Schatz  calls  this  "II.  veraenderte  ausgabe,"  but  comparison  proves  the  text  to  be 
identical  with  that  of  1715,  except  that  the  Italian  text  of  the  anas  has  been  more  con- 
sistently added  to  the  German.  Schatz  4501 

—  Rinaldo.  Drama  per  musica  da  rappresentarsi  nella  gran  sala 
del  Real  Palazzo  il  di  1.  ottobre  1718  in  cui  si  festeggiano  gli  anni  di 
S.  M.  Ces.  e  Cat.  Carlo  VI  .  .  . 

Napoli,  Michele  Luigi  Muzio,  1718. 

Prologue  and  three  acts.  Nicola  Serino'e  dedication,  dated  October  1,  1718, 
scenario,  cast,  and  publisher's  notice  to  the  reader,  which  reads,  in  part: 

"L'idea  dell'  autore  ne  alter6  alcuni  personaggi,  al  che  non  s'fe  potuto  dar  rimedio 
per  servirsi  in  buona  parte  della  musica  del  Signor  Gior^o  Federico  Hendel  (Handel); 
che  prime  la  j)ose  in  musica.  Molte  scene  aggiuntevi,  come  ancora  tutte  le  buffe, 
quah  ritroverai  segnate  con  il  §  sono  musica  del  Sign.  Leonardo  Leo,  che  n'ebbe  il 
pensiero  di  deriggerla." 

Accordingly,  Leo  composed  "Ove  ridon  nel  prato  li  fieri "  (prol.),  the  scenes  (I,  10) 
"Gilt  per  la  mia  grand'  arte,"  (II,  4)  "Esser  non  pu5,  che  I'Avemo,"  (II,  11)  "Ahi! 
Pur  riveggo  il  caro  sposo,"  etc.,  and  more  particularly  the  scenes  between  "Lesbina" 
and  "Nesso"  exclusively,  which  act  as  interpolated  intermezzi,  "Oh  sconsolato 
Nesso"  (1, 11),  "E  non  si  arriva  mai,  poter  di  Bacco"  (II,  12),  "lo  per  me  mi  strase- 
colo"  (III,  8),  and  "Trombe,  fischi,  tamburri"  (III,  11).  These  comic  scenes,  etc., 
Schatz  attributes  to  Serine.  Schatz  4495 

II  Rinaldo,  ballet.     See  Marescalchi's  L'Alessandro  nell'  Indie. 

Rinaldo.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramin  in  S.  Salvatore  nella  fiera  dell'  Ascensione  dell'  anno  1775  .  .  . 

Venezia,  Gio.  Battista  Casali,  1775.     J^  p.     17""^. 

Three  acts.  D'edication,  cast,  scenario,  and  name  of  Antonio  Tozzi  as  the  com- 
poser. ("La  musica  sar^  del  tutto  nuova.")  Author  not  mentioned,  and  unknown 
to  Schatz.  Schatz  10386 

Rinaldo  and  Armida. 

Noverre,  Jean  George,  WorJcs,  Tr.  from  the  French,  London,  1783, 
V.  3,  {29]-51  p.     21  ii'^'^. 

"Preliminary  discourse"  and  detailed  description  of  the  three  scenes. 

GV  1787. N8 

Rinaldo  d'Aste.  Commedia  con  musica  d'un  atto  solo  da  rappre- 
sentarsi nel  nobilissimo  Teatro  Giustiniani  in  San  Mois^  il  carnovale 
dell'  anno  1794. 

Venezia,  Modesto  Fenzo,  1794.     4O  p.     18""^. 

By  Giuseppe  Carpani,  who  is  not  mentioned.    Cast  and  name  of  Marco  Portogalli 
(Portugal)  as  the  composer. 

First  performed,  as  indicated,  January  4,  1794  (Carvalhaes).  Schatz  8428 

—  Rinaldo  d'Aste.  Drarajna  giocoso  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  di  S.  Carlo  della  rrincipessa  nel  felicissimo 


938  UBRARY   OF   CONGRESS 

Rinaldo  d'Aste — Continued. 

giorno   natalizio   di   Sua   Altezza   Keale  ...    D.   Carlotta   Gioac- 

china  .  .  .  li  25  d'aprile  1799. 

Lishona,  Simone  Taddeo  Ferrdra,  1799.    109  p.    14''^. 

Two  acta.    Cast  and  name  of  Marcos  Portugal  as  the  composer,  and  note: 

"Queeto  dramma  in  un  solo  atto  in  proea,  h  Btato  accreeciuto,  e  ridotto  a  due  atti 
in  verso  dal  Sig.  Giuseppe  Caravita,  poeta  del  Teatro." 

Portuguese  text  faces  Italian.  Schatz  8429 

Rinaldo  d'Asti,  ballet.     See  Borghi's  La  morte  di  Semiramide. 

Rinaldo  e  Armida,  ballet.     See  Salieri's  La  cifra. 

Rinaldo  nel  giardino  incautato  d'Armida,  ballet.  See  Bianchi's 
Trionfo  della  pace. 

Rinaldo  nella  isola  incantata  d'Armida,  ballet.  See  Galuppi's 
H  r^  pastore. 

Binaldo  nella  selva  incantata,  ballet.    See  Sartl's  Siroe. 

Rinaldo  und  Alcina.  Eine  komische  oper  in  drei  aufzuegen  von 
Ludwig  V.  Baczko. 

Koenigsherg,  Hartung,  1794.     71  p.     15'^'^. 

Composed  by  Maria  Theresia  Faradles,  who  is  not  mentioned. 

First  performed  at  Prag,  Altstaedter  National  Theater,  1796.  Schatz  7770 

Der  ring  der  liebe  oder  Zemirens  und  Azors  ehestand,  ein  singspiel 
in  drey  aufzuegen.  Aufgefuehrt  im  k.  k.  Theater  naechst  dem 
Kaemthnerthore. 

Wien,  heym  Logenmeister,  1786.    77  p.    16^'^. 

Neither  Schatz  nor  Haas  know  the  author.  They  record  Ignaz  Umlauf  as  the 
composer.    A  foot-note  on  p.  [2]  reads: 

"Die  musik  ist  auf  ein  waelsches  singspiel  geschrieben;  ein  deutscher  dichter 
hat  auf  die  musik  einen  neuen  stoff  gebaut.    Kenner  wissen  die  beschwerlichkeit." 

First  performed,  as  indicated,  December  3, 1786.  Schatz  10533 

La  rinovata  Camilla  o  sia  Camilla,  regina  de'  Volsci.  L.  T.  of  M.  A. 
Bononcini's  II  trionfo  di  Camilla,  regina  de'  Volsci. 

II  ripiego  in  amore.  Farsetta  per  musica  da  rappresentarsi  nel 
Teatro  alia  Valle  nel  carnevale  delP  anno  1751  .  .  . 

Roma,  Ottavio  Puccinelli,  1751.     [28]  p.     15^^"^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  name  of 
Binaldo  di  Capua  as  composer  and  dedication  signed  by  Angelo  I^ungi  and  the 
publisher.  ML  50.2.R49R4 

II  riposo  interotto,  ballet.     See  Gluck's  II  trionfo  di  Clelia. 

II  ripudio  d'Ottavia.  Drama  per  musica,  da  rappresentarsi  nel 
Teatro  Grimani  in  S.  Gio.  Grisost.  I'anno  MIDCC  .  .  .  Di  Matteo 
Noris. 

Venetia,  Nicolini,  1699.     72  p.,  incl.fr ont     16"^. 

Three  acts.  Author's  dedication,  notice  to  the  reader,  and  scenario.  The  com- 
poser, Carlo  Francesco  Pollaroli,  is  not  mentioned.  Schatz  8315 


OPERA   LIBRETTOS  939 

Le  risa  di  Democrito.  Da  cantarsi  nel  Teatro  privilegiato  da  S.  M. 
C.  e  Cat.  in  Vienna.  Nell'  anno  MDCCXXXVIL  Nel  mese  di  set- 
tembre. — Das  gelaechter  des  Democritus  ... 

Wien,  Johann  Peter  v.  GJielen,  n.  d.     81  p.     14"^. 

Three  acts.  Argument  and  text  in  German  faces  Italian.  Neither  the  author, 
conte  Nicola  Minato,  nor  the  composer,  Francesco  Antonio  Pistocchi,  is  mentioned. 

Plrst  performed  at  Vienna,  Hoftheater,  carnival,  1700.  Schatz  8200 

La  rispettosa  tenerezza.  Componimento  dramatico,  scritto  in 
Vienna  dall'  autore  .  .  .  ed  eseguito  con  musica  del  Rentier  negl' 
interni  appartamenti  del  palazzo  di  Schonbrunn  dalle  AA.  RR.  di 
tre  arciduchesse  d' Austria  ...  in  occasione  di  festeggiare  il  giorno 
di  nome  della  madre  loro  augustissima  Tanno  1750. 

[197]-204  p.  26'^'^.  (Metastasio,  Opere,  t.  xi,  Parigi,  vedova  Heris- 
sant,  1782.)  ML49.A2M44 

I  riti  d'Apollo  Leucadio.     A.  T.  of  Mayr's  Saffo. 

I  riti  della  Baja  Dushy,  ballet.  See  Bianchi's  La  cappricciosa 
ravveduta. 

La  ritornata  di  Londra.     Dramma  di  tre  atti  per  musica.     Rap- 

Sresentato  per  la  prima  volta  in  Venezia  il  carnovale  dell'  anno 
[DCCLVI. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-96,  v.  44> 
[5]-62  p.     18^"^.  PQ 

La  ritornata  di  Londra.  Dramma  giocoso  per  musica  di  Polisseno 
Fegejo  P.  A.  [Goldoni]  Da  rappresentarsi  nel  Teatro  di  S.  Samuele 
il  camevale  dell'  anno  MDCCLVI. 

Venezia,  Angiolo  Geremia,  n.  d.     60  p.     15\'^'^. 

Three  acts.    Cast,  scenario,  and  name  of  the  composer,  Domenico  Fischietti. 

Schatz  3234 

—  La  ritornata  di  Londra,  dranmia  giocoso  per  musica,  da  rap- 
presentarsi nel  Nuovo  Teatro  in  Dresda  nell;  estade  dell'  anno 
MDCCLVI. — Die  zurueckkunft  aus  Londen,  ein  musicalisches  lust- 
spiel  ... 

[Dresden],  Stoesselin  und  Joh.  Carl  Krause,  n.  d.     175  p.     16"^. 

Three  acts.  Cast  added  in  ms.^  scenario,  and  name  of  Domenico  Fischietti  as 
composer.    German  text  faces  Italian. 

First  performed  July  20,  1756.  Schatz  3235 

II  ritorno  d'Agamemnone,  ballet.     See  P.  Guglielmi's  Arsace. 

II  ritorno  d' Angelica  nell'  Indie. 

p.  I4S-I54.  ISY"^-  (.Ottavio  TronsareUi,  Drammi  musicali,  Roma, 
Francesco  CorbeUetti,  1632.)  ^ 

One  act.  Argument.  No  composer  mentioned,  but  Lady  Morgan,  in  her  work  on 
Salvator  Rosa,  aflSrms  that  the  above  was  performed  at  Rome,  with  music  by  one 
Cignajii,  who  is  not  mentioned  by  Eitner.  ML  49.A2T7 

II  ritorno  d'TJlisse.     Dranmia  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  via  della  Pergola  nell'  autunno  del  1798  .  .  . 
Firenze,  Pietro  Fantosini,  1798.    49  p.     16^"^. 


940  LIBRARY  OF   CONGRESS 

II  ritorno  d'Ulisse— ^Continued. 

Three  acts.  Argument,  cast,  and  name  of  Francesco  Basili  as  composer.  Libret- 
tist is  unknown  to  Schatz.  On  p.  5-12,  a  detailed  description,  with  cast,  of  "Gli 
Orazi,  e  i  Curiazi.  Ballo  eroico  tragico  pantomimo  in  cinque  atti  composto  e  diretto 
da  Gaetano  Gioja."  Composer  of  the  music  not  mentioned.  The  second  ballet,  also 
by  Gioja,  was  called  "La  volubile." 

First  performed  September  1,  1798,  as  indicated.  Schatz  629 

II  ritorno  d'Ulisse.  Componimento  dramatico  rappresentato  nella 
sala  dal  palazzo  del  sereniss.  granduca  in  Pisa  per  festeggiare  il 
giomo  natalizio  della  sereniss.  granduchessa  Vittoria  di  Toscana. 

G.  A.  Moniglia,  Poesie  drammatiche,  parte  prima,  Firenze,  Vincen- 
zio  Vangelisti,  1689,  p.  [4S5]-601.    24'^'^. 

Three  acts  and  prologue.    Argument  with  name  of  Jacopo  Melaui  as  composer. 
First  performed  as  indicated,  1656.  ML  49.A2M7 

II  ritorno  della  primavera,  ballet.     See  CoUa's  Andromeda. 

II  ritorno  di  Astrea  in  terra.  Dramma  per  musica  per  i  lietissimi 
e  faustissimi  sposalizi  dell'  augusta  infanta  di  Spa^a  D.  Carlotta 
Gioacchina  coll'  infante  Augusto  di  Portogallo  D.  Giovanni:  e  dell' 
augusta  infanta  di  Portogallo  D,  Marianna  Vittoria  coll'  augusto 
infante  di  Spagna  D.  Gabriele  Antonio. 
Lishona,  Francesco  Luigi  Ameno,  1785.     5  p.  I.,  15  p.     16"^. 

The  title  on  the  1st  p.  1.,  the  rest  on  the  2d.  On  3d  p.  1.,  "Da  cant&rsi  ai  [15}  de 
Giugno  del  1785  nel  palazzo  dell'  eccellentissimo  Signor  conte  di  Feman  Nufiez." 
Argument,  cast,  and  name  of  Jos^  Palomino  as  the  composer.  The  author  is  not 
jnentioned,  and  is  unknown  to  Schatz.  Schatz  7751 

II  ritorno  di  D.  Calandrino.  Intermezzo  in  musica  a  cinque  voci 
da  rappresentarsi  nel  Teatro  Valle  dell'  illmi  Signori  Capranica.  Nel 
came  vale  dell'  anno  1778  .  .  . 

Roma,  Arcangelo  Casaletti,  1778.     60  p.     15""^. 

Two  parts.  Author  not  mentioned,  and  imknown  to  Schatz.  Dedication  by  the 
impresario,  Palombini,  cast,  and  name  of  Oimaxosa  as  composer.      ML  50.2. R5C3 

II  ritorno  di  Rinaldo  presso  Armida  o  sia  La  vendetta  di  Armida 
vinta  dall'  amore,  ballet.     See  Bianchi's  Cajo  Mario. 

H  ritorno  di  Ulisse  a  Penelope.     Dramma  per  musica  composto 
da  Ant.  Filistri  de'  Caramondani  .  .  .  e  messo  in  musica  dal  Si^. 
Felice  Alessandri  ...  da  rappresentarsi  nel  Regio  Teatro  di  Berlino 
il  camovale  delF  anno  1790. 
Berlino,  Havde  e  Spener,  n.  d.     161  p.     15^"^. 

German  title-page,  "Ulysses  riickkunft  zur  Penelope,"  and  text  face  Italian. 
Three  acts.  Argument,  cast,  and  indication  of  the  cuts  adopted  for  the  performance 
after  a  number  of  copies  of  the  libretto  without  such  indication  had  been  published, 
Bo  a  special  ^ote  informs  us.  From  a  comparison  with  the  score  it  would  appear  as  if 
Alessandri  never  composed  these  cuts. 

First  performed,  as  indicated,  January  25,  1790.  Schatz  149 

II  ritorno  opportuno,  ballet.  See  Martin  y  Soler's  L'accorta 
cameriera. 

II  ritratto.  Conunedia  per  musica  di  Saverio  Zini  da  rappresen- 
tarsi nel  Real  Teatro  del  Fondo  di  Separazione  per  second'  opera  di 
questo  corrente  anno  1791. 

Napoli,  Vincenzo  Flauto,  n.  d.     S3  p.     15*^. 


OPERA  LIBRETTOS  941 

II  ritratto — ^Continued. 

Two  acts.  Cast  and  name  of  composer,  Francesco  Bianchi.  On  p.  5-7,  cast,  descrip- 
tion of  the  ballet,  "Gl'Inglesi  in  America  Ballo  di  carattere  inventato,  et  composto  dal 
Sig.  Gio.  Battista  Giannini",  music  ("tutta  nuova")  by  Giuseppe  Ercolano. 

First  performed  at  Naples,  Teatro  Nuovo,  in  1787.  Schatz  981 

II  ritratto.  Dramma  giocoso  in  musica  da  rappresentarsi  nel  Teatro 
alia  Scala  di  Milano  I'autunno  del  1799. 

MUano,  Gio.  Batista  Bianchi,  n.  d.     72  y.     17'^^. 

Two  acts.  By  Luigi  Romanelli,  who  is  not  mentioned.  Cast  and  name  of  Nicola 
Antonio  ZingareUi  as  the  composer.  With  the  opera  was  performed  Gaspare  Ronzi's 
ballet,  "Odervik,"  the  composer  of  the  music  not  mentioned. 

First  performed,  as  indicated,  October  12,  1799.  Schatz  11257 

La  ritrosia  disarmata.  Componimento  drammatico,  scritto  dall' 
autore  in  Vienna  Fanno  1759,  per  uso  della  Real  corte  di  Spagna. 

[105]-118  f.  26*^.  (Metastasio,  Opere,  t  xi,  Parigi,  vedova  Heris- 
sant,  1782.) 

One  act.    Composer  unknown  to  me.  ML  49.A2M44 

Ritter  Roland.     Tr.  of  Haydn's  Orlando  Paladino. 

Ritter  Willibald,  oder  Das  goldene  gefaess.  Ein  romantisches  sing- 
spiel  in  zwey  aufzuegen.  Von  Karl  Friedrich  Hensler.  Aufgefuehrt 
auf  der  Kais.  Koenigl.  privil.  Marinellischen  Schaubuehne.  Die 
musik  ist  von  Ferdinand  Kauer. 

Wim,  IgnazGoldhann,  1794.     78  p.     17""^. 

First  performed,  as  indicated,  June  13,  1793.  Schatz  5053 

The  rival  candidates :  a  comic  opera  in  two  acts ;  as  it  is  now  per- 
forming at  the  Theatre  Royal  in  Dnuy-Lane.  By  the  rev.  Henry 
Bate. 

London,  Printed:  sold  by  T.  Becket  and  W.  Griffin,  1775.  4  P-  ^-i 
37  p.     lOY"^. 

Two  acts  with  epilogue.  Cast,  dedication  of  "this  my  firbt  essay  "  to  Mrs.  Garrick, 
dated  Hendon,  Middlesex,  February  9,  1775,  and  Advertisement: 

"The  Rival  candidates  is  an  attempt  of  the  dramatic  kind,  undertaken  by  the 
writer  from  no  motive  of  literary  variety,  but  in  order  to  introduce  to  the  world,  a 
young  musical  composer,  whose  taste  he  conceived  might  do  honour  to  his  profes- 
sion .  .  ." 

He  means  Thomas  Carter. 

First  performed,  as  indicated,  February  1,  1775.  Lonoe  32 

—  The  rival  candidates.     In  two  acts.     By  the  Rev.  Henry  Bates. 

[I3O-I54]  p.  19^^.  (Collection  of  the  most  esteemed  farcts  and 
entertainmenU,  t.  iv,  Edinburgh,  1792.) 

Dniry-Lane  and  Edinburgh  (1783)  casts.  Schatz  11753 

Le  rival  confident,  com^die  en  deux  actes  et  en  prose,  m616e  d'ari- 
ettes;  par  M.  Forgeot,  music[ue  de  M.  Gr6tri;  Representee,  pour  la 
premiere  fois,  par  les  Com6diens  italiens  ordinaires  du  roi,  le  26  juin 
1788. 

Paris,  Prault,  1788.    2  p.  I.,  65,  [5]  p.    21'^'^. 

Cast.    The  fS]  p.  contain  advertisements.  ML  50.2.I158G7 

Le  rival  de  lui-meme.     See  Le  parterre  merveilleux. 


942  LIBRARY   OF   CONGRESS 

The  rival  milliners:  or,  The  humours  of  Co  vent  Garden.  A  tragi- 
comi-operatic  pastoral  farce.  As  it  was  acted  at  the  theatre  in  the 
Hay-Market.  By  Robert  Drury,  Gent.  .  .  .  The  third  edition  cor- 
rected. 

London,  R.  Spavan,  n.  d.     48  p.     IS"^. 

Two  acts.  Cast.  Ballad  opera,  the  aire  of  the  25  songs  of  which  are  indicated  in 
the  text  by  title. 

Firet  performed  at  London,  Little  theatre  in  the  Hay  Market,  1735.    Lonoe  76 

I  rivali  delusi.     A.  T.  of  Hasse's  Eurimedonte  e  Timocleone. 

I  rivali  delusi.  Intermezzo  per  musica  a  quattro  voci,  da  rappre- 
sentarsi  nel  Teatro  alia  Valle  1  anno  1752  .  .  . 

Roma,  Ottavio  PuccineUi,  1752.    22,  [^]  p.     15Y^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Text  not  by  Goldoni. 
Contains  ariaa  like  "Se  son  ragazza  tenera,"  "Bella  tu  sei  di  questo  core,"  "Divertirse 
a  spese  d'altri,"  etc.  Cast,  name  of  Niccol6  Jozamelli  as  composer  and  dedication 
by  Agostino  Valle .  ML  50 .2 .  R59J6 

I  rivali  generosi. 

Apostolo  Zeno,  Poesie  dTummaMche,  Venezia,  1744)  t-  '^j  V-  [267]-352 
p.    W"^. 

Three  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo  "  at  end  of  t.  x,  date  and  place  of  firet  ed.  are  given  as  Venice,  1697.     (See  below.) 

ML  49.A2Z3 

—  I  rivali  generosi,  pubblicati  per  la  prima  volta  in  Venezia  1697. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  i,  p.  159- 
234.     21'^'^. 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

I  rivali  generosi.  Drama  per  musica  da  rappresentarsi  nel  Reg. 
Teatro  della  Munitione  di  questa  Nob.  e  Fedel.  ciifk  di  Messina 
Tanno  1712  .  .  . 

Messina,  Stamp,  di  Vine.  d'Amico,  1712.     82  p.     13^*^^. 

Three  acts.  By  Apostolo  Zeno.  With  impresario's  dedication,  argument,  notice 
to  the  reader,  cast,  and  scenario.  Neither  Zeno  nor  the  composer,  Michele  Facco,  ia 
mentioned.  Schatz  2979 

I  rivali  generosi.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuele  I'anno  1726.     Per  la  festa  dell'  Ascensione. 
Venezia,  Marino  Rossetti,  1726.     57  p.     14^"^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Giuseppe  Vignati  as  the  composer.  Schatz  10724 

I  rivali  generosi.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Salvatore  I'anno  MDCXCVII  .  .  . 

Venetia,  Nicdlini,  1697.     6  p.  I.,  48  p.     15^. 

Three  acts.  Dedication  signed  by  A[po8tolo]  Z[eno]  as  author,  his  dramaturgic 
preface,  argument,  and  scenario.  The  composer,  Marc'  Antonio  Ziani,  is  not  men- 
tioned. 

First  performed,  as  indicated,  carnival,  1697.  Schatz  11206     ' 

Le  rivali  placate.  Da  cantarsi  nel  Teatro  privilegiato  da  S.  M.  C. 
e  Cat.  In  Vienna  nell'  anno  MDCCXXXVIII.  Nel  mese  di  Gen- 
naio. — Die  besaenftigte  mitbuhlerinnen  .  .  . 

Wien,  Johann  Peter  v.  GJielen,  n.  d.     75  p.     13^*^. 

Thr6e  acts.  Argument.  German  text  faces  Italian.  Author  and  composer  not 
mentioned  and  unknown  to  Schatz.    Not  recorded  by  von  Weilen.    Schatz  11360 


t 


OPERA  LIBEETTOS  943 

Li  rivali  placati.     Dramma  giocoso  per  musica  da  rappresentarsi 

nel  Teatro  di  questa  elettorale  corte  .  .  . 

Bonn,  Rommerskirchen,  1774-     Unpaged.     15'^'^. 

Three  acts.  Cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the  composer.  The 
author,  Gaetano  Martinelli,  is  not  mentioned. 

First  performed,  as  indicated,  1774  at  Venice,  Teatro  di  S.  Moise,  Ml  of  1764. 

SCHATZ  4261 

—  I  rivali  placati;  drama  giocoso  per  musica  da  rappresentarsi  nel 
Regio  Teatro — De  forsonede  medbeylere  .  .  . 
Ei^henhavn,  E.  J.  Graae,  1777.     139  p.     16^"^. 

Three  acts.  Cast  and  name  of  Pietro  Guglielmi  as  the  composer.  Danish  text 
faces  Italian. 

First  performed,  as  indicated,  December  18,  1777.  Schatz  4262 

Li  rivali  ridicoli.  Dramma  giocoso  per  musica  di  Giovanni  Bertati 
da  rappresentarsi  nel  Teatro  Giustiniani  in  S.  Mois6  per  la  prima 
opera  aell'  autunno  1780. 

Venezia,  n.  puhl.,  n.  d.     64  p.     17 \'^. 

Three  acts.    Cast  and  name  of  Michele  Mortellaxi  as  the  composer. 

ScHATZ  6691 

The  rivals,  or,  The  green-room  controversy;  a  musical  prelude,  as 
performed  at  the  Salisbury  Theatre,  1776. 
Sdlishury,  J.  Hodson,  n.  d.     12  p.     19*^^. 

One  act.  Cast  and  dedication  dated  November  6,  1776.  Author  and  composer 
not  mentioned.    Not  recorded  by  Clarence  or  by  Schatz.  ML.  50.2.R6 

La  robe  de  dissention,  ou  Le  faux-prodige,  op^ra-comique  en  deux 
actes,  jou6  h,  la  Foire  Saint-Germain,  en  1726. 
Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  4t  [25S\S35  p. 

En  vaudevilles.    Composer  not  recorded  by  Parfaict. 

First  performed,  as  indicated,  September  7,  1726.  '  PQ  2019.P6 

Robert  und  Kalliste  oder  Der  triumph  der  treue.  Tr.  of  P.  Gug- 
lielmi's  La  sposa  fedele. 

Robin  Hood.     An  opera.     As  it  is  performed  at  Lee's  and  Harper's 
Great  Theatrical  Booth  in  Bartholomew-fair.    With  the  musick  pre- 
fix'd  to  each  song. 
Lmdon,  J.  Watts,  1730.     45  p.     19'='^. 

Three  acts.  Table  of  the  19  songs,  the  airs  of  which  are  printed  in  the  text,  with 
their  titles.    Author  unknown  to  Squire  and  Tufts.  Longe  49 

Robin  Hood.  A  new  musical  entertainment.  As  it  is  perform'd 
at  the  Theatre-Royal  in  Drury-Lane.  The  musick  compos'd  by  the 
Society  of  the  Temple  of  Apollo. 

London,  Printed  and  sold  at  the  Theatre,  1751.    24  p.    20^""^. 

Two  acts.  Cast.  By  Moses  Mendez,  who  is  not  mentioned.  According  to  Grove, 
the  music  was  composed  by  Charles  Bumey,  who  was  a  member  of  the  Society  of  the 
Temple  of  Apollo. 

First  performed  December  13,  1750,  as  indicated.  AC  901.M5    v.519 


944  LIBRARY  OF  CONGRESS 

Robin  Hood;    or,  Sherwood  forest:   A  comic  opera.     As  it  is  per- 
formed at  the  Theatre-Royal,  in  Covent-Garden.     By  Leonard  Mac 
Nally,  Esq. 
Lond(m,  J.  Alnum,  1784.     74  p.    21 '^, 

Three  acts.  Cast  and  dedication  to  William  Shield,  composer  to  the  Theatre- 
Royal,  Covent-Grarden  (in  which  capacity  he  also  composed  and  partly  compiled  the 
music  for  this  piece).    Mac  Nally  says: 

"The  three  principal  ideas  which  combine  the  subject  are  not  original,  but  bor- 
rowed from  the  Dallaas  of  Robin  Hood,  the  Nutbroum  maid,  and  the  Hermit  of  the  dale: 
I  adopted  them  as  being  popular.  It  was  my  first  intention  to  have  taken  all  the 
Bongs  from  old  ballads;  those  I  have  selected  are,  I  trust,  not  ill  chosen,  or  imappli- 
cable  to  the  piece  ..." 

In  Bland's  vocal  score  "The  stag  through  the  forest"  is  headed  as  composed  bv 
Henry  Harington,  "If  to  me"  as  by  Anfossi  and  "Friendship  claims  the  name 
as  by  Bertoni.    The  overture  is  ascribed  by  a  contemporary  hand  to  Baiimgarten. 

First  performed,  as  indicated,  April  17,  1784.  Longb  93 

—  Robin  Hood  or  Sherwood  forest:  A  comic  opera.  As  it  is  per- 
formed at  the  Theatre-Royal,  in  Covent  Garden.  By  Leonard 
Macnally,  Esq.  The  fifth  edition.  With  alterations,  and  additions, 
as  it  is  now  performed. 

London,  J.  Almon,  1787.     [3],  6-62  p.     21<^. 

Three  acts.    Casts  of  1784  and  1787.     Shield  is  not  mentioned. 

ML  50.2.R62S3 

La  Rodelinda.  Drama  per  music  a  da  rappresentarsi  in  Venezia  nel 
Teatro  di  San  Moise  I'autunno  del'  anno  MDCCXXXI  .  .  . 

Venezia,  Carlo  Buonarigo,  1731.     4^  p.     14Y^- 

The  publisher's  name  has  been  effaced. 

Three  acts.  By  Antonio  Salvi  (not  mentioned).  Dedication j  argument j  notice  to 
reader,  cast,  and  scenario.    The  composer,  Bortolamio  Cordaus,  is  not  mentioned. 

ScHATZ  2227 

Rodelinda. 

Three-act  opera.     By  Georg  Friedrich  Handel.    Text  was  an  altered  version  by 
Nicola  Francesco  Haym  of  Antonio  Salvi's  "Rodelinda,  regina  de'  Longobardi." 
First  performed  at  London,  February  13,  1725. 
Not  in  L.  of  C. 

—  Rodelinda,  koenigin  in  der  Lombardey,  in  einem  sing-spiele 
auf  dem  Hamburgischen  schau-platze  im  jahr  1734  vorgestellet. 

[Hamhurg],  Gedruckt  mit  Spieringischen  schrifften,  n.  d.     Unpolled. 

Three  acts.  Argument,  with  name  of  Geoi^  Friedrich  Handel  as  composer  of  the 
Italian  arias,  the  Italian  text  of  which  is  added  to  the  German.  Neither  the  composer 
of  the  German  recitatives  nor  C.  G.  Wend,  the  translator  of  the  Italian  by  Salvi-Haym, 
is  mentioned. 

First  performed,  as  indicated,  Theater  beim  Gansemarkt,  November  29,  1734. 

ScHATZ  4490 

Rodelinda,  koenigin  in  der  Lombardey.  Tr.  of  Handel's 
Rodelinda. 

Rodelinda,  regina  de'  Longobardi.  Dranmia  per  musica  da  rap- 
presentarsi nel  nuovo  Regio  Teatro  della  Corte  .  .  . 

[Berlino],  Ambrogio  Haude,  1741.     6  p.  I.,  95  p.     19^"^. 

Three  acts.  Giovanni  Gualberto  Bottarelli  is  mentioned  as  the  author,  and  he 
signs  the  dedication  as  such,  remarking  that  he  wrote  the  libretto  by  demand  of  the 
king,  but  from  the  "Avvertimento"  in  the  1778  ed.  it  would  appear  that  he  simply 
retouched  a  drama  by  Zeno.    As  a  matter  of  fact,  Zeno  never  wrote  a  Rodelinda,  nor 


OPERA  LIBRETTOS  945 

Bodelinda,  regina  de'  Longobardi — Continued. 

did  he  write  the  arias  in  this  particular  Rodelinda.  The  text  utilized  by  Bottarelli 
was  really  that  by  Antonio  Salvi.  The  avvertimento  is  preceded  by  the  cast,  the 
argument,  and  the  names  of  Cari  Heinrich  Gravin  as  the  composer,  and  of  "Giovanni 
Cnstoforo  Rost"  as  the  author  of  the  German  version,  "Rodelinde,  koniginn  der 
Lon^obarden,"  which  faces  the  Italian. 

First  performed,  as  indicated,  December  13,  1741.  Schatz  4117 

—  Bodelinda,  reg^ina  de'  Longobardi.     Dramma  per  musica  da 
rappresentarsi  nel  Regio  Teatro  della  Corte  .  .  . 
Berlino,  Haude  e  Spener,  1778.     95,  [3]  p.     W"^. 

Three  acts.  By  Giovanni  Gualberto  Bottarelli  (who  is  not  mentioned),  but  the 
"Avvertimento"  reads  as  follows: 

"Quantunque  questa  tragedia  [Pertharit,  di  P.  Comelio]  sia  forse  la  piil  debole  di 
qiiante  ne  ha  ecritte  quel  chiarissimo  tragico,  parv3  ad  Apostolo  Zeno,  cn'ella  poteese 
servire  di  degno  soggetto  ad  un  dramma  per  musica,  e  ne  fece  im  opera  che  si  trova  fra 
le  altre  di  quell'  insigne  autore. 

"Quei  che  nell'  anno  1744  serviva  da  poeta  nel  Regio  Teatro  di  Berlino,  tra8form6 
malamente  I'opera  dello  Zeno,  e  la  die  fuori  mutilata  e  guasta  com'  ell'  k  anche  al 
presente  .  .  .' 

This  is  entirely  incorrect,  as  the  note  for  the  1741  ed.  proves.  Argiiment,  cast, 
scenario,  and  name  of  Carl  Heinrich  Graun  as  the  composer.  Though  the  avverti- 
mento says  that  a  revival  was  ordered  "nel  presente  anno  1778,"  the  performance 
took  place,  according  to  Schatz,  December  19, 1777.  German  title-page,  Rodelinde, 
koeniginn  der  Longobarden,"  and  text  face  Italian.  Schatz  4111 

Hodelinde,  koniginn  der  Longobarden.  Tr.  of  Graun's  Rodelinda, 
regina  de'  Longobardi. 

II  Roderico.     Draimna  per  musica  da  rappresentarsi  nel  Teatro  della 
Pace  di  Roma.     L'anno  MDCXCIV  .  .  . 
Roma,  Buagni,  1694.     ^4  V-     ■^^'''"• 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz  and  Wotquenne. 
Carlo  Francesco  Gasparini  is  mentioned  as  the  composer  in  the  dedication.  Ail- 
ment and  scenario. 

First  performed,  as  indicated,  January  25,  1694.  Schatz  3580 

•^  Bodoaldo,  re  d'ltalia.     Drama  da  rappresentarsi  nel  nuovo  Teatro 

Zane  k  S.  Moise  I'anno  MDCLXXXV.     Di  Tomaso  Stanzani  .  .  . 

Venetia,  Francesco  Nicolini,  1685.     56  p.  (incl.  front.)     l^Y^- 

Three  acts.     Author's  dedication  dated  Venice,  January  10,  1685,  argument  with 

name  of  Domenico  Gabrieli  as  composer,  and  scenario.  Schatz  3400 

Bodomonte  sdegnato.  Dramma  per  musica.  Da  rappresentarsi 
nel  Teatro  di  S.  Angelo.  II  camovale  dell'  anno  1714.  Del  dottor 
Grazio  Braccioli  .  .  . 

Venezia,  Marino  Rossetti,  1714.     72  p.     14^- 

Three  acts.  Dedication  signed  by  Antonio  Vivaldi  and  dated  Venice,  January  20, 
1714,  argument,  cast,  scenario,  and  name  of  Michel  Angelo  Gasparini  as  the  com- 
poser. Schatz  3601 

Bodrigo  Ecimene.     A.  T.  of  the  ballet  L'eroe  castigliano. 

Das  roemische  April-fest.  Musicalisches  lust  und  tantz-spiel,  zu 
allgemeiner  freuden-bezeugung  ueber  die  im  April  erfolgte  heilsame 
gebuhrt  Sr.  roemisch-kayserl.  und  catholischen  Majestaet  Caroli  VI 
erstgebohrnen  .  .  .  Leopoldi  I  .  .  .  im  junio  1716  auf  dem  Ham- 
burgischen  Sphau-platz  vorgestellet. 

Hamburg,  Friderich  Conrad  Grefiinger,  n.  d.     Unpaged.     19"^. 

72251"— VOL  1—14 60 


946  LIBRARY  OF   CONGRESS 

Das  roemische  April-fest — Continued. 

Five  acts.  Lengthy  historical  preface  without  names  of  the  author,  Barthoid 
Feind,  or  composer,  Reinhard  Keiser.  To  some  of  the  arias  the  Italian  text  has 
been  added.  Schatz  5127 

Die  roemische  grossmuht,  oder  Calpurnia.  Tr.  of  Heinichen's 
Calfurnia. 

Die  roemische  unruhe,  oder  Die  edelmuehtige  Octavia.     In  einem 

sing-spiel  auf  dem  grossen  Hamburgischen  Schau-platz  aufgefuehret. 
[Hamburg],  Gedrucktimjahr,  1705.      Unpaged.     18Y^- 
Three  acts.    Neither  the  author,  resp.  translator,  Barthold  Feind,  is  mentionedj 

nor  the  composer,  Reinhard  Keiser.     To  some  of  the  arias  the  Italian  text  has  been 

added. 

PMrst  performed,  as  indicated,  August  5,  1705.  Schatz  5128 

—  Die  roemische  unruhe.  Oder:  Die  edelmuehtige  Octavia,  mu- 
sicalisches  schauspiel. 

Barfh.   Feind's  Deutsche  gedichte,  Stade,  1708,  pi.,  p.  [115}-174 

Three  acts.  Date  of  first  performance,  Hamburg,  August  5,  1705,  and  "Vorbe- 
richt,"  in  which  Feind  first  compares  other  librettists  like  Postel,  Hunold,  and 
Bressand,  and  then  says: 

"Das  Bujet  dieses  schau-sfnels  ist  zuerst  in  Weissenfels,  ehe  und  bevor  Nero  all 
hier  aufgefuehret,  verfasset  und  biss  auf  die  helffte  ausgearbeitet  worden.  Nachdem 
man  mir  aber  das  werck  gezeiget  imd  an  bey  dessen  voTlziehung  aufgetragen,  so  habe 
bey  der  durchlesung  befunden,  dass  es  die  umstaende  schwerlicn  zuliessen,  des  herm 
verfassers  propos  auszufuehren,  ich  auch  lieber  etwas  neues  selbst  machen  woUte, 
als  andre  arbeit  zumustem:  darum  ich  ausser  den  namen  der  Octavia,  und  einige 
reflexions  auf  die  auffuehrung  des  Piso,  nichts  behalten  .  .  ." 

The  composer,  Reinhard  Keiser,  is  not  mentioned.  Quite  a  few  of  the  arias  hava 
Italian  and  German  texts.    This  the  "Vorbericht"  Explains,  as  follows: 

"Weil  auch  bissher  die  delicatesse  der  italiaenischen  sprache  in  andem  opem  die 
ohren  der  zuschauer  durch  eine  verborcene  kitzlung  an  sich  gelocket,  so  habe  aus 
dieser  ursache  einige  hinzu  gefueget.  Wer  solcher  kuendig,  mag  solche  als  die  erste 
fruechte  von  dergleichen  arbeit  ansehen,  und  Kein  zu  strenges  urtheil  faellen,  denn 
file  haetten  endUch  bey  mehr  gegebner  zeit  wol  koennen  verbessert  werden." 

ML  49.A2F2 

Roger-Bontems  et  Javotte.  Parody  of  Gluck's  Orph6e  et  Euri- 
dice. 

Boger  de  Sicile,  surnomme  Le  roi  sans  chagrin.  Piece  en  trois 
actes.  Par  M™  Le  S  *  *.  &  d'Or  *  *  *.  Repr^ent6e  k  la 
Foire  S.  Laurent  1731. 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  ix,  115  p.     17'^'^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudeville.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Ghllier,  are  printed  at  the  end  of  the  volume  in 
the  "Table  des  airs."  .  ML48.L2IX 

Rogerius  auf  der  insel  der  Alcine,  ballet.    See  Bach's  Temistocle. 

Le  roi  et  le  fermier,  comedie  en  trois  actes,  mM^e  de  morceaux  de 
musique.  Representee  pour  la  premiere  fois  par  les  Com6diens  ita- 
liens  ordinaires  du  roi,  le  lundi  22  novembre  1762.     Par  M.  Sedaine. 

BruxeUes,  Pierre  Paupie,  1765.     52  p.     WY^- 

The  composer,  Monsigny,  is  not  mentioned.  ML  50.2. R7M7 


OPERA  LIBRETTOS  947 

Le  roi  et  le  fermier — Continued. 

—  Le  roi  et  le  fermier.  Comedie  en  trois  actes.  M^lee  de  morceaux 
de  musique.  Par  M.  Sedaine.  Representee  par  les  Com^diens  fran- 
9ois  de  la  cour  sur  le  Nouveau  Theatre  de  S.  A.  E.  de  Saxe,  h,  Dresde, 
1766. 

[Dresde],  George  Conrad  Walther,  n.  d.     78  p.     W^*^. 
The  composer,  Monsigny,  is  not  mentioned.    The  text  is  the  same  aa  in  our  Paris 
ed.  of  1768. 

First  performed  at  Dresden,  J\me  13,  1766.  Schatz  11732 

—  Le  roi  et  le  fermier,  comedie  en  trois  actes,  m^lee  de  morceaux 
de  musique.  Representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  lundi  vingt-deux  novembre  1762.  Par 
M.  Sedaine. 

Paris,  Claude  Herissant,  1768.    52  p.     W"^. 

In  his  "Avertissement"  Sedaine  says: 

"Jamais  bon  ou  mauvaia  ouvrage  n'a  eu  tant  de  peine  que  celui-ci  a  paroitre  au 
theatre.  II  avoit  en  lui-meme  la  premiere  difficulte.  II  falloit  que  je  trouvasse  im 
grand  artiste,  un  musicien  habile,  qui  voul^it  bien  avoir  un  peu  de  confiance  en 
moi,  enfin  im  ami  qui  vouMt  bien  risquer  un  genre  nouveau  en  musique;  &  quelque 
rares  que  soient  les  poetes  en  ce  nouveau  genre,  les  musiciens  le  sont  encore  plus. 

He  continues  by  saying  that  his  piece  was  based  on  an  English  tale,  that  it  was 
performed  with  ill-advised  changes,  and  that  it  is  here  published  as  written  by  him 
originally.    The  composer  was  Monsigny.  Schatz  11730 

—  Le  roi  et  le  fermier,  comedie  en  trois  actes,  m^lee  de  morceaux 
de  musique.  Representee  pour  la. premiere  fois  par  les  Comediens 
italiens  ordinaires  du  Roi,  le  lundi  22  novembre  1762.  Par  M. 
sedaine. 

Paris,  la  veuve  Duchesne,  1779.    56  p.     19Y'^. 

Cast.  The  composer,  Monsigny,  is  not  mentioned.  With  the  airs  of  "Ami,  laiese 
la  la  tendresse  "  (1, 4),  and  "Le  mylord  m'offredesrichetsses"  (1,8).        Schatz  6580 

—  Der  koenig  und  der  pachter.  Ein  comisches  singspiel  in  drey 
aufzuegen.     Aus  dem  franzoesischen  des  herrn  Sedaine  uebersetzt. 

Frankfurt  und  Leipzig,  Johann  Gottlieb  Garhe,  1766.    94  p.     17"^. 
Conrad  Gottlieb  Pfeffel's  version  of  Monsigny's  opera.  Schatz  6581 

—  Der  koenig  und  der  pachter,  ein  singspiel  in  drey  aufzuegen  aus 
dem  franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1773.  102  p.  14- 
p.  (folded  music).     16^"^. 

Dialogue  by  Johann  Heinrich  Faber,  the  lyrics  by  Pfeffel.  The  music  (bass  and 
voice)  consists  of:  "Der  milord  wies  mir  kostbarkeiten "  (I,  8),  "Des  reicht  ums 
pracht"  (I,  8),  "Ce  que  je  dis  est  la  v6rit6  meme,")  "Lasst  uns  schaaf  und  trift  ver- 
zehren"  (III,  12,  "Que  le  soleil  dans  la  plaine"). 

Version  used  by  Theob.  Marchand's  Churpfalz.  deuteche  Hofschauspiel-Gesell- 
Bchaft.  Schatz  6582 

Le  roi  Theodore  a  Venise.  Tr.  of  Paisiello's  II  vh  Teodoro  in 
Venezia. 

Roland,  tragedie  en  musique.  Representee  devant  Sa  Majeste  k 
Versailles,  le  huiti^me  Janvier  1685.  Suivant  la  copie  impnmee  h. 
Paris. 

[Amsterdam,  Antoine  Schelte],  1685.     69  p.     ISY'^. 

Prologue  and  five  acts.  Neither  Quinault,  the  author,  is  mentioned,  nor  Jean 
Baptiste  de  LuUy,  the  composer.  ML  50.2.R65L9 


948  LIBBARY  OF   CONGRESS 

Rolando-Continued. 

—  Roland,  tragedie  representee  par  I'Academie  royale  de  musique 
Tan  1685.  Les  paroles  sont  de  M.  Quinault,  &  la  musique  de  M.  de 
Lully,  XVII.  opera. 

n.  i.,  n.  d.  14"'^.  front,  1-72  p.  (Recueil  general  des  opera,  t.  in, 
Paris,  1703.) 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  March  8,  1685;  at  Versailles,  Janxiary  18,  1685. 

ScHATz  5778 
Second  copy.    ML  48. R4 

—  Roland,  tragedie  representee  devant  Sa  Majesty,  k  Versailles,  le 
huiti^me  [!]  jour  de  Janvier  1685.  Remise  au  Theatre  par  TAcademie 
royale  de  musique  le  12  fevrier  1705,  15  novembre  1709,  15  decembre 
1716,  11  novembre  1727;  et  le  jeudi  17  decembre  1743. 

Paris,  Jean  Baptiste  Christophe  Ballard,  17 J^.     x,  66  p.     22^^. 

Over  the  last  date  on  the  title  page  has  been  pasted  %  slip  with  the  correct  date 
of  performance,  December  19,  1743. 

Prologue  and  five  acts  with  cast.     On  p.  iii  the  note: 

"II  n'y  a  rien  de  nouveau  dans  cette  remise,  qu'un  mot  au  dernier  vers  de  la 
page  3,  on  y  lit  Quand  je  trouvay  Medor,  il  faut  lire  Quand  j'appercHs  Medor:  mdme 
page  au  huiti^me  vers,  lire  Roland  renverse.  On  pent  accoler  ou  rayer  les  retranche- 
ments  qu'on  a  jug^  a  propos  de  faire  aux  pages  suivantes"  [follows  an  extensive  list]. 

ScHATZ  5780 

—  Roland.  Tragedie  en  musique.  Representee  h  la  Cour  le  18 
Janvier  1685.  &  par  I'Academie  ae  musique  le  8.  fevrier  suivant. 

Philippe  Quinault,  Theatre,  Paris,  1739,  t.  v.,  pi.,  p.  [313]-378  p. 

Prologue  and  five  acts.    Lully  is  not  mentioned.  PQ  1881. Al    1739 

—  Arlequin  Roland.  Par  les  Srs.  Dominique  &  Romagnesi  .  .  . 
Repr^sente  pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires 
du  roi,  le  31  decembre  1727. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  Briasson, 
1738,  t.  iii,  [367]-408  p.     16^'=^. 

One  act.  Parody  of  the  opera  "Roland."  The  airs  and  vaudevillt  printed  at 
end  of  the  volume  in  the  "Table  des  airs"  (84  p.).  MX  48.P3 

—  Roland,  parodie.  Representee  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi,  le  20  Janvier  1744. 

Charles  Franpois  Pannard,  Thedtre,  Paris,  Duchesne,  1763,  v.  1,  48 
p.     17""^. 

En  vaudevilles.  Parody  of  LuUy's  opera.  Composer  not  recorded  by  Parfaict, 
who  attributes  the  text  jointly  to  Sticotti  and  Pannard.  PQ  2019. P3 

Roland,  tragedie-lyrique  mise  en  trois  actes,  avec  quelques  change- 
mens,  representee  pour  la  premiere  fois,  par  I'Academie  royale  de 
musique,  le  mardi  27  Janvier  1778.  Le  poeme  est  de  Quinault.  La 
musique  est  de  M.  Piccini. 

Paris,  Aux  depens  de  I'Academie,  1778.     31  p.     21""^. 

Cast.  ML  50.2.R65P3 

Roma  liberata  dalla  congiura  di  Catilina.     See  M.  Crirzio. 


OPERA   LIBRETTOS  949 

Divertissements  du  ballet  des  Romans,  et  Les  amours  de  Ragonde, 
comedie  en  musique.  En  trois  actes.  Mis  au  TheS-tre  de  FAcad^mie 
royale  de  musique,  de  Lyon.     En  I'ann^e  1742. 

Lyon,  Aime  Delaroche,  1742.     1  p.  I.,  26  p.     23''"'. 

Contains  only  "La  bergerie,  acte  du  ballet  des  Romans"  with  cast.  Neither  the 
author,  Michel  de  Bonneval,  nor  the  composer,  Niel,  is  mentioned. 

The  ballet,  "Les  Romans,"  of  which  "La  bergerie"  forms  the  first  entree,  was  first 
performed  at  Paris,  Academic  royale  de  musique,  August  23,  1736.        Schatz  7161 


remans,  ballet-heroique  repr6sent^  par  l'Acad6mie  royale  de 
le,  Fan  1736.     Paroles  de  M*"  Bonn     *     *     *     Musique  de  M*" 


—  Les 

musique, 

Niel.     CXXVI.  opera. 

n.  i.,  n.  d.  281-370  p.  IJ^Y^-  (Jtecueil  general  des  opera,  Paris, 
1745,  t.  xvi.) 

Detached  copy.  Prologue  and  the  entries  "La  bergerie,"  "La  chevalerie,"  "La 
feerie,"  "Le  roman  merveilleux,  nouvelle  entree,  ajoutee  aux  prec^dentes,  le  23  sep- 
tembre  1736,"  with  note  replying  to  the  reproach  "d 'avoir  introduit  dans  ses  romans 
des  noms  &  des  divinites  d\i  paganisme  "  and  stating  that  this  added  act  is  partly 
by  another  author.  At  end  of  text  a  note  that  the  Academic  now  performs  "La 
bergerie"  aa  third  and  "La  faerie"  as  first  entree.  ML48.R4 

Le  roman  merveilleux.     Entree  in  NieFs  Les  romans. 

Rome  excis'd.  A  new  tragi-comi  ballad-opera.  Of  three  acts.  As 
it  now  acting  with  general  applause.  By  a  polite  company  of  cour- 
tiers.    Ezekiel,  xxvii.  36  [follows  quotation] 

London,  Printed  for  Cyrenius  Taxall,  and  sold  hy  T.  Jones,  1733. 
vii,  [1],  9-48  p.     21''"'. 

A  political  attack  on  the  excise  bill  in  form  of  a  ballad  opera  with  eighteen  songs, 
tunee  indicated  by  title.  The  plot  is  laid  in  Rome  in  the  times  of  "Augustus  Caeear, 
Emperor  of  Rome."  The  tenor  of  the  play  and  of  the  "Dedication"  (p.  ui-vii)  is 
obvious  from  the  heading  "To  all  true  lovers  of  old  English  liberty." 

Of  course,  no  performance  is  recorded  and  the  author  seems  to  be  unknown. 

LONGE  172 

Romeo  e  Giulia.  Dramma  per  music  a  in  II.  atti  del  Sanseverino. 
Seconda  edizione. 

Berlino,  la  vedova  di  Giorgio  Lodovico  Winter,  1776.     40  p-    20^'^. 

The  two  acts  are  preceded  by  "Prologo  della  Musa  Melpomene  a  S.  A.  R.  Mon- 
ignore  il  principe  Henrico  di  Prussia."    The  text  is  followea  by: 


—  Romeo  et  Julie.  Drame  en  musique  en  deux  actes,  traduit  de 
Fitalien  compost  par  Sanseverino. 

Berlin,  la  veuve  Winter,  1776.     44  p.    ^Oi<=«». 

Same  prologue,  but  in  French.    For  a  composer  of  the  text  see  next  entry. 

ML  50.2.R67 

Romeo  e  Giulia.  Drama  per  musica  in  due  atti  del  Sign,  San- 
severino da  cantarsi  per  commando  al  Palazzo  Ducale  di  Brunsviga. 

Brunsviga,  n.  nuhl.,  1778.    55  p.     16""'. 

Johann  Gottfried  Schwanberg  is  mentioned  as  the  composer.  German  title- 
page,  "Romeo  und  Julie,"  and  text  face  Italian. 

First  performed,  as  indicated,  March,  1778.  Schatz  9766 


V^ 


950  LIBRARY  OF   CONGRESS 

Bomeo  e  Giulia — Continued. 

—  Romeo  e  Giulia.  Dramma  per  musica  in  due  atti  del  Sign. 
Sanseverino.  La  musica  e  del  Si^r.  Schwanenberg.  Da  cantarsi  nel 
Concerto  dei  dilettanti  di  musica  m  Berlino  1780. 

n.  %.,  n.  d,    55  p.     16^"^. 

German  title-page,  "Romeo  imd  Julie,"  and  text  by  Eschenburg  face  Italian. 

ScHATZ  9766 

Romeo  et  Juliette,  opera  en  trois  actes.     Paroles  du  C.  J.  A.  S^gur, 
musique  du  C.  Steibelt.     Repr^sente,  pour  la  premiere  fois,  ^  Paris, 
sur  le  Theatre  de  la  rue  Fej^deau,  le  10  septembre  (v.  st.),  Tan  deuxi- 
^me  de  la  R^publique,  une  &  indivisible. 
Paris,  Huet  [etc],  Van  second  de  la  Republique  [1793-94]    44  P- 

2 1  cm  • 

Cast.    Pages  33-44  stitched  in  twice.  ML50.2.R68S8 

—  Rom.eo  et  Juliette,  opera  en  trois  actes.  Paroles  du  C.  J.  A. 
Segur,  musique  du  C.  Steibelt.  Repr6sent6,  pour  la  premiere  fois,  h. 
Paris,  sur  le  Theatre  de  la  rue  Feydeau,  le  10  septembre  (v.  st.),  I'an 
deuxieme  de  la  R^publique  fran9aise.     Seconde  Edition. 

Paris,  Huet,  An  troisieme  de  la  Repuhlique  [1794-95] 

Same  cast  and  same  text,  which  is  corrected  in  many  places  by  a  contemporary 
hand.  Evidently  used  for  performances.  Provenience  perhaps  explained  by  the 
label  on  the  binding  "Theatre  Feydeau.    Sageret."  ML  50.2.R68  S82 

Romeo  und  Julie.  Ein  schauspiel  mit  gesang  in  drey  aufzuegen 
[vignette] 

Leipzig,  DyJc,  1779.  76  p.  16^"".  ("Singspiele  von  Friedrich 
Wilhelm  Gotter,  erstes  haendchen'') 

In  a  "Nachricht,"  following  a  poem  "An  Madam  tJnzer,  gebome  Ackermann," 
the  first  Julie,  Gotter  says: 

"Benda's  musik  mag  meine  schuzschrift  bey  denjenigen  seyn,  die  es  fuer  ent- 
weihung  halten,  ein  suejet  der  tragischen  Muse  auf  die  opembuenne  zu  versezen." 

This  prefatory  note  is  dated  Gotha,  October,  1778,'^  and  Gotter  takes  pains  to 
point  out  that  his  text  is  indebted  to  Shakespeare  and  not  to  German  dramatists. 

First  performed  with  Georg  Benda's  music  at  Gotha,  Hoftheater,  September  25, 
1776.  ScHATZ  776 

—  Arien  und  gesaenge  aus  Julie  und  Romeo,  einem  schauspiele  mit 
gesang  in  drey  aufzuegen,  vom  herrn  Geheimen  legations-secretair 
Gotter.     In  musik  gesetzt  vom  herrn  kapelldirector  George  Benda. 

Berlin,  n.  puhl,  1796.     16  p.     16<='^. 

Cast. 

Performed  at  Berlin,  Nationaltheater  in  the  year  of  publication;  first  performed 
at  Berlin,  Dobbelin'sches  Theater,  February  8,  1779  (Schatz).  Schatz  777 

Rom.eo  und  Julie.     Tr.  of  Schwanberg's  Romeo  e  Giulia. 

Romilda.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Giusti- 
niano  di  S.  Moise  nel  carnevale  dell'  anno  1731. 

Venezia,  Carlo  Buonarigo,  n.  d.     4^  p.     14Y^- 

Three  acts.  By  Carlo  Paganicesa  (not  mentioned).  Impresario's  dedication, 
argument,  ca«t,  scenario,  and  name  of  the  composer,  Bortolamio  Cordans. 

Schatz  2229 


OPERA  LIBRETTOS  951 

La  Romilda.     Drama  regio  musicale  del  Co.  Pietro  Paolo  Bissari  K. 
Vicenza,  Gidcomo  Amadio,  1659.    front.,  91  p.     IJ^"^. 

Prologue  and  three  acts.  Imprimatur  dated  January  3, 1659,  argument.  On  p.  90 
additional  verses  for  Adrasto,  between  I,  14,  and  I,  15.  On  p.  91  cuts  are  indicated, 
for  instance,  II,  8,  and  III,  11.    The  composer.  Carlo  Grossi,  is  not  mentioned. 

SCHATZ  4219 

II  BrOmolo.  Drama  per  musica  nel  felicissimo  giorno  natalizio  della 
S.  C.  R.  W^-  di  Leopold©  I.  .  .  .  I'anno  MDCCII.  Posto  in  musica 
dal  Sig?  Marc'  Antonio  Ziani  .  .  .  con  I'arie  per  li  balletti  del  Sigr 
Gio.  GioseflFo  Hoffer  .  .  . 

Vienna  d^ Austria,  appresso   gVeredi    Cosmeroviani,  n.  d.     77  p. 

Three  acts  and  licenza.  Dedication  by  the  author,  Donato  Cupeda,  dated  Vienna, 
Jime  9,  1702,  argument,  scenario.  Schatz  11193 

Romolo  e  Tazio.  Drama  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo.  Nell'  autunno  1722. 
Di  Vicenzo  Cassani  ... 

Venezia,  Marin  Rossetti,  1722.    56  p.     15^'^. 

Three  acts.  Author's  dedication,  cast,  argument,  scenario,  and  name  of  Carlo 
Luigi  Pietragrua  as  the  composer.  Schatz  8166 

Bomolo  ed  Ersilia.  Dramma  scritto  dall'  autore  in  Vienna  .  .  .  e 
rappresentato  ...  la  prima  volta  con  musica  dell'  Hasse,  nel  Teatro 
delP  Imperial  palazzo  della  cittk  d'lnspruch  ...  in  occasione  delle 
felicissime  nozze,  che  ivi  si  celebrarono,  delle  Altezze  Reali  dell'  Arci- 
duca  Leopoldo  d'Austria,  e  dell'  infanta  donna  Maria  Luisa  di  Bor- 
bone,  I'anno  1765. 

{95]-176  p.  26^.  (Metastasio,  Opere,  t.  ix,  Parigi,  vedova  Heris- 
sant,  1781.) 

Three  acts.    Argument.  ML  49.A2M44 

Romolo  ed  Ersilia.     Dramma  per  musica  rappresentato  in  occa- 
sione delle  felicissime  nozze  delle  AA.  LL.  Reali  I'arciduca  Leopoldo 
d'Austria  e  1 'infanta  D.  Maria  Luisa  di  Borbon,  celebrate  in  Inspruch 
.  .  .  I'anno  MDCXLXV. 
Roma,  Carlo  BarhieUini,  1765.    5  p.  l,  55,  [1]  p.    21^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  names  of  Metastasio  as 
author,  of  Joh.  Adolph  Hasse  as  composer. 

First  performed  at  Innsbruck,  Theatre  in  the  Imperial  palace,  August  6,  1765. 

Schatz  4589 

H  Romolo  e'l  Remo.     Drama  di  Giulio  Strozzi. 

Venetia,  Gio.  Battista  Surian,  1645.    96  p.    ISY"^. 

Three  acts  with  prologue.  Dedication  dated  Venice,  February  5,  1645,  aigument, 
but  without  name  of  the  composer,  Pietro  Francesco  Cavalli.  The  single  acts  bear 
the  technical  titles  "La  proposta,"  "II  nodo,"  and  "Lo  scioglimento." 

First  performed,  as  indicated,  at  the  Teatro  a  S.  S.  Giovanni  e  Paolo,  February  5, 
1645.  ,  Schatz  1727 

The  romp.     O.  T.  of  Love  in  the  city. 


952  LIBRARY   OF   CONGRESS 

The  romp.     A  musical  entertainment  in  two  acts.     Altered  from 
Love  in  the  citj,  by  Mr.  Bickerstaff.     As  it  has  been  acted  at  the 
Theatres  Royal  m  Dublin  and  York,  and  now  performed  at  the  Theatre- 
Royal  in  Drury-Lane. 
London,  W.  Loiimdes^  1786.     32  p.    ^1<'"». 

Cast  and  dedication.  Charles  Dibdin,  who  had  assisted  the  author  in  the  compi- 
lation of  the  music  of  this  pasticcio,  is  not  mentioned. 

First  performed  at  Covent  Grarden,  March  28,  1778.  Lonoe  97 

—  The  romp.  A  comic  opera.  In  two  acts.  Altered  from  Love  in 
the  City,  by  Mr.  Bickerstaff, 

[239]-262  p.  19^^.  (Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  vi,  Edinburgh,  1792.) 

Drury-Lane  and  Edinburgh  casts.  Schatz  11753F 

Rosa  e  Nicola,  ballet.    See  P.  Guglielmi's  La  pupilla  scaltra. 

Rosalia.     Ein  nachspiel  mit  arien  von  Schink. 
Gotha,  Carl  Wilhelm  Ettinger,  1777.    39  p.     17^. 

One  act.    The  coniposer,  Joseph  Schubert,  is  not  mentioned. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  March  8, 1777.      Schatz  9704 

Rosalinda,  a  musical  drama.  As  it  is  performed  at  Hickford's 
Great  Room,  in  Brewer's  Street.  By  Mr.  Lockman.  Set  to  music 
by  Mr.  John  Christopher  Smith.  To  which  is  prefixed,  an  enquiry 
into  the  rise  and  progress  of  opera  and  oratorios,  with  some  reflec- 
tions on  lyric  poetry  and  music. 

London,  Printed  hy  W.  Strahan  for  the  author,  1740.  4  V'  ^-f  ^"^t 
[2],  9-19  p.    23^"^. 

One  act.    Cast  and  dedication  by  John  Lockman.  ML  50.2. R72 

La  Rosalinda.  Drama  per  musica  da  rappresentarsi  nel  novissimo 
Teatro  di  S.  Angiolo  I'anno  1692.  M.  V.  d'Antonio  Marchi  .  .  . 
Venetia,  Girolamo  Alhrizzi,  1693.  front.,  71  p.  14^'^- 
Three  acts.  Author's  dedication  dated  Venice,  November  11,  1692,  argument, 
scenario,  and  notice  to  the  reader,  in  which  Marchi  calls  this  "un  primo  parto  d'in- 
gegno  .  .  .  scritto  pivi  per  capriccio,  che  per  genio"  and  mentions  Marc'  Antonio 
2Uani  as  the  composer.  Schatz  11210 

Rosamond;    an  opera.     (Altered  from  Mr.  Addison.)    The  music 
entirely  new  set  by  Mr.  Arnold. 
London,  L.  Davis  and  C.  Reymers,  1767.     40  p.     19\<^'"K 

Reduced  from  three  to  two  acts.  Cast.  Author  of  the  alterations  not  mentioned 
by  Genest. 

First  performed  at  Covent  Garden,  April  21,  1767.  ML  50.2.R73A7 

Rosamund.  Ein  singspiel  in  drey  aufzuegen.  Fuer  die  Chur- 
Pfaelzische  Hof-singbuenne. 

Mannheim,  C.  F.  Schwan,  1778.     Unpaged.     15^'^.  . 

Three  acts.  Cast,  vorbericht,  and  names  of  Wieland  as  the  author,  of  Anton 
Schweitzer  as  the  composer  of  the  opera  and  of  Cannabich  as  composer  of  Lauchery's 
incidental  "ballet,  welches  die  hoellcnfarth  des  Herkules  um  Alcesten  zurueck- 
zuhohlen  vorstellt." 

First  performed  at  Mannheim,  Nationaltheater,  January  20,  1780,  the  death  of  the 
sovereign  interfering  with  first  performance  in  1778.  Schatz  9774 


OPERA  LIBRETTOS  953 

La  Rosaura.  Dramma  per  miisica  da  rappresentarsi  nel  Teatro  di 
S.  Angelo  Tanno  1689  .  .  . 

Venetia,  Nicolini,  1689.    front,  67  p.     14'''^. 

Three  acts.  Author's  dedication  by  Antonio  Arcoleo,  notice  to  the  reader  with 
Giacomo  Antonio  Pertd's  name  as  the  composer,  argument,  and  scenario.  Arcoleo 
says: 

"Mi  fe  stato  necessario  addattarmi  ad  alcune  scene  gia  dipinte;  ad  abiti  preparati, 
al  numero  stabilito  de  personnaggi,  alle  sodisfattioni  di  tutti,  ed  in  tanta  angustia, 
di  tempo."  Schatz  7954 

La  Rosaura.  Cofiamedia  per  musica  di  Gennarantonio  Federico 
Napoletano.  Da  rappresentarsi  nel  Teatro  de'  Fiorentini  nell' 
inverno  di  quest'  anno  1736  .  .  . 

Napoli,  Nicola  di  Biase,  1736.     72  p.     W"^. 

Three  acts.  Impresario's  dedication,  cast,  and  name  of  Domenico  Sarro  as  the 
composer.  Schatz  9419 

La  Rosaura.     A.  T.  of  A.  Scarlatti's  Gli  equivoci  in  amore. 

La  Rosaura  overo  Amore  figlio  della  gratitudine,  drama.     Da  rapre- 

sentarsi  in  musica  da  ajutante  &  ajutanti  di  camera  avanti  la  S.  R. 

Maesta  di  Eleonora,  regina  di  Polonia  .  .  .  I'anno  MDCXCII.    Posto 

in  musica  dal  Sign.  Carlo  Augustino  Badia  .  .  . 

Insprugg,  Giacomo  Christoforo  Wagner,  n.  d.     61  p.     14Y^ 
Three  acts.    By  conte  Ottavio  Malvezzi,  who  is  not  mentioned.         Schatz  542 

Rosbale.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nell  autunno  dell  anno  1737  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.    60  p.     IJf.'^^. 

Three  acts.  Dedication  by  Domenico  Lalli,  argument,  cast,  scenario,  and  name 
of  Nicole  Antonio  Porpora  as  the  composer.  Text  by  Claudio  Nicola  Stampa,  who 
is  not  mentioned.     The  title  originally  was  "Eurene.' 

In  his  own  catalogue  Schatz  recorded  as  first  performance  Arezzo,  Teatro  della 
Citt^,  1736,  but  in  the  ms.  of  his  opera  dictionary  he  gives  the  above.       Schatz  8360 

Roschen  und.  Colas.     Tr.  of  Monsigny's  Rose  et  Colas. 

La  rose  ou  Les  jardins  de  I'Hymen.     O.  T.  of  the  following: 

—  La  roze  ou  Les  festes  de  I'Hymen,  opera  comique,  repr6sentd  sur 
le  Th6a.tre  de  I'Op^ra  comique,  le  8  mars  1752. 

Paris,  Duchesne,  1764.    56  p.     18^'^'^. 

Prologue  and  one  act.  En  vaudevilles.  Not  recorded  by  Schatz.  Parfaict  refers 
from  the  title  to  the  alternative  title,  but  has  no  entry  there.  Desboulmiers,  in  his 
"Hifltoire  du  th&tre  de  rOp^ra-comique "  (1769,  t.  i)  has  a  few  pages  on  Piron's 
"La  rose  ou  Lea  jardins  de  l*Hymen;  Op^ra  comique  en  un  acte,  en  prose,  mgle  de 
vaudevilles,  suivi  d'un  divertissement  &  pr^6d6  d'lm  prologue, "  which  was  per- 
formed on  March  5,  1745,  after  some  diflSculties  with  the  police  authorities.  Com- 
parison of  the  present  libretto  with  Desboulmiers'  analysis  of  Piron's  piece  proved 
them  to  be  identical.  I  have  not  found  "La  roze"  elsewhere  mentioned  in  the 
reference  books.  ML  50.2. R87 

—  La  rose,  op^ra-comique  en  un  acte,  avec  un  prologue. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  3,  [347\-418  p. 

En  vaudevUles.  PQ  2019. P6 


954  UBBABY  OF   CONGRESS 

The  rose.  A  comic  opera,  in  two  acts,  as  it  is  performed  at  the 
Theatre  Royal,  in  Drury-Lane.  The  words  by  a  Gentleman  com- 
moner of  Oxford.     The  music  by  doctor  Arne. 

London,  E,  and  C.  DiUy  and  W.  Griffin,  1773.     4  y.  I.,  28  p.     19^''^. 

Two  acts.    Cast  and  preface,  in  which  the  anonymous  author  says: 

"Mv  attendance  at  college  being  indispensible,  I  have  committed  this  trifle  to  the 
care  01  my  friend,  Dr.  Arne." 
whom  Grove  and  others  consider  the  real  author. 

First  performed  December  2,  1772,  as  indicated.  Lonoe  37 

Rose,  oder  Pflicht  und  liebe  im  streit.  Ein  komisches  singspiel  in 
drey  aufzuegen.  Aufgefuehrt  im  kaiserl.  koenigl.  National-Hof- 
theater. 

Wien,  Joseph,  edler  von  Kurzbeck,  1783.     86  p.     W^. 

Neither  the  author,  Gottlieb  Stephanie  d.  J,  is  mentioned  nor  the  composer  Johann 
Mederitsch. 

First  performed,  as  indicated,  February  9,  1783.  ML  50.2.R74M3 

Rose  and  Colin,  a  comic  opera,  in  one  act.  As  it  is  performed  at 
the  Theatre-Royal  in  Covent  Garden. 

London,  G.  Kearsley,  1778.    28  p.     21^"^. 

Cast  and  prefatory  note  by  the  author-composer,  Charles  Dibdin: 

"The  following  little  piece  is  an  imitation  of  the  French  comic  operas  of  one  act, 
which  are  generally  characterized,  either  by  their  natural  simplicity,  or  some  single 
striking  incident,  and  little  or  nothing  more  is  desipied.  It  is  now  first  attempted  to 
introduce  this  species  of  entertainment  on  the  English  theatre,  as  containing  excellent 
situations  for  light  airs  ..." 

First  performed  September  18, 1778,  as  indicated.  Lonoe  87 

Rose  et  Colas,  comedie  en  un  acte,  prose  et  music[ue,  repr^ent^e 
pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le 
8  mars  1764. 

Paris,  Claude  Herissant,  1764.    4  p.  I.,  62,  [2]  p.     18'^. 

Cast,  Herissant's  privilege,  on  the  [2]  p.  a  list  of  plays  and  preface  by  the  author 
Sedaine,  who  is  not  mentioned,  in  which  he  states: 

"Je  fais  imprimer  cette  pifece  avant  qu'elle  soit  representee,  &  je  la  fais  distribuer 
le  propre  jour  de  la  representation." 

He  took  this  precaution,  he  says,  not  because  of  "un  amour-propre  trfes  indiscret" 
but  in  order  to  give  "k  I'auditeur  toute  la  facility  de  suivre  la  musique  sur  les  paroles." 
The  preface  is  interesting,  as  it  gives  an  inside-view  of  Sedaine's  ambitions  and 
methods.    He  says,  for  instance: 

"Ce  petit  genre  a  I'ambition  de  joindre  la  finite  d'Euterpe  au  masque  de  Thalie, 
tels  que  les  Grecs  I'ont  unie  au  sceptre  de  Melpomene.  Ses  efforts  tendent  k  intro- 
duire  la  vraie  comMie,  ne  faisant  qu'un  avec  les  morceaux  de  musique  n^cessaire- 
ment  enchaines  k  la  scfene,  &  vicieux  d^s  que  le  concours  heureux  de  I'harmonie  ne 
donne  pas  k  Taction  de  la  chaleur,  du  mouvement,  &  de  la  precision,  sur-tout  dans 
ces  momems  rapides  sur  lesquels  la  trag^die  &  la  comedie  n'osent  &  ne  peuvent 
appuyer  ..." 

Sedaine  forgot  completely  to  mention  his  musical  partner,  Monsigny. 

ML50.2.R74M6 

—  Rose  et  Colas,  com6die  en  un  acte,  prose  et  musique,  repr^ent^e 
pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires  du  roi,  le 
8  mars  1764. 

Paris,  la  veuve  Duchesne,  1770.     52  p.     18'^'^. 

Cast.  Neither  Sedaine,  the  author,  nor  Monsigxiy,  the  composer,  is  mentioned. 
Contains  the  airs  of  "Pauvre  Colas"  (I,  1),  "C'est  ici  que  Rose  respire"  (1, 12). 

ScHATZ  6583 


OPERA  LIBRETTOS  955 

Bose  et  Colas — Continued. 

—  Rose  et  Colas,  com^die  en  un  acte,  prose  et  musique;  repre- 
sentee pour  la  premiere  fois  par  les  Com6diens  italiens  ordinaires  du 
roi,  le  8  mars  1764. 

Paris,  la  veuve  Duchesne,  1779.     J^S  p.     Id'^'^. 

Cast.     On  p.  3-6,  the  ariette,  "Pauvre  Colas."     Neither  the  composer,  Monsig^ny, 
is  mentioned,  nor  Sedaine,  the  author.  Schatz  11733 

—  Roschen  und.  Colas,  ein  singspiel  in  einem  aufzuge  aus  dem 
franzoesischen  uebersetzt. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1772.     88  p.,  16 
p.   (music).     16^'^'^. 

Johann  Heinrich  Faber's  version  of  Monsigny's  opera.    The  music  (voice  and  bass) 


Theob.  Marchand's  Churpfalzische  Hofschauspiel  gesellschaft.  Schatz  6584 


—  Den  forstilte  tvlstighed,  efter  den  franske :  Rose  og  Colas.  Et 
comisk  synge-spil  af  Sedaine  i  een  handling;  musiken  af  Monsigny; 
til  samme  musiK  oversat  af  Niels  Kjog  Bredal. 

n.  %.,  n.  d.    95  p.    16"^. 

First  performed  at  Copenhagen,  January  10,  1777.  Schatz  6586 

Rosemunde.  Ein  melodrama  in  einem  akt  von  Bretzner.  (Die 
musik  von  J.  Ch.  KafFka.) 

p.  65-89.     18^"^.     (Litteratur  und  Theater  Zeitung,  Berlin,  1780, 
3^  jahrg.,  l'^  Th.) 

First  performed  at  Breslau,  Neues  Waser'sches  Theater,  January,  1782. 

•  Schatz  4772 

Das  rosenfest.  Eine  operette  in  drey  aufzuegen.  Aus  dem  fran- 
zoesischen nach  dem  singspiele  des  hrn.  Favart,  La  rosi^re  de  Salenci. 
Dritte  veraenderte  auflage. 

Weimar,  Carl  Ludolf  Hoffmann,  177 J^.  2  p.  t,  188  p.  15^"^- 
By  Gottlob  Ephraim  Heermann  (not  mentioned),  who  says  in  the  preface  that  he 
had  neither  patience  nor  time  to  thoroughly  overhaul  the  text  again  for  a  third  edition, 
and  that  he  contented  himself  with  condensing  now  and  then  the  text  and  with 
marking  those  parts  which  in  performance  might  be  omitted.  The  composer,  Ernst 
Wilhelm  Wolf,  is  not  mentioned. 

First  performed  at  Weimar,  Schlosstheater  in  der  Wilhelmsburg,  1770. 

Schatz  11083 

—  Das  rosenfest.  Eine  operette  in  drey  aufziiegen.  Aus  dem 
franz6sischen  nach  dem  singspiele  des  Herm  Favart,  La  rosi^re  de 
Salenci. 

[Weimxirf]  n.  puM.,  1776.     112  p.     16^"^. 

Neither  G.  E.  Heermann  is  mentioned,  nor  Ernst  Wilhelm  Wolf. 

ML  50.2.R75W6 


Das  rosenfest  zu  Salenci.     Tr.  of  Gr^try's  La  rosi^re  de  Salenci. 

Das  rosenmaedchen,  oder  Das  fest  der  weiblichen  tugend.     Tr.  of 
La  rosi^re  de  Salenci  by  Blaise,  Philidor  and  Duni. 


956  LIBRARY   OF   CONGRESS 

La  Rosiere,  ballet-d'action,  en  deux  actes,  de  la  composition  de  M. 

Gardel,  I'ain^,  Maitre  des  ballets.     Representee,  pour  la  premiere 

fois,  sur  le  Theatre  de  FAcademie  de  musique,  le  mardi  29  juillet  1783. 

Paris,  a  U  SaUe  de  VOpera,  1783.     16  p.     ISY'"" 


Two  acts.     Cast  added  by  contemporary  hand.     Scene  by  scene  description  of  the 
'"'  '  "  "  '  ''      "  '    "     '■'     "  Dy  Ivajartc 

ML  48.B2 


action.    The  composer  of  the  music  is  not  mentioned  in  the  libretto  nor  oy  Ivajarte. 

-[L 


La  rosiere  de  Salenci,  com6die,  en  trois  actes,  m§16e  d'ariettes; 
par  M.  Favart:  representee  devant  Sa  Majeste  a  Fontainebleau,  le 
25  octobre  1769.  Et  k  Paris,  par  les  Comediens  ordinaires  du  roi,  le 
14  decembre  17-69. 

Paris,  la  veuve  Duchesne,  1770.  viii,  IO4.  f.  lO""^.  (Theatre  de 
M.  Favart,  Paris,  Duchesne,  1763-77,  t.  x.) 

Cast.  On.  p.  97-98  the  air  of  the  "Vaudeville  de  la  Rosiere  de  Salenci"  ("Vous 
qui  cherchez  k  m^riter")  and  on  p.  102-104  the  "Air:  Menuet  d'Exaudet"  sung  to 
the  words  "Cet  ^tang,  qui  s'^tend."  The  text  is  preceded  by  an  " Eclaircissement 
historique  sur  la  Fgte  de  la  rose"  and  by  an  "Avis  du  libraire    which  begins: 

"La  Rosiere  de  Salenci  a  d^ja  6t6  imprim^;  mais  les  exemplaires  ^toient  unique- 
ment  destines  pour  la  cour. 

"Depuis  plusieurs  ann^es  bien  des  auteurs  se  plaignent  de  voir  leurs  ouvrages 
contrefaits  dans  presque  toutes  les  grandes  villes  du  royaume,  remplis  de  fautes,  de 
contre-sens  insoutenables,  qui  les  d^figurent  au  point  qu'eux-memes  ont  bien  de  la 
peine  k  les  reconnoitre.  Ces  contrefactions  .  .  .  se  debitent  meme  jusques  eur  les 
theatres  de  la  capitale:  c'est  pourquoi,  pour  garantir  le  public  de  toute  supercherie 
k  cet  ^gard,  nous  nous  croyons  obliges  de  1  avertir  de  s'adresser  diredtement  aux 
libraires  d^ignes  sur  les  titres  des  pieces  qui  s'impriment  ^  Paris  ..." 

The  music  is  attributed  principally  to  Blaise,  Diini,  and  Philidor,  who  are  not 
mentioned.  ML  49.A2F1 

—  Das  rosenmaedchen,  oder.  Das  fest  der  weiblichen  tugend,  ein 
singspiel  in  drey  aufzuegen  aus  dem  franzoesischen  uebersetzt,  mit 
musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften  1772.  128  p.,  11 
p.  (folded  dated  music).     16^"^. 

German  version  by  Johann  Heinrich  Faber.    With  cast. 

The  musical  supplement  contains  the  arias  (voice  and  bass):  "Dieser  teich  malet" 
["Cet  etang  qui  e  6tend"]  p.  1-4,  "Kiitchen  hat  mir  dumm  geschienen"  ["Nicole  a 
i'air  bien  novice"],  p.  4-8;  "Madchen,  lasst  euch  die  freude  schmecken"  ["Amuses 
vosjeunes"],  p.  9-10;  "Man  giebtunsden  unterricht"  ["On  nous  donne  des  lemons"], 
p.  10-11. 

First  performed  at  Frankfurt  a/M,  Theater  im  Junghof,  1772.  Schatz  2860 

La  rosiere  de  Salenci,  pastorale  en  trois  actes,  m^lee  d'ariettes; 
representee,  pour  la  premiere  fois,  par  les  Comediens  italiens  ordi- 
naires du  roi,  le  lundi  28  fevrier  1774:  precedee  de  Reflexions  sur 
cette  pi^ce,  m^ies  de  quelques  Observations  generales  sur  les  spec- 
tacles. 

Paris,  Delalain,  1774.     xxviii,  67  p.     21'^'^. 

Cast.  By  Alexandre  Frederic  Jacques  Masson,  marquis  de  P6zay,  who  is  not 
mentioned.  His  preface  is  very  interesting  and  full  of  side  lights  on  olden  times  and 
manners.  Gr§try,  the  composer,  comes  in  for  some  complimentary  remarks,  and  those 
who  were  jealous  of  his  successes  for  some  rather  uncomplimentary  remarks.  Nor 
does  the  author  spare  his  own  critics  when  defending  his  piece  in  detail  against  their 
attacks.  Still,  the  criticism  levelled  at  the  piece  can  not  have  been  wholly  unrea- 
sonable, because  the  author  himself  in  a  foot-note  on  p.  xx  remarks  that  even  after 
contracting  the  two  first  acts  of  the  original  four  into  one,  the  piece  may  be  too  long 
with  its  three  acts.-  The  date  of  performance  in  the  title  is  that  of  the  original  four 
acts  at  the  Com^die  italienne.  Pans,  whereas  the  three-act  version  was  first  performed 
there  on  June  18,  1774.    The  present  three-act  libretto  was  printed,  as  appears  from 


OPERA   LIBRETTOS  957 

La  rosiere  de  Salenci— Continued. 

remarks  on  p.  xvii,  before  this  performance  but,  of  course,  after  that  of  the  four-act 
version.  Of  the  libretto  printed  for  the  ori^al  performances  at  Fontainebleau 
(exact  date  not  recorded)  the  author  says  that  it  was  trop  fautive  pour  valoir  mSme 
la  peine  d'etre  desavou^e." 

For  the  present  purpose  the  following  quotations  from  Maeaon  de  Pdzay's  frank 
and  noteworthy  "Reflexions"  must  suffice: 

".  .  .  La  presence  inattendue  de  Madame  la  Dauphine,  avoit  favorablement 
dispose  le  Public  k  la  premiere  representation  de  la  Rosiere  k  Paris;  on  est  indulgent 

Juand  on  est  heureux.  Quelques  mois  auparavant  cette  Pi^ce  avoit  ^t^  donn^e  i 
ontainebleau,  &  n'avoit  pas  eu  pour  elle,  k  beaucoup  pr^s,  le  plus  grand  nombre 
des  suffrages.  II  y  a  plusieurs  exemples,  au  Theatre,  de  cette  apparente  contradiction 
entre  les  jugemens  de  la  Cour  &  ceux  de  la  Ville.  J'en  donnerai  plus  d'une  raison 
plausible,  avant  de  me  pr^valoir  de  celle  que  I'esprit  malin  de  la  Capitale  se  platt  k 
accrediter.    Je  ne  I'allegue  point,  parce  qu  elle  me  paroit  fausse  .  .  . 

"Une  de  ces  circonstances  les  plus  marquees,  est  eans  doute  I'usage  qui  proscrit  lee 
applaudissemens  toutes  les  fois  que  Sa  Majesty  honore  le  Spectacle  de  sa  presence.  II 
ne  nous  appartient  pas  de  decider  si  ce  silentieux  hommage  du  respect  compense  bien 
celui  qu'il  interdit  a  I'amour;  s'il  peut  etre,  pour  un  Monarque,  beaucoup  de  tableaux 
plus  doux  que  tout  mouvement  passionne  des  coeurs  qui  lui  appartiennent ;  &  si  des 
ris  &  des  larmes  libres  ne  developperoient  pas  toujours,  avec  un  nouvel  avantage, 
aux  yeux  du  Roi,  le  caract^re  du  peuple  charmant  &  sensible  dont  il  est  maitre?  Ce 
que  je  sais,  c'est  que  I'^tiquette  a  fixe  cet  usage;  c'est  qu'il  est  glagant  pour  I'Acteur; 
c'est  que  I'Acteur  ne  se  ^lace  point  sans  r^froidir  celui  qui  I'^coute,  &  que  de  froideur 
en  froideur,  &  de  contrainte  en  contrainte  la  toile  se  16ve  &  s'abaisse  ainsi,  sans  que 
I'ame  engourdie  k  ce  Theatre  se  permette  I'^lan,  qui  seul  lui  donne  le  droit  de  juger, 
parce  que  seul  il  lui  permet  de  sentir  .  .  . 

"II  est  une  autre  observation  particulifere  aux  Pi^es  en  musique,  c'est  qu'elles  ne 
sont  donn^es  k  Versailles  ou  k  Fontainebleau  qu'une  fois,  deux  au  plus,  &  qu'il  est 
impossible  de  juger  les  effets  d'harmonie  k  une  premiere,  &  meme  k  une  seconde 
representation  .  .  . 

"Aux  obstacles  communs  k  toutes  les  Pik^es  en  musique  donn^es  k  la  Cour,  il  s'en 
est  ioint  quelques-uns  de  particuliers  k  la  mienne.  Un  devoir  militaire  m'occupoit  k 
I'Isle  de  Khe,  au  moment  oti  Ton  se  disposoit  k  la  donner  k  Fontainebleau.  Je  ne 
pouvois  pas  trop  d^cemment  repasser  la  mer  pour  venir  Ai-eiller  k  la  repetition.     Quel- 

3ue8  mois  auparavant,  je  m'etois  contente  d'envoyer  un  manuscrit  exact,  accompagne 
e  notes  indispensables.  J'ignore  par  quelle  fatalite  il  se  trouva  perdu  avant  que  la 
Piece  f{it  sfie,  &  par  consequent  representee.  Au  defaut  du  manuscrit  egare,  on  eut 
recours  k  un  autre  tres-rature,  ou  les  nouvelles  corrections,  relatives  aux  anettes  seule- 
ment,  etoient  portees.  Elles  s'y  trouvoient  malheureusement  en  contradiction  avec 
I'ancien  dialogue:  del^  resulta,  k  la  representation,  mille  petites  absurdites  plus 
piquantes  les  unes  que  les  autres,  &  un  galimathias  dont  toute  la  bonne  volonte  des 
rivaux  auroit  eu  bien  de  la  peine  k  sauver  le  ridicule  k  I'Auteur  mutiie  &  absent. 

"Ce  manuscrit  etoit  depuis  cinq  ou  six  ans  entre  les  mains  de  M.  Gretri.  Je  saisis 
cette  occasion  de  rapporter  la  date  de  mon  importante  production;  je  me  crois  oblige 
d'en  faire  part  aux  esprite  bien  intentionnes,  qui  ont  eu  grand  soin  de  faire  remarquer 
k  des  Juges,  dont  une  seule  pensee  ne  peut  §tre  indifferente,  combien  pen  le  metier 
d'un  Aide-Marechal  General-des-Logis  de  L'Armee  est  de  faire  des  Opera-comiques. 
C'est  k  ces  donneurs  d'avis  benevoles  que  j 'observe  qu'il  y  a  six  ans  sur-tout,  ces  dis- 
tractions pouvoient  encore  m'etre  permises;  qu'aujourd'hui  mSme  je  serois  auesi  loin 
d'en  rougir  que  de  m'enorgueillir  du  succ^  le  plus  entier  dont  elles  pourroient  dtre 
fiuivies  ... 

J'ai  tarde  long-tems  k  faire  imprimer  la  Rosiere:  peut-^tre  ne  I'aurois-je  pas  fait 
imprimer  du  tout,  si  des  critiques  verbales,  mdme  imprimees,  ne  m'avoient  fait  con- 
noltre  que  toute  Pifece  oil  il  y  a  de  la  musique  n'est  jamais  bien  entendue,  ni  m6mo 
comprise  avant  d'avoir  ete  Ide:  c'est  pour  1  intelligence  de  la  Sc^ne  que  je  me  deter- 
mine k  cette  nouvelle  publicite,  &  non  par  la  conviction  que  de  telles  miseres  puissent 
jamais  meriter  les  honneurs  durables  de  la  preeee  .  .  ."  ML  50.2.R8G71 

—  La  rosiere  de  Salenci,  pastorale  en  trois  actes,  m616e  d'ariettes. 
Representee  pour  la  premiere  fois  par  les  com6diens  italiens  ordinaires 
du  Roi  le  lundi  28  f6vrier  1774. 

Paris,  DeUlain,  1775.     62  p.     18''^. 

Neither  the  author  nor  the  composer  Qrfitry  is  mentioned.  Contenta  as  in  next 
«ntry.  Schatz  4182 


958  OBRARY   OF   CONGRESS 

La  rosiere  de  Salenci — Continued. 

—  La  rosiere  de  Salenci,  pastorale  en  trois  actes,  mS16e  d'ariettes. 
La  musique  de  M.  Gr^tiy.  Reprfeent^  pour  la  premiere  fois  par 
les  Com^diens  italiens  ordinaires  du  roi,  le  lundi  28  f^vrier  1774. 

Paris,  DeMain,  1785.     54  p.     18'^'^, 

Same  cast.  Does  not  contain  Masson  de  P^zav's  "Reflexions."  On  p.  3-6,  the 
air  of  the  ariette,  "Quel  beau  jour  se  dispose"  (I,  1).  On  p.  52-54  of  the  " Ronde, 
pendant  laquelle  on  danse.     Chantez,  dansez,  amusez-vous     (III,  5). 

ML  50.2.R8G73 

—  Das  rosenfest  z\i  Salenci,  ein  singspiel  in  drey  aufzuegen  aus 
dem  franzoesischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaischen  schriften,  1775.  109  p.,  8 
p.  (folded  music).     16^"^- 

By  Joh.  Heinr.  Faber,  who  is  not  mentioned.  The  music  (voice  and  bass)  consists 
of  "Im  wankenden  kahne"  ("Ma  barque  flottante,"  II,  7)  and  "Singet  und  tanzet, 
freuet  Euch  "  ("Chantez,  dansez,  amusez-vous,"  III,  5).  Schatz  4183 

La  Rosilda.     Dramma  favoloso  da  recitarsi  in  musica  I'anno  1707. 
Nel  Teatro  di  S.  Fantin  in  Venezia.     Di  Bartolomeo  Pedoni  .  .  . 
Venezia,  Gio.  Maria  Rossi,  1707.     48  p.     15""^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
with  the  name  of^Girolamo  Polani  as  the  composer.  Schatz  8251 

La  Rosilena.  Drama  per  musica  di  Aurelio  Aureli,  favola  duode- 
cima.     Rappresentata  nel  novissimo  Teatro  Grimano  I'anno  1664  .  .  . 

Venetia,  Francesco  Nicolini,  1664.     ^^  P-     14Y^- 

Prologue  and  three  acts.  Author's  dedication  dated  January  4,  1664,  ailment, 
and  scenario.    Rovettdno,  the  composer,  is  not  mentioned.  Schatz  9109 

Rosilena  ed  Oronta.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  Sant'  Angelo  nel  carnovale  dell'  anno  1728  ... 

Venezia,  Antonio  Bortoli,  1728.     58  p.     15""^. 

Three  acts.  By  Giovanni  Palazzi,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as  composer. 

Schatz  10778 

La  Rosilla.  Tragicommedia  di  Filostrato  Luckno  Cinneo.  Da 
rappresentarsi  nel  nuovo  Teatro  di  sopra  la  strada  di  Toledo  in 
questo  autunno  del  corrente  anno  1733  ... 

Napoli,  n.  puhl,  1733.     72  p.     15'^'^. 

Three  acts.  Real  name  of  the  author  is  Antonio  Soliva,  according  to  Wotquenne 
after  Florimo),  but  Piovano  says  that  it  is  an  anagram  of  Francesco  Antonio  Tulli. 
Impresario's  dedication,  cast,  argument,  and  note: 

La  musica  6  del  Signor  Antonio  Orefici,  a  riserva  dell'  arie  con  questo  segno  § 
che  sono  del  Signor  Lionardo  Leo  ..." 

This  would  apply  to  "  Se  i  miei  etrali  fosser  tali"  (I,  4),  "II  vincitore :  Lascia, 
ch'io  parli  al  core"  (I,  7),  "Po  fa  la  Ddea,  che  a  chisto  core"  (I,  13^  "In  libertate 
lasciami  il  core"  (I,  15),  "Vincerai,  non  paventar"  (II,  7),  "Quell  amor,  che  nel 
cimento"(II,9),  "Manongliaffettimiei"  (II,  11),  " Sento  la  speme "  (II,  15),  "Non 
fa,  ch'io  porri  immora"  (III,  1),  "Dove  spero  aver  la  sorte  (HI,  3),  "Dolce  ben 
mlo"  (III,  9},  "Bell'  alme  innamorate"  (III,  14). 

The  sign  §  frequently  stands  not  at  the  beginning  of  an  aria  but  somewhere  in  the 
middle  or  towards  the  end.  Since  there  appears  no  rea«)n  for  having  misplaced  it, 
the  lines  have  been  quoted,  which  are  actually  distinguished  by  the  sign.  Thus 
part  of  an  aria  would  seem  to  have  been  by  Orenci,  part  by  Leo!  This  sort  of  thing 
was  not  ciifitomary  even  in  pasticcios,  though  it  was  not  unprecedented. 

Schatz  7293 


OPERA  LIBRETTOS  959 

Rosimonda.  Tragedia  per  musica  da  rappresentarsi  nel  Teatro 
Grimano  di  San  Gio.  Grisostomo  I'anno  MDCXCVI  .  .  . 

Venetia,  Nicolini,  1696.    front.,  84  p.     14''^. 

Five  acts.  Dedication  by  the  author  conte  Girolamo  Frigimelica  Roberti,  one  of 
his  lengthy  notices  to  the  reader,  argument,  and  Bcenario.  The  composer,  Carlo 
Francesco  Pollaxoli,  is  not  mentioned. 

First  performed  at  the  same  theatre,  fall  of  1695.  Schatz  8316 

Bosina,  a  comic  opera,  in  two  acts.  Performed  at  the  Theatre- 
Royal  in  Covent-Garden. 

London,  T.  CadeU,  1783.    46,  v-vi  p.    21'^'^. 

Cast.  The  p.  v-vi  at  end  contain  an  Advertisement  to  the  effect  that  "some  of 
the  songs  and  a  few  short  passages  of  the  dialogue  "  which  were  omitted  in  the  per- 
formance are  restored,  also  that  the  fable  of  the  piece  is  taken  from  the  book  of  Ruth, 
and  that  both  Thomson  and  Favart's  works  on  the  same  subject  were  utilized  as  far 
as  the  difference  of  the  plan  would  allow. 

Neither  the  author,  Mrs.  Brooke,  nor  the  composer-compiler,  William  Shield,  is 
mentioned.  In  Napier's  vocal  score  "The  mom  returns  "  is  headed  as  composed  by 
Stephen  Paxton,  "  Henry  cull'd  the  flowrets"  as  by  Sacchini 

First  performed  December  31,  1782,  as  indicated.  Longe  91 

Bosina  consolata  o  sia  L'innocenza  protetta.  Intermezzo  a  quattro 
voci  del  Signor  abate  Pietro  Antonio  Bagliaca  tra  gl'ArcadiCancidio 
Matiglauro,  Da  rappresentarsi  nel  Teatro  di  San  Cassiano  I'autunno 
dell'  anno  1781  .  .  . 

Venezia,  n.  puhl,  1781.    40  p.     16^"^. 

Two  acts.  Pages  29-30  supplied  in  ms.  Impresario's  dedication,  cast,  and  name 
of  Giovanni  Valentim  as  the  composer.  Schatz  10584 

Rosxnira.  Dramma  per  musica  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  del  Cocomero  neU'  carnevale  dell'  anno  1746  ... 

Firenze,  Gio.  Batista  SteccTii,  1746.    65  p.     W'^. 

Three  acta.  Impresario's  dedication,  argument,  cast,  and  scenario.  Neither 
author  nor  composer  mentioned.  Schatz  attributes  the  music  to  GiuBeppe  Antonio 
PaganelU  and  says  that  the  composer  sang  the  part  of  "Armindo."  The  list  of 
characters  says:  "11  Sig.  Giuseppe  Paganelli  di  Forli,"  but  since  the  composer  was 
from  Padua,  the  two  do  not  appear  to  be  identical.    ( Comp.  afeo  Eitner.) 

By  comparison  I  find  that  the  text  is  a  pasticcio  text.  Much  of  the  dialogue  ia 
identical  with  Silvio  Stampiglia's  "La  Rosmira  fedele."  Also  a  few  ariaa  are  iden- 
tical with  arias  in  this,  but  most  are  not,  and  of  these  quite  a  few  can  be  traced  to 
Metastasio.  Schatz  7575 

Rosmira.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  il  camovale  1738  .  .  . 

Venezia,  Marino  Rossetti,  1738.    4^  p.    Id"^. 

Three  acts.  Dedication  by  the  composer,  Antonio  Vivaldi,  argument,  cast,  and 
scenario.    Silvio  Stampiglia  is  mentioned  by  Vivaldi  aa  the  author.    Schatz  10779 

La  Rosmira  fedele.  Dramma  per  musica  di  Silvio  Stampiglia^  da 
rappresentarsi  nel  Teatro  di  S.  Samuele  per  la  fiera  dell'  Ascensione 
deir  anno  MDCCLIII. 


cm 


Venezia,  Angiolo  Geremia,  n.  d.    33  p.     16 

Three  acts.    Argument,  cast,  and  name  of  the  composer,  Gioacchino  Cocchi. 

Schatz  2044 


960  LIBBARY  OF   CONGRESS 

La  Rosmira  fedele.  Dramma  f>er  musica  di  Silvio  Stampiglia  tra 
gli  Arcadi  Palemone  Licurio.  Da  rappresentarsi  nel  Teatro  celebre 
Grrimani  in  S.  Gio.  Grisostomo  il  carnovale  MDCCXXV  .  .  . 

Venezia,  Marino  Eossetti,  n.  d.    67  p.     15^"^. 

Three  acts.  Impresario's  dedication,  cast,  argument,  scenario,  and  name  of 
Leonardo  Vind  as  tne  composer.  Schatz  10751 

La  Rossana.  A.  T.  of  the  ballet  "La  vittoria  di  Tamerlano  contro 
Bajazette. 

Bossana,  ballet.     See  Caruso's  Li  sposi  in  commedia. 

La  Rossana.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  alia 
Scala  il  came  vale  dell'  anno  1795  .  .  . 

Milano,  Gio.  Batista  BiancTii,  n.  d.     50,  [15]  p.     16*^^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation dated  Milan,  January  31,  1795,  argument,  cast,  scenario,  and  name  of  Ferdi- 
nando  Per  (Paer)  as  the  composer. 

With  the  oj)era  were  performed  Paolino  I^nchi's  "ballo  eroico-tragico  Lodoiska," 
his  "ballo  eroico-pastorale  Gli  amori  di  Angelica  e  Medoro"  and  "La  pianella  per- 
duta."  The  unnumbered  pages  contain  the  description  of  the  first  and  the  argument 
of  the  second.  The  composers  of  the  music  are  not  mentioned.  The  last  unnum- 
bered page  contains  the  substitute  aria,  etc.  (I,  6)  "Un  tenero  accento." 

Schatz  7561 

Le  rossignol,  opera  comique  an  un  acte,  de  Messieurs  *  *  * 
Repr6sente  pour  la  premiere  fois  le  15  septembre  1752,  &  jours 
suivans,  jusqu'k  la  cl6ture  du  Theatre  du  Faubourg  Saint-Laurent; 
et  continue  le  3  f^vrier  1753,  pour  I'ouvertm-e  du  Theatre  du  Fau- 
bourg Saint-Germain. 

Paris,  Praultjils,  175S.    Sip.     iP^"*. 

En  vaudevilles.     In  the  Avertissement  (p.  [4-5])  the  authors  say: 

"Parlous  maintenant  d'une  autre  pifece  qui  s'est  d6bit6e  k  Paris  dans  I'interv'alle 
des  deux  foires,  intitul6e  de  m§me:  Le  Rossignol,  opera  comique,  represent e  pour  la 
premiere  fois  sur  le  theatre  de  Rou£n,  le  8  octobre  1751,  &  imprim6  dans  la  mime  ville 
en  1752. 

"Ce  titre  annoncant  k  notre  Rossignol,  un  rival  d'autant  plus  dangereux  qu'il 
paroit  fortifi^  du  droit  d'alnesse,  les  deux  auteura  se  sont,  comme  on  pent  croire, 
empresses  k  le  lire,  &  ce  n'est  pas  sans  surprise,  qu'entr'autres  imitations,  ils  y  ont 
vfl  un  de  leurs  couplets,  copi^presqu'en  entier  ...  II  est  question  du  monologue 
"Que  pour  mon  coeur  ces  lieux  ont  d'attraits  .  .  .  Or,  comme  il  seroit  difficile  de 
ee  persuader  qu'une  ressemblance  si  parfait  soit  un  pur  effet  du  hazard,  les  deux 
auteurs  appr^hendant,  avec  raison,  que  le  repioche  d'un  plagiat  aussi  caracteris^  ne 
retombllt  sur  eux,  ont  fait  toutes  les  d-marches  ndcessaires  pour  ^claicir  la  verit6;  &  ils 
ont  6t6assez  heureux  pour  recouvrer  un  des  doubles  de  la  pi^ce  de  Rouen,  rev§tu  de 
I'approbation  d'un  censeur  de  Paris,  dans  lequel  double,  le  couplet,  dont  il  s'agit, 
n'existe  point,  ce  qui  est  une  preuve,  sans  replique,  que  cet  auteur  I'a  ajout^  apr^s 
coup,  &  que  c'est  lui  par  consequent  qui  est  le  plagiaire  ..." 

They  then  ask  the  public  to  choose  between  their  "Rossignol  de  Paris"  and  the 
"Rossignol  provincial.       According  to  Parfaict  {see  t.  vii): 

"L'avis  au  lecteur  qui  pr^cMe  la  pik^e  est  fait  pour  justifier  les  auteurs  de  I'ac- 
cusation  d'avoir  pris  I'ld^e  &  mgme  quelques  morceaux  d'une  pikie  du  mSme  nom, 
com pos^e  par  M.lBaviferes  de  Rouen  .  .  . 

Clement  and  de  Laporte  give  Baill^re  as  the  name  of  the  author.  They  and  Schatz 
attribute  the  text  of  the  Parisian  Rossignol  to  the  abb^  de  Latteignant  and  others. 
Schatz  does  not  mention  the  composer,  resp.  the  arranger,  of  the  music.  According 
to  Schatz  there  was  played  on  November  18,  1751,  at  Bemy,  at  the  palace  of  the 
comte  de  Clermont  a  one-act  com^die  mel^e  d'ariettes  by  Charles  Cou^,  music  by 
J.  B.  de  La  Borde,  which  might  easily  be  confused  with  the  two  other  Rossignols, 
since  its  title  was  "Rossignol  ou  Le  mariage  secret."  ML  48. A4 


OPERA  LIBRETTOS  961 

Das  rothe  kaeppchen  oder  Hilft's  nicht,  so  schadt's  nicht.  Ein 
komisclies  singspiel  in  drei  aufzuegen  von  herrn  von  Dittersdorf. 

Koeln  am  Rheine,  Langen,  1791.    78  p.     16*^^, 

By  the  composer  after  Livigni's  "Giannina." 

First  performed  at  Breslau,  Wasersches  Theater,  May  26,  1790.  Schatz  2603 

—  Das  rothe  kaeppchen.  Eine  komische  operette  in  zwei  auf- 
zuegen. Die  musik  ist  von  herrn  Dieter  von  Dittersdorf.  Aufge- 
fuehrt  zum  erstenmal  den  7.  Junius  1791  auf  dem  Hoftheater  zu 
Weimar. 

Wdrnar,  Hoffmannische  hicJihandlung,  1792.    88  p.     16\"^. 

Altered  by  Vulpiua  who  in  the  unsigned  "Vorrede"  says: 

"Das  original  dieser  operette,  welches  man  als  manuskript  mit  der  partitur 
erhaelt,  mag  wohl  allein  die  guten  buehnen  von  der  auffuehrung  derselben  bisher 
abgeschreckt  haben.  Das  war  auch  der  fall  bei  uns,  und  daher  enstand  diese  neue 
bearbeitung  deren  guenstige  aufnahme  gar  nicht  zweifelhaft  geblieben  ist.  Die 
angenehme  musik  dieser  operette  verdiente  alleine  echon  eine  umaenderung  dee  - 
textes  .  .  ."  Schatz  2604 

The  rover;  or,  Happiness  at  last:  A  pastoral  drama,  as  it  was 
intended  for  the  theatre  .  .  . 

London,  M.  Cooper,  W.  Reeve,  and  H.  Dood,  1752.  1  p.  I.,  ii,  [2], 
24  p.    21 Y"^. 

One  act.  Poem  to  Francis  Delavall,  list  of  subscribers  and  Advertisement  in 
which  this  play  "the  author's  first  essay  of  this  kind,"  is  said  to  have 

"gain'd  the  commendation  of  the  manager  of  the  Theatre  Royal;  but,  as  it  waa 
intended  to  succeed  the  representation  of  a  play,  the  length  of  it  prevented  its  having 
the  honour  of  appearing  on  the  stage." 

The  author,  S.  Boyce,  is  not  mentioned.  Longe  160 

Les  routes  du  monde.     See  L'industrie. 

Royal  clemency.     A.  T.  of  The  deserter  of  Naples. 

The  royal  garland.  A  new  occasional  interlude,  in  honour  of  His 
Danish  Majesty.  Set  to  music  by  Mr.  Arnold.  And  performed  at 
the  Theatre  Royal,  Covent-Garden. 

London,  T.  Becket  and  P.  A.  de  Eondt,  1768.    [6]-24  p.     19^"^. 
»     By  Isaac  Bickerstaffe,  who  is  not  mentioned. 

First  performed  October  1,  1768,  as  indicated.  Longe  36 

The  royal  merchant:  an  opera.  Founded  on  Beaumont  and 
Fletcher.  As  it  is  performed  at  the  Theatre  Royal,  in  Covent- 
Garden. 

London,  William  Griffin,  1768.     3  p.  I.,  68  p.     19^"^. 

Three  acts.    Cast  and  prefatory  note,  in  which  the  author,  Thomas  Hull  (not 
mentioned),  says  that  in  utilizing  the  old  play  ["The  beggar's  bush  "] 

"he  was  the  rather  tempted  to  make  tnis  experiment,  from  the  romantic  turn  of 
the  fable,  and  singularity  of  the  characters  in  this  play,  which  appeared  to  him 
peculiarly  calculated  for  an  opera  ..." 

The  composer,  Thomas  Lisley,  is  not  mentioned.     {See  also  his  "  The  camp.") 

First  performed  December  14,  1767  (Schatz),  February  24,  1767  (Tufts). 

Longe  197 

The  royal  shepherd,  an  English  opera;  as  it  is  performed  at  the 
Theatre-Royal  in  Drury-Lane.  The  music  composed  by  Mr.  Rush. 
The  second  edition. 

London,  W.  Owen  and  C.  Moran,  n.  d.    2  p.  I.,  4I,  iii-iv  p.     19^*^. 
72251°— VOL  1—14 61 


962  LIBRARY   OF   CONGRESS 

The  royal  shepherd — Continued. 

Three  acts.  Taken  by  R.  Rolt  from  Metaetaeio's  "II  r^  paetore,"  neither  of  whom 
is  mentioned.    The  iii-iv  p.  contain  table  of  the  Bongs. 

First  performed,  as  indicated,  February  24,  1764.  Longe  37 

—  The  royal  shepherd.  An  English  opera ;  as  it  is  performed  at 
the  Theatre-Royal  in  Drury-Lane.  The  music  composed  by  Mr. 
Rush.     The  third  edition. 

London,  W.Owen  and  C.  Moran,n.d.    2'p.l.,/i.l,xlii-xliii'p.    20^^. 

Three  acts.    Argument,  cast,  and  at  end  table  of  the  songs,  etc.    By  Richard  Rolt. 

Longe  192 
Second  copy.    Longe  216 

—  Amintas.  An  English  opera.  As  perform'd  at  the  Theatre- 
Royal  in  Covent-Garden. 

London,  T.  Lmmides,  1769.     2  p.  I.,  28  p.     19^^"^. 

Three  acts.  Cast  and  argument.  This  is  Richard  Rolt's  "The  Royal  shepherd, " 
as  altered  by  Giusseppe  Ferdinando  Tenducci.  Music  by  George  Bush,  with  inter- 
polations from  Pietro  Guglielmi  and  others.  One  of  the  telling  differences  between 
this  and  "The  Royal  shepherd"  is  that  the  latter  has,  in  I,  2,  the  aria,  "A  shepherd, 
though  I  am,"  whereas  "Amintas"  has  "Altho'  this  humble  garb  I  wear." 

First  performed  December  15,  1769,  as  indicated.  Longe  37 

—  Amintas ;  an  English  opera. 

[293]-311  p.  19'^'^.  {Collection  of  the  most  esteemed  farces  and 
entertainments,  t.  vi,  Edinburgh,  179^. 

Three  acts.     Ck)vent-Garden  cast.  H     atz  117^F 

La  roze  ou  Les  festes  de  I'Hymen.     See  Piron's  text  La  rose. 

Der  ruchlose.     A.  T.  of  Righini's  Das  steineme  gastmahl. 

Rudolph  von  Creki.     Tr.  of  Dalayrac's  Raoul,  sire  de  Cr6qui. 

Rubenzahl,  o  sia  II  vero  amore.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia  del  Signor  Caterino 
Mazzolk. 

Dresda,  n.  publ,  1789.     131  p.     15^'^^. 

Two  acts.  Joseph  Schuster  is  mentioned  as  composer.  Grerman  title-page,  "  Rue- 
benzahl,  oder  Die  wahre  liebe,"  and  text  face  Italian.  * 

First  performed,  as  indicated,  February  14,  1789.  Schatz  9752 

Ruggiero.     Dranmia  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramin  di  S.  Salvatore  nella  fiera  dell'  Ascensione  dell'  anno  1769. 
Venezia,  Modesto  Fenzo,  1769.     47  p.     W""^. 

Three  acts.  By  Caterino  Mazzol^,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Pietro  Guglielmi  as  composer  of  the  "musica  tutta  nuova." 

First  performed  May  3,  1769,  as  indicated.  Schatz  4304 

II  Ruggiero  o  vero  L'eroica  gratitudine.  Questo  dramma  manca 
neU'  edizione  torinese,  perche  non  era  ancora  scritto  quando  U  decimo 
volume  di  essa  fu  puoblicato.  II  compose  I'autore  d'ordine  dell' 
imperatrice  regina  in  Vienna;  ed  ivi  usci  .  .  .  dalla  stamperia  del 
Ghelen;  e  fu  rappresentato  con  musica  dell'  Hasse  immediatamente 
in  Milano,  in  occasione  delle  felicissime  nozze  delle  AA.  RR.  di  Ferdi- 
nando arciduca  d'Austria,  e  deU'  arciduchessa  Maria  Beatrice  d'Este 
.  .  .  I'anno  1771. 

pi.,  [177}-266  p.  26"^.  (Metastasio,  Opere,  t.  ix,  vedova  Herissant, 
1781.) 

Three  acts.  ML  49.A2M44 


OPEEA   LIBRETTOS  963 

II  Ruggiero  o  vero  L'eroica  gratitudine.  Dramma  per  musica  da 
rappresentarsi  in  occasione  deUe  felicissime  nozze  delle  Altezze  Loro 
Reali  .  .  .  Ferdinando  arciduca  d'Austria  e  .  .  .  Maria  Beatrice 
d'Este  ...     In  Milano  I'anno  MDCCLXXI. 

Vienna,  Stamperia  diGJielen,  1771.      Unpaged.     25'^^. 

The  imprint,  together  with  Metastasio's  name  as  author,  appears  on  a  leaf  preceding 
the  ornamental  title  page,  which,  as  were  the  head  and  tail  pieces,  was  designed  by 
J.  Bidermann  and  engraved  by  J.  C.  de  Reinsperger. 

Three  acts  and  licenza.  Scenario,  cast,  and  name  of  Johann  Adolph  Hasse  as  the 
composer. 

First  performed  at  Milan,  Regie  Ducal  Teatro,  October  18,  1771  (Schatz),  October 
le,  1771  (Mennicke).  Schatz  4558 

Die  ruinen  von  Portici.     Ein  allegorisches  singspiel  in  zwey  acten 
von  C.  A.  Herbst. 
Breslau,  Ernst  Gottlieb  Meyer,  1798.     112  p.     17^"^. 

Dedication,  "Vorschliige  zu  anordnung  des  costums,"  "An  das  publicum:"  "Die 
grundidee  zu  dieser  operette  ist  aus  dem  kleinen  franzoesischen  roman  des  Ga- 
zette 'Biondetta'  entlehnt." 

First  performed,  with  music  by  A.  Joseph  Fischer,  Stuttgart,  Hof theater.  May  10, 
1807.  Schatz  3210 

La  rupture  du  carnaval.     See  Destouches'  Le  camaval  et  la  folie. 

La  ruse  d'amour,  ou  L'6preuve,  comedie  en  un  acte  et  en  vers, 
m^l6e  d'ariettes.  Par  M.  Maill6  de  Marencour.  Musique  de  M. 
Chardiny  .  .  .  Representee  pour  la  premiere  fois  a  Paris,  par  les 
Com6diens  de  S.  A.  S.  Monseigneur  le  conte  de  Beaujolois,  au  ralais- 
Royal,  le  jeudi  25  aoM  1785,  &  k  Saint  Cloud;  devant  Leurs  Majest^s, 
le  28  septembre  1785. 
Paris,  Brunei,  1786.     13,  [1]  p.     20^"".  ML  50?2.R9C3 

La  ruse  de  camaval.     A.  T.  of  Les  deux  morts. 

La  ruse  villageoise,  op^ra-comique,  en  un  acte,  en  prose  et  en  vaude- 
villes.    Par  le  C.  A.  B.  Sewrin,  represents,  pour  la  premiere  fois,  k 
Paris,  sur  le  ThS&tre  de  la  rue  de  Louvois,  le  2  juiUet  1793  (vieux 
style). 
Paris,  la  citoyenne  Toulon,  1794.    32  p.    20^"^. 

Cast.  Not  recorded  by  CI.  &  L.  or  Schatz.  An  opera  of  the  same  title  (music  by 
Charles  Ots)  was  performed  at  Ghent,  January  2, 1796.  Schatz  11511 

The  rustic  heroine.     A.  T.  of  The  loyal  shepherds, 

Sabinus,  trag6die-lyrique,  en  cinq  actes,  representee,  devant  Sa 
Majest6,  k  Versailles,  le  4  dScembre  1773. 

[Paris],  P.  RoheH  Christophe  BaUard,  1773. 

Cast.  With  name  of  the  composer,  Francois  Joseph  Gossec,  but  not  of  the  author, 
Michel  Paul  Gui  de  Chabanon  de  Maugris.  Schatz  4011 

Le  sabot  perdu.     A.  T.  of  La  matinee  et  la  veiU^. 

Les  sabots,  op6ra-comique  en  un  acte,  mesl6  d'ariettes.  Par  Mrs. 
C  .  .  .  et  Sedaine.  Repr6sent6  pour  la  premiere  fois  par  les  Com6- 
diens  italiens  ordinaires  f>u  roi,  le  mercreai  26  octobre  1768. 

Paris,  Claude  Herissant,  1769.     22  p.     W"*. 

Cast.  Duni,  the  composer,  is  not  mentioned.  Jacques  Cazotte  collaborated  with 
Sedaine.  ML  50.2.S2D9 


964  UBKARY  OF  CONGRESS 

Les  sabots — Continued. 

—  Les  sabots,  op6ra-comique  en  un  acte,  mesl6  d'ariettes.  Par  Mrs. 
C.  .  .  .  et  Sedame.  Repr6sent6  pour  la  premiere  fois  par  les 
Com6diens  italiens  ordinau*es  du  roi,  le  mercredi  26  octobre  1768. 

Paris,  Claude  Eerissant,  1770.    2^  p.     18'='^. 

Caat.    Duni,  the  composer,  is  not  mentioned.  Schatz  2855 

—  Les  sabots.  Op^ra-comique  en  un  acte,  mM6  d'ariettes;  par 
Mrs.  C.  .  .  .  &  S6aaine.  Repr6sent6  pour  la  premiere  fois  par  les 
Com6diens  italiens  ordinaires  du  roi,  le  mercredi  26  octobre  1768. 

Paris,  Claude  Eerissant,  1777.    24  p.     18'"^. 

Cast.  On  p.  14-16,  the  ariette,  "Qu'ils  sont  heureux,  ces'oiseaux!"  The  com- 
poser, Duni,  18  not  mentioned.  Schatz  11698 

Sabrina.  An  opera  for  the  Theatre  Royal  in  the  Hay-Market.  By 
Paul  Rolli,  F.  R.  S. 

London,  J.  ChricMey,  1737.     61  p.     17'"^. 

Three  acts.  Preface,  like  the  text,  in  Italian,  with  English  translation.  Bumey 
IV,  412,  mentions  this  opera,  without  naming  the  composer.  Schatz  enters  it  under 
Giov.  Battista  Pescetti  and  others. 

First  performed,  as  indicated  (April  26),  May  7,  1737.  Schatz  8859    • 

—  Sabrina. 

[425\-J^60  p.     17"^.     {RoUi,  Componimenti  poetici,  Nuova  edizione, 
Verona,  G.  Tumermani,  1744-) 
Three  acts.    Argument.    No  composers  mentioned.  ML  49.A2R7 

I  sacriflzi  di  Creta  o  sia  Arianna  e  Teseo.  Dramma  per  musica  da 
rappresentarsi  nel  Regio  Teatro  di  via  della  Pergola  la  primavera 
del  MDdbXCIII  .  .  . 

Firenze,  Stamperia  ATbizziniana,  1793.    32  p.     16'^'^. 

Three  acts.  By  Pietro  Pariati  (not  mentioned),  but  modernized.  Argument,  cast, 
and  name  of  Peter  von  Winter  as  the  composer.  With  the  opera  was  performed 
Giuseppe  Trafieri's  "11  rapitore  punito,  ballo  eroicomico  pantomimo"  (composer  of 
the  music  not  mentioned). 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  carnival,  1792.     Schatz  11051 

I  sacrifizi  di  Tauride,  ballet.     See  P.  Guglielmi's  Rinaldo. 

Saciifizio  detto  Taurobolio  pella  elezione  ed  inaugurazione  di  un 
re  di  Norvegia,  ballet.     See  Calderara's  Ricimero. 

U  saciifizio  interrotto.  Tr.  of  P.  v.  Winter's  Das  unterbrochene 
opferfest. 

Saed  ossia  II  serraglio.     L.  T.  of  Paer's  L'intrigo  amoroso. 

Der  saeuffer.     Tr.  of  Hasse's  D  bevitore. 

Saffo.     See  Traetta's  Le  feste  d'Imeneo. 

Saffo  o  sia  I  riti  d'ApoUo  Leucadio,  dramma  per  musica  del  Signor 

Sografi  da  rappresentarsi  nel  nobilissimo  Teatro  della  Fenice  il  carno- 

vale  deir  anno  1794. 

Venezia,  Modesto  Fenzo,  179^.     43  p.     17 Y"^. 

Two  acts.    Cast,  scenario,  and  name  of  Joh.  Simon  Mayr  as  the  composer. 

Schatz  6171 


OPERA   LIBRETTOS  965 

La  saggia  pazzia  di  Giunio  Brute.  Drama  per  musica  da  rappre- 
sentarsi  nel  famosissimo  Teatro  Grimani  k  Santi  Gio.  e  Paolo  I'anno 
1698  ... 

Venetia,  Nicolini,  1698.    front,  60  p.     Uf-Y"^- 

Three  acte.  Dedication  dated  by  the  author  Lotto  Lotti,  Venice,  November  24, 
1698,  scenario  and  notice  to  the  reader  with  name  of  Giovanni  Maria  Buggeri  as  the 
composer.  Schatz  9141 

.  .  .  The  sailor's  farewell;  or,  The  Guinea  outfit.  A  comic  opera, 
in  three  acts.    With  great  improvements. 

Liverpool,  Printed  and  sold  iy  T.  Schofield,  n.  d.  ^5  {ind.  front.), 
[3]  p.     17''^. 

The  [3]  p.  contain  prologue  and  publisher's  book-list.  At  head  of  title:  "Second 
edition.  By  T.  Boulton,  who  is  not  mentioned.  No  composer  recorded  by 
Clarence.  Longe  323 

The  sailor's  opera:  or,  A  trip  to  Jamaica. 

London,  Printed  for  the  author,  17^5.     1  p.  I.,  Jfi  p.     16^^. 

Five  acts.  Ballad  opera,  the  27  airs  in  which  are  indicated  by  title.  Author  not 
recorded  by  Clarence,  who  dates  first  performance  as  London,  Drury  Lane,  May  12, 
1731.  Longe  168 

The  sailor's  rehearsal.     A.  T.  of  Britons,  strike  home. 

The  sailor's  return.     A.  T.  of  Thomas  and  Sally. 

St  Patrick's  day;  or,  The  scheming  lieutenant.  A  comic  opera:  as 
it  is  acted  at  the  Theatre-Koyal,  Smoke- Alley. 

[Dublin],  Printed  for  the  hooJcseUers,  1788.    27  p.     ISh""^. 

Bound  in  by  mistake  are  p.  47-50  of  an  edition  of  the  "Castle  of  Andalusia." 

Two  acts.  Neither  the  author,  Richard  Brinsley  Sheridan,  is  mentioned,  nor  the 
composer. 

First  performed  at  London,  Covent  Garden,  May  2,  1775.  Longe  223 

Les  saisons.     See  Ballet  des  saisons. 

Les  salamandres.     Entree  in  Duval's  Les  genies. 

Salomon.  A.  T.  of  Reiser's  Die  ueber  die  liebe  triumphirende 
weissheit. 

Salustia.     L.  T.  of  Bemasconi's  Alessandro  Severo. 

Die  samnitische  vermaehlungsfeyer.  Tr.  of  Gr^try's  Les  mariages 
Samnites. 

Sancho  at  court.  By  a  gentleman  late  of  Trinity  College,  Dublin. 
As  it  was  design'd  to  be  acted  at  Drury  Lane.  / 

2  p.  I.,  66  p.     19""^. 

Title  page  wanting.  Title  copied  from  Tufts,  who  says  under  1742  "Ascribed  to 
James  Ayres."  I  have  found  the  opera  mentioned  also  with  the  title  "Sancho  at 
court  or  The  mock  governor." 

Three  acts.  Ballad  opera,  the  20  airs  in  which  are  indicated  by  title.  In  a  preface, 
the  bookseller,  Mr.  Torbuck,  tells  the  reader  that 

"The  author  is  a  gentleman  of  Trinity  College,  Dublin,  who  has  publish 'd  several 
small  pieces  that  have  had  a  favourable  reception,  and,  as  I  am  inform'd,  is  in  no 
small  reputation  with  the  inimitable  Dean,  who,  as  he  himself  told  me,  had  the 
inspection  and  chastisement  of  the  play  " 


966  LIBRARY   OF   CONGRESS 

Sancho  at  court — Continued. 

He  goes  on  to  say  that  he  submitted  the  piece  to  the  manager  of  Drury-Lane,  who 
advised  judicious  cuts  and  who  recommended  Chetwood  for  the  purpose.  This  was 
done,  but  when  the  piece  was  submitted  to  the  Chamberlain's  office  with  Chetwood'e 
alterations,  no  answer  was  forthcoming  from  the  censor  for  ei^ht  months,  and  when 
Torbuck  wanted  the  manuscript  back  ne  "could  not  have  it,  it  being  left  at  a  place 
not  then  to  be  come  at."  Thereupon  he  decided  to  print  the  piece.  He  winds  up 
by  saying: 

"However,  the  trouble  I  have  had  in  this  affair  will  be  a  sufficient  caution  to  me 
(and  may  be  so  to  others)  not  to  undertake  the  bringing  a  play  on  the  stage;  for  as 
things  are  now  circumstanced,  viz.  the  approbation  of  the  players,  the  ncensing- 
oifice  and  the  ill-natur'd  critic,  not  to  say  any  thing  of  the  publick,  an  author  has 
but  a  small  chance  of  succeeding."  Longe  189 

Sancho  Panca  dans  son  isle,  opera  bouffon,  en  un  acte,  par  M. 
Poincinet  le  jeune.     La  musique  est  de  M.  Philidor.     Representee 
pour  la  premiere  fois  par  les  Cfom6diens  italiens  ordinaires  du  roi,  le 
8  juillet  1762. 
Avignon,  Louis  Chamleau,  1768.     39  p.     19^'^.  ML  50.2.S2P4 

— Sancho  Panga  dans  son  isle,  opera  bouffon  en  un  acte,  par  Mr. 
Poinsinet,  le  jeune,  represents  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  8  f^vrier  1762.  La  musique  est  de  Mr. 
Philidor. 

Paris,  la  veuve  Duchesne,  1771.     66  p.     18'^'^. 

Cast.  On  p.  18-22  the  ariette  "Je  vais  seulette  en  mon  jardin"  (I,  5),  on  p.  35-38 
the  romance  "Je  m'en  revenais  chantant"  (I,  12)  and  the  vaudeville  "Je  vais  revoir 
ma  chfere  "  in  last  scene. 

The  date  of  first  performance  in  the  title  is  incorrect;  it  should  be  July  8,  1762. 

ScHATZ  8022 

—  Sanko  Panssa :  eine  operette.  Aus  dem  franzoesischen  ueber- 
setzt. 

Ealherstadt,  Johann  Heinrich  Gross,  1776.     72  p.     15'^'^. 

Argument  with  names  of  Poinsinet  as  author  and  Philidor  as  the  composer.  Trans- 
lated by  Friedrich  Wilhelm  Eicholz,  who  is  not  mentioned.  Schatz  8023 

Sancio,  oder  Die  siegende  grossmuth.  In  einem  sing-spiele  auf  dem 
Hamburgischen  Schau-platze  vorgestellet.     Im  jahr  1727. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.      Unpaged. 

Three  acts.  Areument,  cast,  scenario,  and  names  of  Joh.  Ulrich  Koenig  as  the 
author,  of  Georg  Philipp  Telemann  as  the  composer.  Koenig  based  his  text  on 
Francesco  Silvani's  "II  miglior  d'ogni  amore  per  il  peggiore  d'ogni  odio." 

Schatz  10266 

Den  sande  bestandighed.     Tr.  of  Anfossi's  La  vera  costanza.' 

Sanko  Panssa.     Tr.  of  Philidor's  Sancho  Panca. 

Sansome,  ballet.     See  Cimarosa's  I  tre  amanti. 

Sansonnet  et  Tonton.  O.  T.  of  Favart's  parody  L' amour  im- 
promptu. 

La  Santa  Eugenia.     A.  T.  of  L'innocenza  vendicata. 


OPEBA  LIBBETTOS  967 

Sapho.     Op6ra  en  trois  actes. 

Venard  de  La  Jonchere,  Theatre  lyrique,  Paris,  1772,  t.  ii,  p.  {275\- 
340.    ISY"^. 

"Avant-propos"  (p.  277-294).  No  composer  mentioned.  Nor  is  any  recorded  by 
Clement  &  Larousse.  ML  49.A2L2 

Sara,  ou  La  fermiere  ecossoise,  com^die  en  deux  actes  et  en  vers, 
m^lee  d'ariettes;  par  M.  C.  .  .  D.  .  .  M.  .  .  Representee  pour  la 
premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  8  mai 
1773.     La  musique  est  de  M.  Vachon. 

Paris,  J.  A.  Durand  Dufrenoy,  1774.     P,  [^1  P-     19'^- 
Cast.    By  Jean  Baptiste  Collet  de  Measine.    The  2  imnumb.  pages  contain  the 
air  "Le  dieu  d'amonr,  le  dieu  du  vin"  (II,  5).  Schatz  10571 

Sardanapalo.  Drama  per  musica.  Da  recitarsi  nel  Teatro  di  San't 
Angelo  I'anno  1679.     Di  Carlo  Maderni  ... 

Verietia,  Francesco  Nicolini,  1679.     60  p.     14^'^- 

Three  acts.  Impresario's  dedication,  argument,  notice  to  the  reader  with  name  of 
Giovanni  Domenico  Freschi  as  composer  and  scenario.  Schatz  3654 

Sardanapalo,  re  degli  Assirj,  ballet.     See  Andreozzi's  Agesilao. 

D  sargente  burlato,  ballet.    See  Cimarosa's  Le  donne  rivali. 

Sai^fine,  ballet.     See  Federici's  L'Olimpiade. 

Sai^^es,  ou  L'61Sve  de  I'amour,  com^die  en  quatre  actes,  en  prose, 

gar  M.  Monvel.     Repr6sent6  pour  la  premiere  fois  k  Paris,  par  les 
omediens  italiens  ordinaires  du  roi,  le  mercredi  14  mai  1788.     Mise 
en  musique  par  M.  d'Alayrac. 

Paris,  J.  L.  de  Boubers,  1789.     46  p.     i5i«"».  Schatz  2380 

Die  satire.     A.  T.  of  Preu's  Bella  und  Fernando. 

I  satiri  in  Arcadia.     O.  T.  of  Conti's  Cloris  und  Tirsis. 

1  satiri  puniti.     A.  T.  of  the  ballet  Egle  e  Cloco. 

Satiro  &  Amore.     Litermedio  in  CavaUi's  II  novello  Giasone. 

Les  satumales.  Entree  in  Colin  de  Blamont's  Les  festes  grecques 
et  romaines. 

La  satyre.     Entr6  in  Campra's  Les  Muses. 

Les  sauvages.     A.  T.  of  Dalayrac's  Az^mia. 

Les  sauvages.     Entree  in  Rameau's  Les  Indes  galantes. 

La  sauvagesse.     See  Les  desesper^s. 

Le  savetier  et  le  financier,  opera  comique,  en  deux  actes,  en  prose, 
m§16e  d'ariettes;  repr6sent6  devant  Leurs  Majest6s,  k  Marly,  en 
octobre  1778. 

[Paris],  R.  R.  C.  BaUard,  n.  d.    3  p.  I,  75  p.    23^^^. 

Cast,  dedicatory  poem,  and  name  of  Henri  Joseph  Bigel  as  composer.  The  author, 
Jean  Baptiste  Louraet  de  Santerre,  is  not  mentioned. 

First  performed  October  23, 1778,  as  indicated;  at  Paris,  Commie  italienne,  October 
30,  1778  (Schatz),  November  9  (CI.  &  L.).  ML  50.2.S3R3 


968  LIBRARY   OF   CONGRESS 

II  savio  delirante.     Comico  divertimento  per  musica  da  rappresen- 
tarsi  nel  Teatro  Formagliari  il  camevale  dell'  anno  1726. 
Bologna,  Costantino  Pisarri,  n.  d.     58,  [1]  p.     15^^. 

Three  acts,  in  Bolognese  dialect.  The  composer,  Giuseppe  Maria  Buini,  to  whom 
Schatz  attributes  the  text,  is  not  mentioned.  Notice  to  the  reader.  The  imprimatiir 
is  dated  January  16,  1726.  Schatz  1385 

—  Le  frenesie  d'amore.  Divertimento  per  musica  da  rappresen- 
tarsi  nel  Teatro  Giustiniano  di  S.  MosS.  Nelli  mesi  di  maggio,  e 
giugno  1726. 

Venezia,  Maria  Rossetti,  1726.     56  p.     12^"^. 

Three  acts.  Practically  the  same  as  "II  savio  delirante,"  though  beginning  with 
an  aria,  "Barbare  stelle  innde,"  which  is  not  in  the  original.    Buini  is  not  mentioned. 

Schatz  1386 

Lo  sbarco  de'  Spagnuoli  nell'  America,  ballet.  See  G.  M.  Rutini's 
Sicotencal, 

La  scaltra  awenturiera.  Commedia  per  musica  di  Giuseppe 
Palomba  da  rappresentarsi  nel  Teatro  de'  Fiorentini  per  quart'  opera 
di  quest'  anno  1788. 

Napoli,  n.  pull.,  1788.     55  p.     W"^. 

Three  acts.    Argument,  cast,  and  name  of  Giacomo  Tritto  as  the  composer. 

Schatz  10477 

La  scaltra  governa trice.     L.  T.  of  Cocchi's  La  maestra. 

La  scaltra  letterata.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Real  Teatro  di  Salvaterra  nel  camovale  dell'  anno  1772. 

Lishona,  Stamperia  Reale,  n.  d.     80  p.     15^"^. 

Three  acts.  Antonio  Palomba  is  mentioned  as  the  author;  Niccola  Piccinni  as 
the  composer.  Cast  and  scenario.  With  the  opera  were  performed  Francesco  Sauve- 
terre's  ballets,  "La  statua  animata"  and  "Li  vendemmiatori."  The  composers  of  the 
music  are  not  mentioned. 

First  performed  at  Naples,  Teatro  Nuovo,  winter  of  1758.  Schatz  8139 

—  La  scaltra  spiritosa.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  Serenissima  il  Signor  principe  di  Carignano 
nell'  autunno  dell'  anno  MDCCLXI. 

Torino,  Gaspare  Bayno,  n.  d.     70  p.     15'^^. 

Three  acts.  Cast,  scenario,  and  name  of  Niccol6  Piccinni  as  the  composer.  The 
dialogue  follows  fairly  closely  that  of  Palomba's  "La  scaltra  letterata,  but  many 
arias  are  different.  For  instance,  this  has  in  I,  4,  "D'ogni  timor  gi^  sento,"  and  in 
III,  3,  "T'amo  a  segno  o  mio  tesoro,"  whereas  "La  scaltra  letterata"  has  "De  dolci 
affetti  miei,"  resp.  "No,  non  vedrete  mai,"  the  "T'amo  a  se^o  "  being  in  III,  1. 

First  performed  with  this  title  at  Bologna,  Teatro  Marsigh  Rossi,  fall  of  1760. 

Schatz  8148 

La  scaltra  spiritosa.     L,  T.  of  Piccinni's  La  scaltra  letterata. 

Scamandre.     Pastorale  h^roique  en  quatre  actes,  avec  un  prologue, 
Venard  deLa  Jonchere,  Theatre  lyrique,  Paris,  1772,  t.  ii,  p.  [77}-144- 
18^"^. 

"Avant-propos "  (p.  79-95).  From  a  publisher's  "Avis  aux  musiciene"  ("Ceux 
qui  auroient  deesein  de  mettre  en  musique  quelques-uns  des  op^ra  contenn  dans  ce 
recueil  .  .  ."  it  would  appear  that  the  text  had  not  yet  been  composed  in  1772.  Nor 
is  any  composer  recorded  by  CI.  &  L.  ML  49.A2L2 


OPEBA   LIBRETTOS  969 

Scanderbei^,  tragedie,  representee  par  FAcademie  royale  de 
musique,  I'an  1735.  Paroles  de  feu  Monsieur  de  la  Mothe ;  achev^es 
par  M.  de  Laserre.  Musique  de  Messieurs  Rebel  et  Francoeur. 
CXXIV.  opera. 

n.  i.,  n.  d.  1 45-20 Ji.  p.  l^h*^^-  (Recueil  general  des  opera,  Paris, 
1745,  t.  xvi.) 

Detached  copy.    Five  acts  and  prologue. 

First  performed,  as  indicated,  October  27,  1735.  ML  48. R4 

—  Scanberberg,  tragedie,  representee  devant  Leurs  Majest^s,  h. 
Fontainebleau  le  22  octobre  1763. 

[Paris],  Christophe  Ballard,  1763.    4  p.  L,  62  p.     i£"="». 

Five  acts.  Cast  and  names  of  "feu  M.  de  la  Mothe,  avec  les  changemens  qui  ont 
^t6  jug^s  necessairee"  as  author;  of  Francois  Rebel  and  Francois  Francoeur  as 
composers.  In  view  of  this  libretto,  CI.  &  L.'s  statement,  "Cet  op6ra  n'a  jamais  ^t6 
repns,"  should  be  modified.  ML  50.2.S34R2 

Schach  Wampum  oder  Die  wuensche.  L.  T.  of  Stegmann's  Sultan 
Wampum  oder  Die  wuensche. 

Die  schadenfreude,  ein  kleines  lustspiel  fuer  kinder  mit  liederchen. 

[101]-130  p.  W"^.  (Der  hinderfreund.  Ein  wochenhUU,  Tuehinr 
gen,  1778.) 

In  caption  on  p.  [1031:  "LXXI.  bis  LXXIII.  stueck,  den  11.  bis  25.  november 
1776."  Neither  the  author,  Christian  Felix  Weisse,  nor  the  composer,  Georg  Peter 
Weimar,  is  mentioned.  Schatz  10963 

Schattenspiel  an  der  wand.     Ein  singspiel  in  zwey  akten. 
94  p.     (C.  F.  Bretzner,  Singspiele,  Leipzig,  1796.)     16^'^. 

This  detached  copy  contains  the  title  page  of  the  collection  and  the  "Vorbericht' 
(p.  iii-v),  in  which  Bretzner  says: 

"Mozart  ward  dem  deutschen  theater  zuerst  durch  die  Entfuehrung  bekannt: 
vielleicht  weckt  auch  eins  dieser  stuecke  irgend  ein  noch  schlafendes  musikalisches 
genie  auf,  und  dann  hab  ich  doch  wenigstens  das  verdienst,  es  aufgeweckt  zu  haben. 
Zwar  haben,  bereits  vor  drei  jahren,  zwey  kompositeurs  die  komposition  der  beyden 
ersten  stuecke  [this  and  his  "Opera  buna"]  uebemommen:  allein  da  sie  in  langer 
zeit,  trotz  meiner  erinnerung  um  zuruecksendung  der  manuscripte,  nichts  haben  von 
sich  hoeren  lassen:  so  kann  ich  nicht  anders  vermuthen,  als  dass  sie — die  lust  dazu 
verloren  haben  .  ,  .  Dass  ich  meine  singspiele  nach  italienischer  form  gemodelt 
habe?  es  ist  die  gegenwaertig  beliebte  modeform,  ohne  welche  sich  selten  ein  pro- 
dukt  dieser  art  glueck  vereprechen  kann  ..." 

The  composer,  Georg  Ernst  GottUeb  KaUenbach,  is  not  mentioned. 

Schatz  records  no  performance.  Schatz  5000 

Der  schatzgraeber.     A.  T.  of  Kaffka's  Der  aepfeldieb. 

Die  schatzgraeber  oder  Wer  andern  eine  grube  graebt,  faellt  selbst 
darein.     Ein  lustspiel  in  drey  aufzuegen  mit  arien. 
n.  i.,  1789.     64  p.     17'^'^. 

Not  recorded  by  Schatz.     Not  found  in  Deutsches  Anonymen  Lexikon.' 

Schatz  11647 

Der  schauspieldirektor.  Ein  gelegenheitsstiick  in  einem  aufzuge. 
Musik  von  Mozart. 

Liegnitz,  David  Siegert,  1792.    p.  [S61]S96.     16i<^. 

At  head  of  title  the  figure  5.  The  words  from  "Musik  "  to  "  1792  "  are  pasted  over 
the  original  title  page  which  was  without  imprint.  The  libretto  in  this  form  is  merely 
a  detached  copy  from  Gottlieb  Stephanie's  "Singspiele"  with  special  title-page.    A 


970  LIBRARY  OF   CONGRESS 

Der  schauspieldirektor — Continued. 

prefatory  note  preceding  the  title  page  has  been  likewise  extracted  therefrom  and 
pasted  on  a  fly  leaf.     It  reads: 

"Der  Schauspieldirektor,  welcher  bey  gelegenheit  eines  festes  in  SchSnbrunn 
gj^ben  wurde,  und  wozu  Seine  Majestilt,  der  Hoechstselige  Kaiser  Joseph  der 
Zweijte,  mir  selbst  die  idee  angaben,  fand,  so  oft  er  hemach  in  Wien  gegeben  wurde, 
den  ausseror^entlichsten  beyfall.  Da  nur  eine  kleine  zahl  biicher  davon  gedruckt 
worden  sind,  so  ist  es  auswaerts  so  gut  als  gar  nicht  bekannt;  auch  sind  die  dritte 
und  fuenfte  scene  hier  voellig  neu.  Vorhin  waren  statt  deraelben  scenen  aus  bekann- 
ten  stiicken.  Dem  ohngeacntet,  dass  es  bios  als  gelegenheitsstiick  erschien,  hat  es 
doch  herr  Schroder  mit  vielem  beyfalle  in  Hamburg  aufgefuehrt.  Mozaxt  setzte  die 
darinn  vorkommenden  singstuecke  in  musik." 

First  performed  at  Schonbnmn,  Orangerie,  February  7,  1786.  Schatz  6840 

Der  schauspieldirektor  in  der  klemme.  Tr.  of  Cimarosa's  L'im- 
presario  in  angustie. 

Die  schellenkappe.     A.  T.  of  Schack's  Der  wohlthatige  derwisch. 

Die  schelmen.     Tr.  of  Fiorillo's  Li  birbi. 

The  scheming  lieutenant.     A.  T.  of  St.  Patrick's  day. 

Scherz,  list  und  rache.  Ein  singspiel.  Von  Goethe.  Xchte  aus- 
gabe. 

Leipzig,  Georg  Joachim  Goschen,  1790.     1  p.  I.,  96  p.     17 Y'^. 

Four  acts.  Edition  without  "Goschen's  Schriften,"  with  "Er  ist  bitter"  on 
p.  37  and  with  A  in  title.  PT  1958.S4    17.90 

—  Scherz,  list  und  rache.     Ein  singspiel.     Von  Goethe.    Achte 
ausgabe. 
Leipzig,  Georg  Joachim  Goschen,  1790.     1  p.  I.,  96  p.     W^^. 

Four  acts.  Edition  with  A  in  title,  on  p.  37  "  Es  ist  bitter."  Without  "Goschen's 
Schriften." 

First  performed  with  music  by  Peter  von  Winter,  at  the  private  theatre  of  Graf 
Anton  von  Toning  at  Schloss  Seefeld  (near  Munich),  1790.  PT  1958.S4    1790a 

Gli  scherzi  di  fortuna.  Drama  per  musica  subordinato  al  Phro  di 
Aurelio  Aureli,  favola  nona.  Kappresentato  nel  famoso  Theatro 
Grimano  I'anno  1662  .  .  . 

Venetia,  Francesco  Nicolini,  1662.     78  p.     14*^^. 

Prologue  and  three  acts.  Author's  dedication  dated  Venice,  January  12,  1662, 
argument,  and  scenario.    The  composer,  Pietro  Andrea  ZiaJii,  is  not  mentioned. 

SCHATZ  11218 

La  schiava.     L.  T.  of  Piccinni's  Gli  stravaganti. 

La  schiava  americana,  ballet.     See  Paisiello's  Le  vane  gelosie. 

La  schiava  amorosa.  Farsetta  in  musica  a  quattro  voci  da  rap- 
presentarsi  nel  Teatro  Capranica  nel  carnevale  dell'  anno  1770  .  .  . 

Roma,  Ottavio  Pucdnelli,  n.  d.     52  p.     16'^'^. 

Two  parts.  Impresario's  dedication,  argument,  cast  and  names  of  Marcello  di 
Capua  aa  author,  of  Giovanni  Battista  Borghi  as  composer.  ML  50,2.S41B6 


OPERA  LIBRETTOS  971 

La  schiava  astuta.  Intermezzi  per  musica  a  tre  voci  da  rappre- 
sentarsi  nel  Teatro  Alibert  detto  delle  Dame,  nel  carnevale  dell' 
anno  1765  .  .  . 

Roma,  Ottavio  PuccineJli,  n.  d.     15  p.     15^*^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Marcello  di  Capua  (Bemaxdini)  as  composer.  Contains  arias  like  "Via  buon  zitello," 
"Fra  tante  mie  pene,"  "Una  ragazza  semplice,"  etc.  ML  50.2.S42B3 

La  schiava  fedele.     A.  T.  of  Cesti's  La  Dori. 

La  schiava  fortunata.  Drama  per  musica  da  rappresentarsi  nel 
.portentoso  Teatro  Zane  h,  San  Moise  I'anno  MDCLXXIV  .  .  . 

Venetia,  Francesco  Nicolini,  1674-     56  p.     14*^^. 

Three  acts.  Francesco  Santorini's  dedication,  dated  Venice,  January  1,  1674, 
notice  to  the  reader,  argument,  scenario,  and  name  of  the  composer,  Marc'  Antonio 
Cesti.     Originally  by  Gio.  Andrea  Moniglia,  the  libretto  was 

"ritoccata  [by  Giulio  Cesare  Corradi]  d  ariette,  introduttione,  intermedij,  e  qualche 
picciola  scena,  che  smaltata  con  natural  bizzarria  dall'  armonico  stile  del  Sign.  Marc' 
Antonio  Ziani,  le  ridusse  in  figura  del  modemo  universal  compiacimento,  e  fece 
ma^iormente  spiccare  il  suo  antico  pretioso  valore." 

First  performed  at  Vienna,  Hoftneater,  1667,  according  to  Schatz.  Von  Weilen 
fails  to  record  such  a  performance.  Schatz  1782 

La  schiava  fortunata.  Commedia  per  musica  da  rappresentarsi 
nel  Teatro  Nuovo  sopra  Toledo  per  quart'  opera  nel  corrente  camo- 
vale  1796. 

Napoli,  n.  pull.,  1796.     48  p.     15'='^. 

Two  acts.  Author  not  mentioned,  and  imknown  to  Schatz.  Cast  and  name  of  the 
composer,  Valentino  Fioravanti. 

First  performed  at  Rome,  Teatro  Capranica,  1791.  Schatz  3130 

La  schiava  liberata.  Dramma  serio-comico  per  musica  da  rappre- 
sentarsi nel  Real  Teatro  dell'  Ajuda  in  occasione  di  festeggiarsi  il 
felicissimo  giorno  natalizio  di  Sua  Reale  Maestk  ...  D.  Marianna 
Vittoria  .  .  .  nella  primavera  dell'  anno  1770. 

Lisbona,  Stamperia  reale,  n.  d.     98  p.     ISY'^- 

Three  acts.  Scenario,  cast,  and  names  of  Gaetano  Martinelli  as  author,  of  Niccold 
JonuneUi  as  composer. 

First  performed,  as  indicated,  March  31, 1770;  at  Ludwigsburg,  Hof theater,  Decem- 
ber 18,  1768.  Schatz  4898     . 

La  schiava  liberata.  Dramma  serio  comico  per  musica  del  SIot. 
Gaetano  Martinelli  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E. 
di  Sassonia. 

Dresda,  Vanno  1777,  n.  puhl.     135  p.     16'^. 

Three  acts.  Joseph  Schiister  is  mentioned  as  the  composer.  German  title-page, 
"Die  befreyte  sklavinn,"  and  text  face  Italian. 

First  performed  October  2,  1777,  as  indicated.  Schatz  9754 

—  Die  befreyte  sklavin.  Ein  singspiel  nach  dem  italienischen  des 
herm  Cajetan  Martinelli.  In  drey  aufzuegen.  Die  musik  ist  vom 
herrn  Joseph  Schuster  ... 

p.  1-72.  17''^.  {J oh.  Christ.  KaffJca,  Samndung  auslaendischer 
theaterstuecJce,  in  die  deutsche  huehne,  hearheitet,  Breslau,  Wilhelm 
Gottlieb  Kom,  1784.) 

Detached  copy. 

First  performed  at  Breslau,  Waser'sches  Theater,  1784.  Schatz  9755 


972  UBRARY  OF  CONGRESS 

La  schiava  per  amore.  Comedia  per  musica  di  Tomaso  Mariani 
Romano.  Da  rappresentarsi  nella  Sala  Latina  al  vicolo  de  Leutari 
nel  camevale  del  presente  anno  1746. 

Roma,  Giovanni  Zempel,  1746.     60  p.     16^'^'^. 

Three  acts.    Argument  and  name  of  Francesco  Maria  Paci  as  the  composer. 

ScHATZ  7379 

La  schiava  riconosciuta.     L.  T.  of  Piccinni's  Gli  stravaganti. 

La  schiava  riconosciuta.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Grimani  di  S.  Samuele  il  carnovale  dell'  anno 
1766  ... 

Venezia,  Modesto  Fenzo,  1766.    JfS  p.    17""^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  names  of  Giuseppe  Scolaii 
as  composer  ("La  musica  h  nuova")^  and  of  Alcindo  Isaurense,  P.  A.  as  author, 
whose  real  name  is  not  mentioned  by  either  Wotquenne  or  Schatz.  Schatz  9805 

Gli  schiavi  per  amore.  A.  T.  and  L.*T.  of  Paisiello's  Le  gare 
generose. 

La  schiavitft  fortunata.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo.     L'anno  1694  ... 
Yenetia,  Nicolini,  1694.     64  p.     14"^. 

Three  acts.  Dedication  by  the  author,  Fulgenzio  Mattia  Gualazzi,  who  is  not 
mentioned  by  name,  argument,  scenario,  and  notice  to  the  reader,  which  reads, 
in  part: 

*'I1  primo  drama  fii  cSposto  per  questo  medesimo  teatro,  poi  accomodato  per  neces- 
sity k  quello  di  Padova.    11  presente,  come  usci  dalla  penna,  cosi  vien  dato  aila  luce." 

The  composer,  Carlo  Francesco  PoUaroli,  is  not  mentioned.  Schatz  8317 

Lo  schiavo  del  proprio  onore.  A.  T.  of  the  ballet  II  moro  di  corpo 
bianco. 

Lo  schiavo  reggio.     A.  T.  of  Cesti's  La  Dori. 

Der  schiffbruch,  ein  maehrchen  in  vier  akten  von  dem  verfasser 
von  Fremore  und  Melime,  die  musik  von  Franz  Hugo,  freiherrn  von 
Kerpen. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1778.  93  p. 
16""^. 

By  Graf  H.  von  Spaur. 

First  performed  at  Mayence,  Schauspielhaus  a.  d.  gr.'  Bleiche,  January,  1778. 

Schatz  5142 

Der  schiffer.     A.  T.  of  Philidor's  Melide. 

Gesaenge  aus  dem  singspiele :  Der  schififspatron  oder  Der  Gutscherr, 
in  zwey  aufzuegen.     In  musik  gesezt  von  Dittersdorf. 

Hamburg y  FreystatzTcy  und  Robe,  1794. 

Schatz  attributes  this  version  to  Jiinger.  Comparison  with  the  next  entry  proves 
that  it  is  practically  the  original  version  as  condemned  by  "  Q." 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  April  28, 1794;  at  Vienna, 
Theater  auf  der  Wieden,  1790.  Schatz  2608 

—  Der  schiffspatron  oder  Der  neue  gutsherr.     Eine  komische  oper 
in    zween    aufziigen,     Neubearbeitet.     Die    musik    ist    von    herm 
Ditters  von  Dittersdorf. 
Leipzig,  Wilhelm  Heinsius  derjungere,  1793.     118,  [1]  p.     W^. 


OPERA  LIBRETTOS  973 

Der  schiffspatron — Continued. 

On  p.  [103]-118,  signed  "Ostermesse,  1793.  C,"  the  editor's  reasons  for  subjecting 
the  original  text  to  such  a  thorough  revision.  To  prove  "die  geschmackloaigkeit  deS 
alten  textee,"  he  then  quotes  several  scenes  of  the  original  version.  For  instance,  the 
opera  began,  "Amtmann:  Doch  unmasgeblich  meynt  das  Oberamt"  instead  of,  as  in 
his  version,  "Der  Schoffer.  Hiermit  wird  miinniglich  heut  publicirt,"  and  instead  of 
the  aria, 

"O  Eifersucht!  O  Eifersucht 
Mein  Herz  willst  Du  zerstoren! " 

"O  Eifersucht!  O  Eifersucht! 
Du  Qual  verliebter  Herzen." 
In  general,  he  says:   "habe  ich  dem  ganzen  mehr  haltung  zu  geben,  und  die  ecenen 
uberhaupt  beeeer  zu  verbinden  gesucht." 

Schatz  attributes  the  original  version  to  Johann  Friedrich  Jiinger,  and  mentions  a 
later  version,  "  neubearbeitet, "  by  Vulpius.  Schatz  2607 

Gesaenge  aus  der  oper:  Der  schlaf trunk.  In  zwei  aufzuegen  von 
C.  F.  Bretzner.     Die  musik  ist  von  G.  B.  Bierey. 

Breslau,  Grass  und  Barth,  n.  d.     36  p.     16^"^. 

First  performed  at  Dresden,  Theater  vor  dem  schwarzen  There,  August  4,  1797. 

Schatz  1028 

Der  schlaftrunk.     Ein  komisches  singspiel  in  2  aufzuegen.     Von 
C.  F.  Bretzner.     In  musik  gesetzt  von  G.  E.  G.  KallenbacE. 
AUona,  gehrueder  Meyn,  n.  d.      Unpaged.     IG*^. 

Printed  before  1800? 

Schatz  records  no  performance.  Schatz  5001 

Das  schlangenfest  in  Sangora.  Eine  heroisch  komische  oper  in 
zwey  aufzuegen,  von  Karl  Friedrich  Hensler.  Die  musik  ist  von 
Wenzel  Mueller,  Kapellmeister. 

Wien,  Schmidt,  1797.     86  p.     16^'^'^. 

"Aufgefuehrt  auf  der  K.  K.  privil.  Marinellischen  schaubiihne  in  Wien,"  Decem- 
ber 15,  1796.  Schatz  6959 

Die  schlaue  wittwe  oder  Die  beiden  angefuehrten  thoren.  Tr.  of 
Portugal's  La  vedova  raggiratrice  o  siano  I  due  sciocchi  delusi. 

Gesaenge  aus  dem  singspiele:  Der  schleyer,  in  drey  aufzuegen,  von 
Vulpius.  In  musik  gesetzt  von  dem  herzogl.  Sachsen-Weimarischen 
kapellmeister  Wolf. 

Hamburg,  Johann  Matthias  Michaelsen,  1788.     22  p.     16^*^. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  May  22,  1788. 

Schatz  11084 
—  Der  schleier. 

n.  i.,  n.  d.  110  p.  14i''^'  (Vulpius,  Opem,  1.  haendchen, 
Baireuih  &  Leipzig,  1790.) 

Detached  copy.  Three  acta.'  The  compoeer,  Ernst  Wilhelm  Wolf,  is  not  men- 
tioned. Schatz  11084a 

Der  schlosser.     Tr.  of  Kohault's  Le  serrurier. 

Gesaenge  aus  dem  singspiele  Der  schlosser.  In  zwey  aufzuegen. 
In  musik  gesetzt  von  herrn  Piccini. 

n.  i.,  1793.     m  2>.     16\'^. 

Not  recorded  by  Schatz  under  Piccinni.  Schatz  11756 


974  LIBRARY   OF   CONGRESS 

Die  schnitter.     Tr.  of  Duni's  Les  moissonneiirs. 

Die  schnitter.     Eine  komische  oper  in  drey  aufzuegen.     Von  P.  F.  I. 

Rostock,  Mueller,  1779.     [8]  p.     18^"^. 

'By  P.  F.  Ilgener.     Perhaps  a  German  version  of  Favart's  play  "Les  moissonneurs," 
music  by  Duni.  Schatz  11462 

Die  schoene  Arsene.     Tr.  of  Monsigny's  La  belle  Arsene. 

Die  schoene  Arsene.     See  Seydelmann's  Arsene. 

Das  schoene  flschermaedchen.  Tr.  of  Pietro  Guglielmi's  La 
bella  pescatrice. 

Die  schoene  marketenderinn.  Ein  militaerisches  original-sing- 
spiel  in  zwey  aufzuegen  fuer  die  Marinellische  schaubuehne  von  Karl 
Friedrich  Hensler.  Die  musik  von  herm  Wenzel  Mueller,  kapell- 
meister. 

Wien,  Mathias  Andreas  Schmidt,  1795.     36  p.     16'^'^. 

Cast. 

First  performed,  as  indicated,  October  13,  1795.  Schatz  6961 

. —  Die  schoene  marketenderin.  Ein  militairisches  original-sing- 
spiel  in  zwey  aufzuegen  vom  Karl  Friedrich  Hensler;  die  musik  ist 
vom  herrn  Wenzel  Mueller,  kapellmeister. 

n.  pi.,  n.  pull.,  1798.     32  p.     W"".  Schatz  6961a 

Die  schoene  muellerin.     Tr.  of  Paisiello's  L'amor  contrastato. 

Die  schoene  schusterinn.  A.  T.  and  also  L.  T.  of  Umlauf's  Die 
puecefarbnen  schuhe. 

Die  schone  und  getreue  Ariadne.  O.  T.  of  Postel's  text  Die 
betrogene  und  nachmals  vergoetterte  Ariadne. 

Schoenheit  und  ehrbarkeit.  A.  T.  of  Martin  y  Soler's  Etwas 
seltsames. 

Schoenheit  und  tugend.     A.  T.  of  Martin  y  Soler's  Die  seltenheit. 

Schoenheit  und  tugend.  A.  T.  of  Martin  y  Soler's  Die  seltne 
sache. 

The  school  for  fathers  or  Lionel  and  Clarissa.  L.  T.  of  Lionel  and 
Clarissa. 

De  schoone  Arsine.     Tr.  of  Monsigny's  La  belle  Arsene. 

Der  schorsteinsfeger  Peter  oder  Das  spiel  des  ohngefaehrs.  Tr.  of 
Portugal's  Lo  spazzacamino  principe. 

Die  schuhe  a  la  Marlborough.  A.  T.  of  Umlauf's  Die  schone 
schusterinn. 

De  schulden.     Tr.  of  Champein's  Les  dettes. 

Die  schule  der  ehemaenner.     Tr.  of  Isouard's  L' aviso  ai  maritati. 


OPERA   LIBRETTOS  975 

Die  schule  der  eifersucht.     Tr.  of  Salieri's  La  scola  de'  gelosi. 

Die  schule  der  eifersuechtigen.     Tr.  of  Salieri's  La  scola  de  gelosi. 

Die  schule  der  jugend.     Tr.  of  Duni's  L'^cole  de  la  jeunesse. 

Die  schule  der  liebhaber.  A.  T.  of  Mozart's  Eine  (ist)  (machts) 
wie  die  andere. 

Die  schulmeisterin.     Tr.  of  Cocchi's  La  maestra  di  scuola. 

Der  schulze  im  dorfe,  oder  Der  verliebte  herr  doctor.  Eine 
comische  oper  in  drey  aufzuegen. 

Weimar,  Karl  Ludolf  Hoffmann,  1779.     112  p.     W"^. 

Author  unknown  to  Schatz.    Composed  by  Christian  Ludwig  Dieter. 

First  performed  at  Stuttgart,  kl.  Schauspielhaus,  May  10,  1779.         Schatz  2580 

Der  schulze  im.  dorfe,  oder  Der  verliebte  herr  doctor.  Eine 
comische  oper  in  drey  aufzuegen.     Die  musik  ist  von  herrn  Lacher  .  .  . 

n.  %.,  1789.     112  p.     W"^. 

Author  and  date  of  first  performance  unknovm  to  Schatz.  Schatz  5363 

Der  schuss  von  Gaensewlz.  A.  T.  of  Ziunsteeg's  Der  betrug  aus 
liebe. 

Gesaenge  aus  den  [!]  Schusterfeierabend.    Eine  [!]  komisches  sing- 
spiel  in  drey  aufzuegen.     Die  musik  dazu  ist  von  herrn  Wolaneck, 
musikdirektor  zu  Prag.     Aufgefuehrt  von  der  Mihuleschen  gesell- 
schaft.     Augsburg  1794. 
n.  i.,  n.  d.     31  p.     16*^. 

Author  not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Prague,  Vaterlaendischea  Theater,  December  31,  1793. 

Schatz  11073 

Schwarz  und  weiss.     Singspiel  in  zwei  aufzuegen,  nach  Saintfoix. 

n.  %.,  n.  d.  [57]-176  p.  IS'^^.  (Carl  Alexander  Eerklots,  Operetten, 
Berlin,  1793.) 

Detached  copy.    No  composer  recorded  by  Schatz.  Schatz  11649 

Die  schwestern  von  Prag.  Als  sin^piel  in  zwey  aufzuegen,  nach 
dem  lustspiele  des  weyland  herrn  Hafner,  fur  dieses  theater  neu 
bearbeitet  von  Joachim  Perinet  .  .  .  Die  musik  ist  vom  herrn 
Wenzel  Mueller  ...  , 

Wien,  Maihias  Andreas  Schmidt,  1794.     100  p.     15'^'^. 

Cast  and  prefatory  note  which  ends: 

"Daes  die  ausdriicke  und  die  eprache  im  oesterreichischen  dialekte  sind,  ent- 
schuldigt  nur  die  bestimmung,  daes  es  in  und  fuer  Oesterreich  geschrieben  wurde." 

At  end  of  the  text:  "Aufgefuehrt  auf  dem  k.  k.  privil.  Marinellischen  Theater  in 
der  Leopoldstadt,"  March  11,  1794.  Schatz  6963 

Lo  scialacquatore.     Intermezzi  per  musica  a  tre  voci  da  rappre- 
sentarsi   nel   Pubblico  Teatro   di   Lucca   nel   carnevale   deU'    anno 
MDCCLXIII.     In  occasione  delle  recite  in  prosa  da  farsi  dall'  Acca- 
demia  de'  dilettanti  della  Comica. 
Liicca,  Francesco  Antonio  Berchielli,  1763.     22  p.     15  "". 

Two  parts.  Author  unknown  to  Schatz.  (Text  not  that  of  Schatz  6521.)  Cart 
and  name  of  Lorenzo  Minuti  as  composer.  Schatz  6521 


976  LIBRARY   OF   CONGRESS 

Lo  scialaquatore  alia  flera.  Dramma  giocoso  da  rappresentarsi 
nel  Teatro  di  S.  Cassiano  Fautunno  dell'  anno  1745  .  .  . 

Venezia,  Modesto  Fenzo,  1745.     67  p.     15'^'^. 

Three  acts.  By  Ambrosio  Borgheei,  who  is  not  mentioned.  Impresario's  dedi- 
cation, cast,  and  note: 

"La  musica  del  Sig.  maestro  [Giuseppe  Maria]  Orlandini,  e  d'altri," 

ScHATZ  7347 

La  sciocchezza  in  amore.     L.  T.  of  Piccinni's  Le  contadine  bizarre. 

Lo  sciocco  poeta  di  campagna.  L.  T.  of  P.  Guglielmi's  II  poeta 
di  campagna. 

Scipio  in  Kartagena.     Tr.  of  Sacchini's  Scipione  in  Cartagena. 

Scipione. 

[187]-220p.  17'^^.  (Rolli,  Componimenti  poetid,  Nuova  edizione, 
Verona,  G.  Tumermani,  1744-) 

Three  acts.    Argument.    The  composer,  Handel,  is  not  mentioned. 

First  performed  at  London,  Haymarket,  March  12,  1726.  ML  49.A2R7 

Scipione.  Dramma  per  musica  da  rappresentarsi  nel  nuovissimo  e 
nobilissimo  Teatro  dell'  eccellentissima  casa  Balbi  in  Mestre  I'au- 
tunno  deir  anno  1778  .  .  . 

Venezia,  Modesto  Fenzo,  1778.     56  p.     17 ^'^. 

Three  acts.  Eugenio  Giunti's  "Scipione  in  Cartagena"  (not  mentioned)  with 
alterations.  Dedication,  argument,  cast,  scenario,  and  name  of  Giuseppe  Sarti  as 
the  composer.  ("La  musica  h  tutta  nuova.")  On  p.  [23J-32  dedication,  argument, 
cast,  name  of  Luigi  Boccherini  as  composer  of  the  music,  and  description  of  Onorato 
Vigan6's  "Cefalo  e  Procri,  ballo  eroico-tragico  pantomimo."  Schatz  9474 

Scipione  AflFricano.    See  M.  Curzio. 

Scipione  AfFricano.  Dramma  per  musica  recitato  nel. Teatro  novo 
di  Roma,  in  Tordinona  I'anno  1671  .  .  . 

Roma,  per  i  success,  al  Mascardi,  1671.     6  p.  I.,  82,  [1]  p.     14*^™. 

Prologue  and  three  acts  with  two  intermezzi  ("Grotte  di  Vulcano"  and  "La 
BELLEzzA  80PRA  d'un  carro").  The  author,  conte  Niccol6  Minato,  is  not  men- 
tioned, whose  text  was  very  much  altered.  Ai^ument,  notice  to  the  reader,  scenario, 
and  dedication  by  the  book-dealer,  Bartolomeo  Lupardi,  dated  January  1,  1671. 
Schatz  attributes  the  music  to  Alessandro  Scarlatti,  but,  if  he  was  bor^  in  1658  or 
1659,  Schatz  presumably  was  mistaken.    Dent  does  not  mention  this  opera. 

Schatz  9537 

Scipione  African©  drama  per  musica  nel  Teatro  h  SS.  Gio.  e  Paolo 
I'anno  1664  ..  . 

Venetia,  Steffano  Curti  e  Franc.  Nicolini,  1664-  5  p.  I.,  74,  U]  p- 
14'^'^. 

Three  acts.  By  Co.  Niccol6  Minato.  Author's  dedication  dated  Venice,  February 
9,  1664,  argument,  and  scenario.  Notice  to  the  reader  with  name  of  Pietro  Francesco 
Cavalli  as  composer.  Schatz  1741 

/  —  Scipione  Africano.     Drama  per  musica  nel  famoso  Teatro  Gri- 
mano  a  SS.  Gio.  e  Paolo  I'anno  MDCLXXVIII  .  .  . 
Venetia,  Francesco  Nicolini,  1678.     72  p.     14*^^. 

Three  acts,  altered  by  Tebaldo  Fattorini.  Editor's  dedication,  argument,  scenario, 
and  notice  to  the  reader,  in  which  we  are  informed  that  to  adapt  Cavalli's  opera 
■"ma^iormente  al  genio  corrente  6  etato  necessario  di  ridurlo  k  qualche  brevity,  ed 
accrescerlo  nelle  canzoni."  The  composition  of  these  alterations  was  entrusted  to 
Bonaventura  Viviani.  For  purposes  of  identification  it  may  be  noted  that  this  1678 
ed.  contains  20,  21,  and  24  scenes  instead  of  20,  20,  and  20.  Schatz  1754 


OPERA   LIBRETTOS  977 

Scipione  il  giovane.  Dramma  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nelP  autunno  dell' 
anno  1731   .  .  . 

Venezia,  Carlo  Buonarigo,  n.  d.     1  p.l.,  60  p.     W^^. 

Three  acts.  By  Giovanni  Francesco  Bortolotti,  who  is  not  mentioned.  Author's 
dedication,  ar^ment,  scenario,  cast,  name  of  Luca  Antonio  Predieri  as  the  com- 
jxteer,  and  notice  to  the  reader  which  reads: 

"Per  I'ordinaria  necessity  di  accomodarsi  alia  voce,  ed  al  genio  de  virtuosi  can- 
tanti,  essendosi  dovute  mutare  alcune  dell'  arie  del  presente  dramma,  ne  potendolo 
par  I'autore  per  le  sue  gravi  occupazioni,  h  convenuto  ad  altra  penna  impiegarsi  per 
Bodisfarli." 

These  arias  or  parts  of  arias  are  designated  by  asterisks,  as  for  instance:  "L'ar- 
dente  mia  fiamma"  (III,  1)  or  "Ingrata  mi  sprezzi"  (II,  5).  Schatz  8458 

Scipione  in  Cartagena.     O.  T.  of  Eugenio  Giunti's  text  Scipione. 

Scipione  in  Cartagena,  dramma  per  musica  da  rappresentarsi  nel 
Nuovo  Teatro  di  Corte  .  .  .  nel  carnevale  dell'  anno  MDCCLXX. 
La  poesia  h  del  Signor  Eugenio  Giunti  ...  La  musica  h  del  Sig. 
Antonio  Sacchini. 

Monaco,  Maria  Maddalena  Mayrin,  n.  d.     125  p.     19'^^. 

Three  acta.  Argument,  scenario,  and  cast.  German  title-page,  "Scipio  in  Earta- 
gena,"  and  text  face  Italian.  With  the  opera  were  performed  the  ballets,  "L'alliance 
de  Romulus  et  de  Tatius — Der  fried  zwischen  Romulo  und  Tatzio,"  and  "Lee  amans 
reimis — Die  wieder  vereinigten  freier." 

First  performed,  as  indicated,  January  8, 1770 — ^not  at  Padua,  where  the  opera  was 
not  performed  until  June,  1770.  Schatz  9240 

Scipione  in  Cartag^ine  nuova,  dranuna  per  musica  da  rappresen- 
tarsi nel  nuovo  Ducal  Teatro  di  Piacenza,  in  occasione,  che  si  riapre  la 
fiera  la  primavera  dell'  anno  1730  .  .  .  Poesia  di  Carlo  Innocenzio 
Frugoni  .  .  . 

Parma,  Stamperia  di  S.  A.  S.,  n.  d.    8  p.  I.,  72  p.     17'^'^. 

Three  acts.  Dedication  and  Frugoni's  dedicatory  sonnet,  argument,  cast,  scenario 
and  name  of  Geminiano  Giacomelli  as  the  composer. 

First  performed  at  Parma  in  1728.  Schatz  3808 

Scipione  nelle  Spagne. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744,  ^-  '^^j  P-  [93]-189. 
19""^. 

Three  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo "  at  the  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  "in  Barcellona.  1710. 
E  in  Vienna.     1722."    According  to  Schatz  both  times  Caldara's  score  was  used. 

ML  49.A2Z3 

—  Scipione  nelle  Spagne.  Pubblicato  per  la  prima  volta  in  Bar- 
celona 1710. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  iv,  p.  94. 

Three  acts  and  licenza.    Argument.     No  composer  is  mentioned.      ML  49.A2Z4 

Scipione  nelle  Spagne.  Dramma  per  musica,  da  rappresentarsi 
nel  Teatro  Grimani  di  S.  Samuele  nell  fiera  dell'  Ascensione.  L'anno 
1724. 

Venezia,  Marino  Rossetti,  1724.     57  p.     14^""- 

Three  acts.  Argument,  cast,  scenarioj  name  of  Tommaeo  Albinoni  as  composer, 
and  notice  to  the  reader,  in  which  this  is  called  an  altered  and  reduced  version  of 
Zeno's  text  as  first  performed  at  Vienna  in  1722.  Schatz  125 

72251  °— voL-1— 14 62 


978  LIBRARY   OF  CONGRESS 

Scipione  nelle  Spagne.     Dramma  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  Tautunno  dell'  anno  1746. 
Venezia,  Modesto  Fenzo,  1746.     34  p.     16<='^. 

Three  acta.  The  author  is  not  mentioned.  Argument,  Bcenario,  caet  (also  for  the 
■'Intermezzi"),  and  name  of  Galuppi  as  composer.  The  intermezzi,  "La  donna 
giudice  e  parte,"  were  composed  by  Giovanni  Cingoni.  The  composer  of  the  other 
II  conte  Neepola"  unknown  to  Piovano.  The  original  title  or  conte  Agoetino 
Piovene'a  libretto  (music  by  C.  F.  Pollaroli,  Venice,  1712)  was  "Publio  Comelio 
Scipione." 

First  performed,  as  indicated,  in  November,  1746  (Pavan).  Schatz  3493 

Gli  Sciti,  ballet.     See  Arioli's  Cinna. 

Gli  Sciti.  Nuovo  dramma  da  rappresentarsi  in  musica  nel  Teatro 
grande  alia  Scala  di  Milano  il  carnevale  del  1799.  Correndo  I'anno 
VII.  repubblicano. 

Milano,  Gio.  Batista  Bianchi,  n.  d.     4^  P-     loY^- 
Two  acts.     By  Gaetano  Rossi,  who  is  not  mentioned.     Cast,  scenario,  and  name  of 
Giuseppe  Nicolmi  as  the  composer. 

With  the  opera  were  performed  Urbano  Garzia's  "ballo  eroi-tragico  Gonzalvo  in 
America  "  and  ' '  ballo  comico  I  matrimonj  per  inganno."  The  composers  of  the  music 
are  not  mentioned.  Schatz  7133 

Gli  Sciti,  ballet.     See  Paisiello's  Ipermestra. 

Der  sclavenhaendler,  ein  singspiel  in  zwei  aufzuegen.  In  musik 
gesezt  von  Peter  Ritter. 

Mannheim,  C.  F.  Schwan  und  G.  C.  Goetz,  1790.     92  p.     18*^. 

Prefatory  note,  dated  Mannheim,  January  20,  17902  by  the  author.  Christian 
Friedrich  Schwan,  who  says  that  about  twenty  years  previously  he  translated  from  the 
French  the  popular  comedy ^  "Der  kaufmann  von  Smyrna."  This  he  subsequently 
turned  into  a  one-act  singspiel,  produced  successfully  with  Vogler's  music  at  Mann- 
heim, but  it  could  not  be  continued,  because  Vogler  went  to  Italy  with  the  only  score. 
In  the  meantime  Carl  David  Stegmann  (1773)  published  the  vocal  score  of  his  own 
setting  of  the  text,  and  in  1775  Andreas  Holly  his.     Schwan  continues: 

"Dadurch  wurde  nun  dieses  kleine  singspiel  allgemeiner  gemacht,  und  verschie- 
dene  Jahre  lang  auf  mehreren  buehnen  gegeben,  bis  es  endlich  auch  wie  andere 
seines  gleichen,  nach  und  nach  in  vergessenheit  gerieth. 

' '  Ich  laese  es  nun  auf  veranlassung  ernes  unserer  hiesigen  schon  ruehmlich  bekanten 
tonkuenstlers,  zum  dritten  male  in  einer  sehr  veraenderten  gestalt,  und  in  einem 
etwas  laengerem  gewande,  unter  dem  titel,  Der  sclavenhaendler,  auf  der  buehne 
erscheinen. 

First  performed  at  Mannheim,  National  theater,  April  11,  1790.         Schatz  8830 

Die  sclavin  und  der  grossmuethige  seefahrer.  Tr.  of  Piccinni's 
Gli  stravaganti. 

La  scola  de'  gelosi.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Giustiniani  in  S.  Moisfe  il  carnovale  dell'  anno  1779. 
n.  i.,  n.  d.     72  p.     18^"^. 

Two  acts.  By  Caterino  Mazzola,  who  is  not  mentioned.  Antonio  Salieri  is  men- 
tioned as  the  composer.  Schatz  9314 

—  La  scola  de  gelosi.     Opera  in  musica  da  rappresentarsi  nel 
Piccolo  Theatro  di  S.  A.  S.  di  Brunsvic  Luneburg, 
Brufisvic,  n.  publ.,  1782.     169  p.     17^"^. 

Two  acts.  Without  name  of  Caterino  Mazzol^,  the  author,  but  with  name  of 
Antonio  Salieri,  thecomposer.  German  title-page,  "Dieechuleder  eifersuechtigen," 
and  text  face  Italian,  which  is  practically  the  same  as  in  the  original  edition. 

First  performed  1782,  as  indicated.  Schatz  9315 


OPEBA  LIBRETTOS  979 

La  scola  de'  gelosi — Continued. 

—  Die  schule  der  eifersucht,  oder  Liebe  hasst  alien  zwang.  Ein 
singspiel,  in  zwei  aufzuegen;  von  heirn  Pr.  Zehnmark. 

Koeln  am  RTieine,  Johan  GodschaTk  Langen,  1787.     75,  [4]  p.     16'^'^. 

At  end,  3  uimumb.  p.  of  "Nachricht,"  with  a  list  of  Langen's  theatrical  pub- 
lications.    The  composer,  Antonio  Salieri,  is  not  mentioned. 

First  performed  at  Vienna,  Karthnerthortheater,  November  19,  1784. 

SCHATZ  9316 

—  Gesaenge  aus  Der  schule  der  eifersuecht^en,  ein  singspiel  in 
vier  aufzuegen,  nach  Mazzola,  von  C.  F.  Bretzner.  In  musick 
gesetzt  von  Salieri. 

Hamburg,  J.  M.  Michaelsen,  1787.     32  p.     18'='". 

First  performed  at  Hamburg,  Theater  b.  Ganeemarkt,  November  23,  1785. 

SCHATZ  9317 

—  A  escola  dos  ciosos.  Drama  giocoso  em  hum  s6  acto,  traduziao 
livremente  do  idioma  italiano  em  versos  portuguezes  para  se  repre- 
sentar  em  musica  no  Real  Teatro  de  S.  Carlos,  ofFerecido  ao  publico 
por  Francisco  Marquesi  no  dia  do  seu  ben^ficio:  A  musica  he  do 
celebre  mestre  de  capella  o  Senior  Salieri. 

Lishoa,  Simdo  Thaddeo  Ferreira,  1795.     66  p.     15'='^. 

Cast. 

First  performed  1795,  as  indicated.  Schatz  9318 

La  scola  di  musica.     A.  T.  of  Bernardini's  Le  tre  orfanelle. 

La  scolara  alia  moda.  L.  T.  of  Pergolesi's  II  maestro  di  musica; 
also  A.  T,  of  Latilla  and  Pergolesi's  Orazio,  which  is  a  very  much 
altered  and  expanded  version  of  "  II  maestro  di  musica." 

La  scolara  fatta  maestra.  Intermezzi  per  musica  da  rappresen- 
tarsi  nel  Real  Teatro  di  Potsdam,  per  ordine  di  Sua  Maestk, 

Potsdam,  C.  F.  Voss,  1749.     53  p.     WY"^- 

Three  parts.  Cast.  The  author  is  unknown  to  Schatz.  German  title-pwce,  "Die 
zur  meisterin  gewordene  schuelerrn,"  and  text  face  Italian.  The  composer,  Giovanni 
Cing^ni,  is  not  mentioned.  The  two  last  parts  of  the  text  are  clearly  based  on  the 
intermezzo^  "La  donna  giudice  e  parte."  The  first  part  may  also  have  been  taken 
from  some  intermezzo,  or  may  have  been  written  for  tne  occasion .         Schatz  2010 

La  sconfitta  delle  Amazoni,  ballet.  See  Salieri's  La  fiera  di 
Venezia. 

La  scoperta  d'un  isola  nell'  America  del  capitano  Durson  Inglese, 
ballet.     See  Crippa's  Le  confusioni  per  somiglianza. 

Lo  scroccatore  smascherlato.  A.  T.  of  di  Palma's  Chi  mal  fa  mal 
aspetti. 

Lo  scoprimento  inaspettato.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  Nuovo  nel  camevale  del  corrente  anno  1787. 

Napoli,  n.  publ.,  1787.     58  p.     15^"^. 

Three  acts.  By  Vicenzo  di  Stefano,  who  is  not  mentioned.  Caet  and  name  of 
Pietro  Guglielmi  aa  the  composer.  Schatz  4265 

La  scuffiaja.     A.  T.  of  Paisiello's  La  modista. 


980  LIBRARY  OF   CONGRESS 

La  scufBara.     See  Tritto's  Li  due  gemelli. 

Lo  scultore.  Intermezzi  a  tre  voci  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  del  Cocomero  nell'  autunno  dell'  anno  176L 

Firenze,  Anton  Giuseppe  Pagani,  1761.     24  p.     15"^. 

Two  parte.    Cast.     Neither  author  nor  composer  known  to  Schatz. 

ML  48.A5    V.  16 

La  scuola  degli  amanti.     A.  T.  of  Mozart's  Cosi  fan  tutte. 

La  scuola  degli  amanti.  Conunedia  per  musica  da  rappresentarsi 
nel  Teatro  Nuovo  sopra  Toledo  per  quart'  opera  di  quest   anno  1783. 

Napoli,  n.  publ,  1783.     60  p.     15'=^. 

Three  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Cast  and  name  of 
Giacomo  Tritto  as  composer.  Schatz  10478 

La  scuola  de'  gelosi.  Dranima  giocoso  per  musica  nella  prossima 
prima  vera  dell'  anno  1780.  Nel  Teatro  Filarmonico  di  Verona  .  .  . 
Verona,  Dionigio  Ramanzini,  n.  d.  72,  6,  [i]  p.  17^^. 
Two  acts.  Impresario's  dedication,  cast,  names  of  Catterino  Mazzol^  as  author, 
of  Antonio  Salieri  as  composer.  The  6  p.  contain  libretto  of  Gaspero  Angiolini's 
"Alessandro  trionfante  nell  Indie,  ballo  eroico  pantomime,"  composer  of  the  music 
not  mentioned.  ML  50.2.S46S2 

La  scvola  di  magia,  balletto  alle  Dame.  Amore  riconscendo  le 
Dame  si  volubili  e  le^iere  viene  ne  la  scuola  di  ma^ia  da  Zoroastro 
Mago,  accid  trasformi  con  incanti,  inusitati  oggetti  per  appagar  il 
loro  inconstante  desio. 

n.i.,n.d.    folio  broadside.  ML52.2.S39 

La  scuola  di  scultura,  ballet.     See  Cimarosa's  I  due  supporti  conti. 

La  scuola  modema.  Dramma  di  tre  atti  per  musica  rappresentato 
per  la  prima  volta  in  Venezia  I'autunno  dell'  anno  MDCCiLVIII. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  v.  J^, 
[207]-261  p.     18'"". 

But  see  Cocchi's  La  maestra,  text  by  Ant.  Palomba.  PQ 

La  scuola  modema  osia  La  maestra  di  buon  gusto.  L.  T.  of 
Cocchi's  La  maestra. 

La  scuola  olandese  ossia  L'amante  in  statua,  ballet.  See  Portugal's 
La  donna  di  genio  volubile. 

Scylla,  tragedie  representee  par  I'Academie  royale  de  musique  I'an 
1701.  Les  paroles  de  M.  Duche  &  La  musique  de  M,  Theobal. 
LIII.  opera. 

n.  %.,  n.  d.  front,  p.  215-276  (Recueil  general  des  opera,  t.  vii, 
Paris,  1703).     l^Y"^. 

Detached  copy.  Five  acta  and  prologue.  Composed  by  Teobaldo  di  Oatti,  called 
as  above. 

First  performed,  as  indicated,  September  16,  1701.  Schatz  3633 

Second  copy.    ML  48. R4 

Gli  sdegni  amorosi.  A.  T.  and  L.  T.  of  Goldoni's  text  II  gondo- 
liere. 


OPERA    LIBRETTOS  981 

Li  sdegni  cangiati  in  amore.  Dramma  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  Mois^.     II  camevale  dell'  anno  MDCCXXV 

Venezia,  Marino  Rossetti,  n.  d.     1^1  p.     15^^. 

Three  acts.  By  Francesco  Silvani  (not  mentioned),  but  completely  altered 
according  to  this  notice  to  the  reader: 

"S'6  convenuto  per  accomodarsi  al  numero  degli  attori  ridurre  il  drama  \  sei, 
mentre  il  suo  autore  I'haveva  composto  in  eette  ed  altresi  per  maggior  brevity  levarle 
moltissimi  versi,  che  s'havrebbero  interlineati,  ma  per  comodo  de  chi  legge  lasciati 
senza  stamparli.     Tutte  I'arie  sono  state  mutate,  alia  risserva  di  alcune  .  .  ." 

Schatz  attributes  these  changes  of  Silvani's  "II  duello  d'amore  e  di  vendetta"  to 
the  comp>08er,  Giuseppe  Maria  Buini,  who  is  not  mentioned.  Impresario's  dedica- 
tion, ailment,  cast,  scenario.  Schatz  1394 

I  sdegni  per  amore.  Commedia  per  musica  di  un'  atto  di  Giuseppe 
Mililotti  da  rappresentarsi  nel  Teatro  Nuovo  nel  camevale  di  quest' 
anno  1776. 

Najpoli,  n.  puhl,  1776.     52  p.     15"^. 

Cast  and  name  of  the  composer,  Cimarosa.     On  p.  [3]  the  notice: 

"Questa  commedia,  che  ora  comparisce  di  un  eolo  atto,  doveva  farsi  in  due,  ma 
per  vari  accidenti,  e  sopratutto  per  la  mancanza  del  tempo  si  6  dovuta  ridurre  in  un 
atto  eolo." 

Pages  [29]-51  contain  the  libretto  with  cast  of  Cixoarosa's 

"I  MATRiMONi  IN  BALLO.  Farsetta  per  musica  di  Pasquale  Mililotti.  Da  rappre- 
sentarsi nel  Teatro  Nuovo  nel  camevale  di  quest'  anno  1776  "  Schatz  1993 

La  secchia  rapita.  Dramma  eroi-comico  per  musica  composto  da 
Niccol6  Liprandi  da  rappresentarsi  nel  nobilissimo  Teatro  di  San 
Samuele  il  camovale  dell'  anno  1794. 

Venezia,  Modesto  Fenzo,  1794.     64  p.     17 Y^ • 

Two  acts.  Author's  dedication,  cast,  scenario,  and  name  of  Francesco  Bianchi 
as  composer.  In  the  dedication  Angelo  Anelli  (pseud.  Liprandi)  says  of  the  text, 
written  for  Milan,  fall  of  1793: 

"ho  dovuto  rifarlo  presso  che  tutto  di  novo,  non  conservando,  che  alcune  coee, 
cio6  I'introduzione,  e  i  finali  di  quello  esposto  in  Milano:.  anzi  n6  stessi  finali  ho 
dovuto  aggiungere,  e  togliere  alcune  cose  in  maniera,  che  men  fatica  mi  earebbe  stata 
il  comporli  di  novo."  Schatz  982 

La  secchia  rapita.  Dranmia  eroi-comico  di  Gio.  Gastone  Bocche- 
rini,  poeta  Arcade,  da  rappresentarsi  ne'  Teatri  privilegiati  di  Vienna 
I'anno  1772. 

[Vienna],  Giuseppe  Kurtzboeck,  n.  d.     77  p.     16"^. 

Three  acts.  Argxunent,  cast,  scenario,  and  name  of  Antonio  SaHeri  as  the  com- 
poser ("La  musica  6  tutta  nuova"). 

First  performed  at  Vienna,  Burgtheater,  October  21,  1772.  Schatz  9319 

—  La  secchia  rapita.  Dramma  eroicomico  di  Gio.  Gastone  Boc- 
cherini  poeta  Arcade  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  E. 
di  Sassonia. 

Dresda,  n.  puhl,  1775.     135  p.     16^"^. 

Three  acts.  Antonio  Salieri  is  mentioned  as  the  composer.  German  title-page, ' '  Der 
geraubte  eymer,"  and  text  face  Italian,  which  is  sligntly  different  from  the  original 
edition.  For  instance,  the  latter  does  not  have  the  chorus,  "Viva,  viva:  trombette  e 
tamburi"(I,  6). 

First  performed  January  3,  1775,  as  indicated.  Schatz  9321 

—  Der  geraubte  eymer,  eine  heroisch-komische  oper  aufgefuehret 
am  kurpfaelzischen  hofe  im  jahre  1774. 

Mannheim,  Hofund  AJcademie  huchdrucTceri,  n.  d.     72,  [5]  p.     16*^ 


982  LIBRARY   OF   CONGRESS 

ha  secchia  rapita — Continued. 

Three  acts.  Argument,  scenario,  and  name  of  Antonio  Salieri  as  the  composer. 
This  is  a  separate  edition  of  the  German  translation  of  his  "La  secchia  rapita,  first 
performed  at  Mannheim,  November  5,  1774,  as  indicated.  At  end  descriptions  of 
the  ballets  "Die  von  Amor  beechuezten  liebhaber"  and  "Daa  eeefest  oder  Die  unver- 
mutibete  zxisammenkunft."  Schatz  9320 

La  secchia  rapita.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  alia  Scala  I'autunno  dell'  anno  1793  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.    68  'p.     WY"^' 
Two  acts.    By  Angelo  Anelli,  who  is  not  mentioned.     Impresario's  dedication, 
argument,  cast,  scenario,  name  of  Nicola  Antonio  Zingarelli  as  the  composer,  and 
footnote  that  this  text  is  an  absolutely  new  treatment  of  the  subject,  and  not  to  be 
confused  with  the  former  drama  of  the  same  title.    With  the  opera  was  performed 
Giuseppe  Banti'e  ballet,  "Zinia,"  the  composer  of  the  music  not  oeing  mentioned. 
First  performed,  as  indicated,  September  7, 1793.  Schatz  11258 

—  La  secchia  rapita.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1796.     15  p.  I,  58  p.     15^"^. 

The  p.  1.  contain  detailed  "Innhalt."  German  title  page,  "Der  geraubte  eimer," 
feces  Italian.    Zingarelli  is  mentioned  as  the  composer. 

First  performed,  as  indicated,  1795.  Schatz  11259 

Second  thought  is  best.  An  opera  of  two  acts,  performed  at  the 
Theatre  Royal  in  Drury-Lane.  Addressed  to  R.  B.  Sheridan,  Esq. 
by  J.  Hough,  of  the  Inner  Temple,  in  which  is  introduced  the  song 
rejected  by  the  Lord  Chamberlam. 

[Lmidon],  Murray  and  Greenlaw,  1788  [/].    43  p.    21 Y"^. 

The  date  is  a  misprint  for  1778. 

Cast  and  dedication.    The  composer  is  not  mentioned,  and  is  unknown  to  Schatz. 

First  performed,  as  indicated,  March  30,  1778.  Longb  270 

The  secret  enlarged.     See  The  agreeable  surprise. 

II  secrete,  opera  by  Joh.  Simon  Mayr.  See  Cimarosa's  II  duello  per 
complimento,  Venezia,  (1797).  Schatz  2002 

Das  seefest  oder  Die  unvermuthete  zusammenkunft,  ballet.  See 
Salieri's  Der  geraubte  eymer. 

II  segreto,  ballet.    See  Nicolini's  II  trionfo  del  bel  sesso. 

II  seguito  tra  I'amii  o  sia  La  donna  militare,  ballet.  See  Salari's 
L'amore  rammingo. 

Der  sehende  Cupido.     Tr.  F.  of  the  ballet  L'amour  clairvoyant. 

I  sei  grigU.     See  Manelli's  La  Filo. 

Le  seigneur  bienfaisant,  op^ra,  compost  des  actes  du  Retom-  du 
seigneur  dans  ses  terres,  du  rressoir,  ou  Des  f6tes  de  I'automne,  de 
L'incendie  et  du  Bal,  represents  pour  la  premiere  fois  par  I'Academie- 
royal  [!]  de  musique  le  fundi  23  decembre  1782. 

Paris,  P.  de  Lormel,  1782.    viii,  58  p.    23'^'^. 

Rochon  de  Chabannes  is  mentioned  as  author,  Etienne  Joseph  Floquet  as  the  com- 
poser.    Cast  and  "avertissement,"  which  begins: 

"  L'Acad^mie  royale  de  musique  Hi'avoit  engag^  plusieur  fois  k  faire  un  nouvel  acta 
AU  S&igneur  Bienfaisant  pour  tacner  de  completter  la  dur^e  du  spectacle,  &  rem^dier 


OPEKA   LIBRETTOS  983 

Le  seigneur  bienfaisant — Continued. 

ainsi  a  Tembarras  d'y  joindre  un  acte  Stranger,  d'autant  plus  difficile  k  trouver,  qu'il 
falloit  toujoure  qu'il  fut  sans  ballet  ...  Je  ne  dirai  plus  rien  de  cet  acte,  Binon  qu'il 
m'a  facility  lea  moyens  d'amener  naturellement  un  spectacle  militaire  &  par  consequent 
un  tableau  different  de  ceux  dea  trois  anciens  demiers  actes  ..." 

The  opera  ia  based  on  incidenta  in  the  life  of  Henri  IV. 

The  original  three-act  version  was  first  performed  at  Paris,  Palais  Royal,  December 
14, 1780,  and  later  at  the  Salle  de  la  Porte  Saint  Martin,  November  15, 1781. 

ScHATZ  3249 

Sella.     Componimento  dramatico  d'Inalbo  Laerzio  P.  A.    Posto  in 
musica  dal  Sig.  Jacopo  Scolart,  maestro  di  capella  in  Cingoli  e  cantato 
in  Cesena,  nella  sera  del  di  7  settembre  1787. 
Faenza,  Lodovico  Genestri,  n.  d.     29  jp.     19^''^. 

Two  acts.  Real  name  of  the  above  unknown  to  Schatz,  and  this  Arcadian  name 
not  entered  by  Wotquenne.  Schatz  9807 

Seldano,  duce  degli  Svedesi.  Dranuna  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  San  Benedetto  Fautunno  dell'  anno  1797. 

Venezia,  Anno  primo  delta  Liberia  italiana,  Modesto  Fenzo,  n.  d. 
Ifi  p.     18Y^. 

Two  acts.  Author  unknown  to  Schatz.  Argument,  cast,  and  name  of  the  com- 
poser, Giuseppe  Faxinelli.  On  p.  [21J-26,  cast  and  description  of  the  ballet,  "I  bac- 
chanali,  composto  e  diretto  da  Onorato  Vigano  ...  la  musica  tutta  nuova  h  del 
maestro  Giuseppe  Nucci.  Schatz  3030 

II  Seleuco.     L.  T.  of  C.  F.  PoUaroli's  La  pace  fra  Tolomeo  e  Seleuco. 

Seleuco.  Drama  per  musica  nel  Teatro  "k  San  Salvatore,  per  I'anno 
1668  .  .  . 

Venetia,  Francesco  Nicolini,  1668.    4  V-  ^-j  '^^  V-     ■^•4*""- 

Three  acts.  Dedication  by  the  author,  conte  Niccolb  Minato  an^  dated  Venice, 
January  16,  1668,  argument,  scenario,  and  notice  to  the  reader: 

"Queeto  drama  comparve  fin  hora  mascherato  sotto  eimulatione  di  cittadino  del 
cielo  di  Napoli;  hora  ch'egli  h  state  eletto  ^  nuovamente  eervirti,  no  h6  gusto,  ch'egU 
rimanga  con  I'oscura  nota  d'occulti,  e  menzogneri  natali.  Egli  h  parte  di  quella 
steesa  penna,  che  ti  fece  vedere  il  JCerse,  L' Artemisia,  L'Antioco,  Lo  Scipione,  il 
Mutio,  il  Pompeo  &  ultimamente  la  Caduta,  e  la  Prosperita  di  Seiano.  L'autore 
nascose  volontieri  la  di  lui  origine  all'  hora  che  doveva  farlo  comparire  insieme  col 
suo  Pompeo,  temendo,  che,  se  fossero  ambo  stati  conoeciuti  per  figli  d'una  senna 
medesima,  potesse  egli  restar  ripreso  di  partiality  con  I'uno  piti,  che  con  I'altro." 

The  composer,  Antonio  Sartorio,  is  not  mentioned.  ' 

First  performed  at  the  same  theatre,  carnival,  1666,  the  dedication  in  the  1666 
libretto  being  dated  January  16,  1666.  {See  Wotquenne,  who  does  not  mention  the 
author.)  Schatz  9487 

Seleuco.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angiolo  Fanno  MDCCXXV  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.    59  -p.,   [1]  I.     15^"'^. 

Three  acts.  Arcument,  cast^  scenario,  and  dedication  with  Apostolo  Zeno's  name 
as  author.  His  collaborator,  Pietro  Pariati,  is  not  mentioned.  The  original  title  of 
their  text  was  "Antioco."  The  composer  Giovanni  Zuccari,  is  not  mentioned  ae 
composer.  Schatz  11286 

Seleuco,  re  di  Siria.  Dramma  per  musica  da  rappresentarsi  nel 
nobilissimo  Teatro  Venier  in  San  Benedetto  il  carnovale  dell'  anno 
1792. 

Venezia,  Modesto  Fenzo,  1791.    64  p.     IS""^. 

Three  acts.  Cast,  scenario,  and  name  of  the  composer,  Francesco  Bianchi,  but 
not  of  the  librettist,  Mattia  Botturini.    On  p.  [19]-39  argument,  cast,  and  full  description 


984  LIBRARY   OF   CONGRESS 

Seleuco,  re  di  Siria — Continued. 

of  "Alfredo  il  Grande,  r6  degli  Anglo-Sassoni,  ballo  tragico  pantomimo  in  cinoue 
atti"  by  Paolino  Franchi,  music  ("tutta  nuova  ed  eepressamente  scritta")  by  Vit- 
torio  Trento.  The  second  ballet,  also  by  Franchi,  composer  not  mentioned.,  waa 
called  "Solimano  II." 

First  performed,  as  indicated,  December  26,  1791.  Schatz  1000 

The  self-conquest  of  Alexander.  A.  T.  of  Noverre's  ballet  Apelles 
and  Campaspe. 

Selim  og  Mirza.  Originalt  skuespil  med  musik  i  tre  acter  af  P.  A. 
Heiberg.     Musiken  af  herr  O.  Zink. 

Ki^henhavn,  Christian  FrederiJc  Holm,  1790.    viii,  72  p.     77^*^™. 

Cast  and  noteworthy  "forerindring." 

First  performed  at  Copenhagen,  Royal  Theatre,  February  1, 1790.    Schatz  11272 

Selim  und  Zelide,  oder  Die  macht  der  feen.  Eine  romantisch- 
komische  oper  in  zwey  aufzuegen.  Unter  der  direktion  der  herrn 
Mihule  und  Butteau  aufgefuehrt  auf  dem  Kleinseitner  Theater  mon- 
tags  den  30  november  1789. 

Prag,  Joseph  Emanuel  Diesbach,  n.  d.     Unpaged.     17^"'^. 

Author  and  composer  unknown  to  Schatz.  Schatz  11463 

Selima  &  Azor,  a  Persian  tale,  in  three  parts:  as  performed  at  the 
Theatre-Royal  in  Drury-Lane  .  .  . 
London,  J.  BeU,  1784.     4  p.  l,  39  p.    21'^^. 

By  Sir  G.  Collier,  who  is  not  mentioned.  Cast,  dedication  dated  West-Hill, 
January  12,  1784,  and  Advertisement  dated  January  13,  1784,  in  which  the  author 
eays: 

"The  following  little  piece  (which  is  an  imitation  of  the  French  Zemire  &  Azor) 
[by  Marmontel]  was  the  production  of  some  leisure  hours,  in  a  journey  which  the 
author  made  a  few  years  ago  ..." 

The  success  of  the  piece,  during  his  absence  from  England,  he  says,  was  owing 

"most  particularly  to  the  taste  and  judgment  of  Mr.  Sheridan  in  several  judicious 
alterations;  and  to  the  excellent  music  of  Mr.  Ldnley  ..." 

As  a  matter  of  fact,  Thomas  Linley  utilized  Gr6try's  score  to  a  considerable  extent. 

First  performed  at  Drury-Lane,  October  6,  1776  (Schatz);  December  5,  1776 
(Genest).  Longe  95 

Selin.  Gran  simor  de'  Turchi.  Drama  per  musica  da  rappresen- 
tarsi  nel  Nuovo  Teatro  di  S.  Margherita  il  carnovale  dell'  anno  1730 

Venezia,  Carlo  Buonarrigo,  1730.     47  p.     14'^^. 

Three  acts.  Impresario's  dedication,  ami^ent,  scenario.  Author  (Antonio  Maria 
Lucchini)  and  composer  not  mentioned.     Schatz  records  this  as  a  pasticcio. 

Schatz  11361 

Der  seltene  fall.     Tr.  of  Martin  y  Soler's  Una  cosa  rara. 

Die  seltenheit  oder  Schoenheit  und  tugend.  Tr.  of  Martin  y  Soler's 
Una  cosa  rara. 

Der  seltne  fall.     Tr.  of  Martin  y  Soler's  Una  cosa  rara. 

Die  seltne  sache  oder  Schoenheit  und  tugend.  Tr.  of  Martin  y 
Soler's  Una  cosa  rara. 

La  selvaggia  ovvero  Adelia  e  Roberto,  ballet.  See  Paer's  L'intrigo 
amoroso. 


OPERA  LIBEETTOS  985 

II  selvaggio  eroe.  Tragicomedia  eroico-pastorale  da  rappresentarsi 
in  music  a  nel  famosissimo  Teatro  Grimano  di  S.  Gio.  Grisostomo 
I'anno  1707. 

Venezia,  Marino  Rossetti,  n.  d.     72  p.     14*'^. 

Five  acta.  By  conte  Girolamo  Frigimelica  Roberti,  who  is  not  mentioned.  Pub- 
lisher's prefatory  note,  author's  "Notizia  poetica"  (p.  4-9),  argument,  caet,  scenario, 
and  name  of  the  composer,  Antonio  Caldaxa.  Schatz  1497 

I  selvatici,  ballet.     See  Gius.  Scarlatti's  Pelopida. 

Semele,  tragedie  representee  par  I'Academie  royale  de  musique  I'an 
1709.  Les  paroles  de  M.  de  la  Mothe,  &  la  musique  de  M.  Marais. 
LXXII.  opera. 

n.  i.,  n.  d.  front.,  p.  387-437,  [3]  (Recueil  general  des  opera,  t.  ix, 
Paris,  1710.)     14'^'^. 

Detached  copy.     Five  acts  and  prologue. 

First  performed,  as  indicated,  April  9,  1709.  The  three  additional  pages  contain 
the  "Privil^e  general."  Schatz  5921 

Second  copy.    ML  48. R4 

Semiramide. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  v,  {265]-357  p. 

Three  acts  and  lizenza.  Argument.  "Nella  forma  in  cui  sono  etati  ridotti  dall' 
autore  "  (See  note  on  p .  169  of  v.  vi . )  Same  a3  his  ' '  Semiramide  nconosciuta, ' '  which 
see  for  characteristic  differences  between  the  original  and  the  later  version. 

Same,  t.  vii,  [119J-240  p.  16cm.  "Come  .  .  .  nell'  altre  edizioni"  (Note,  VI, 
169).  ML  49.A2M42 

—  Semiramide.     Dramma  scritto  dall'  autore  in  Roma,  ed  ivi  rap- 

Eresentato  con  musica  del  Vinci  la  prima  volta,  nel  Teatro  detto  delle 
►ame,  il  camevale  deU'  anno  1729. 

pi.,  [3]-106  p.  26'^'^.  {Metastasio,  Opere,  t.  mi,  Parigi,  vedova 
Herissant,  1780.) 

Three  acta  and  licenza.    Argiunent.  ML  49.A2M44 

Semiramide.     Pubblicata  per  la  prima  volta  in  Vienna  1725. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1786-86,  t.  vi,  p.  233- 
310.    21'^'^. 

Five  acts  and  licenza.  Argument.  No  composer  is  mentioned.  Same  aa  "Semi- 
ramide in  Ascalona."  ML  49.A2Z4 

Semiramide.     Dramma  per  musica  del  Signor  abate  Pietro  Metasta- 
sio.    Da  rappresentarsi  nel  Teatro  di  Lucca  nell'  autunno  dell'  anno 
1751. 
Lucca,  Filippo  Maria  Benedini,  1761.     92,  [1]  p.     W^. 

Three  acts.  Argument,  cast,  scenario.  Composer  not  mentioned  and  unknown 
to  Schatz.  The  last  p.  contains  the  schedule  of  performances,  which  began  on 
August  29,  1751.  Schatz  11362 

Semiramide,  ballet.    See  Anfossi's  Antigone. 

Sem.iramide.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  di  Corte  ...  in  occasione  del  reale  sposalizio  della  Sacra  Real 
Majesty,  di  Gioseppe  .  .  .  e  delV  imperial  prencipessa,  Maria  Gio- 
seppa  .  .  . 

Monaco,  Gioseppe  Francesco  ThuiUe,  1766.     136,  [17]  p.     16Y^. 


986  LIBBABY  OF  CONGBESS 

Semiramide — Continued. 

Three  acts.  By  Metaataeio  and  licenza  by  Eugenio  Giunti.  Cast,  argument, 
scenario,  and  names  of  composer,  Andrea  Bemasconi,  and  librettists.  The  licenza 
is  followed  by  the  description  of  the  ballets  invented  by  Du  Buisson  de  Chalandray. 
German  title-page,  "Semiramis,"  and  text  face  Italian. 

First  performed,  as  indicated,  January  6,  1765.  .  Schatz  860 

La  Semiramide.     Drama  musicale. 

G.  A.  Moniglia,  Poesie  drammatiche,  seconde  parte,  Fireme,  Cesare 
e  Francesco  B%ndi,  1690,  p.  [440]-504.     24'^'^. 

Three  acts.  Scenario  and  argument  with  remark  this  drama: 
"ebbe  la  sua  nascita  per  servire  alle  nozze  del  serenissimo  arciduca  Sigismondo, 
ma  per  la  morte  dell'  A.  S.  prima  di  celebrare  i  regij  sponsali,  fii  tolto  ancor'  es-so  alia 
luce.  Fti  comandato  all'  autore  di  comporlo  dal  serenissimo  principe  Leopoldo  di 
Toacana,  ed'  il  Signer  cavaliere  p^Iarc']  Ajitonio  Cesti  [d.  1669]  I'arricchi  maravlglio- 
Bamente  co'l  metterlo  in  musica."  ML  49.A2M7 

Semiiram.ide.     Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  in  Padova  per  la  solito  fiera  di  Giugno  1759  .  .  . 
Padova,  Conzatti,  1759.     64  p.     18'^. 

Three  acts.  By  Metastasio.  Dedication  signed  by  Domenico  Fischietti  e  Proepero 
Olivieri,  argument,  cast,  scenario,  and  name  of  Fischietti  as  composer  ("La  musica 
tuttanuova").  Schatz  3243 

Sem.iram.ide.  Drama  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Berlino  per  il  felicissimo  giorno  natalizio  deUa  Sacra  Real 
Maest^  di  Sofia  Dorotea,  regina  madre  .  .  . 

Berlino,  Eaude  e  Spener,  1764.     135  p.     16Y'^- 

Three  acts.  Giampietro  Tagliazucchi  is  mentioned  as  the  author  and  Carl  Hein- 
rich  Graun  as  the  composer.  Argument,  and  scenario.  German  title-page  "Semi- 
ramis," and  text  face  Italian. 

First  performed  at  Berlin,  Kgl.  Opem  theater,  March  27,  1754.  Schatz  4112 

Semiiramide.     Dramma  da  rappresentarsi  con  musica  del  Signor 
Himmel  .  .  .  nel  gran  Teatro  Keale  di  Berlino  il  camovale  dell' 
anno  1797  .  .  . 
Berlino,  Haude  e  Spener,  n.  d.    89  p.     16^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Grerman  title  page 
"Semiramis"  and  text  face  Italian.  Argument  and  cast.  On  p.  [78]-89  cast  and 
description  of  "Raul  Signore  di  Crechi  osia  La  tiranide  repressa.  Ballo  tragicomico 
in  tre  atti,  composto  dal  Sign.  Salvatore  Vigan5.  La  musica  h  del  medesimo. — Raoul, 
herr  von  Crequi,  oder  Die  verhinderte  grausamkeit." 

First  performed,  as  indicated,  February  18,  1797.  Schatz  4738 

Sem.iram.ide.  Dramma  per  musica  da  rappresentarsi  nel  famosis- 
simo  Teatro  Grimani  di  S?  Gio.  Grisostomo  nel  carnevale  1743  .  .  . 

[Venezia],  n.  pull.,  n.  d.     1  p.  I.,  48  p.     15'^'^. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Niccol5  Jumelli  (Joimnelli)  as  composer.  It  should  be  noted 
that  this  text,  attributed  by  Wiel  to  Silvani,  is  totally  different  from  Metastasio's 
"Semiramide  riconosciuta.'  Therefore,  Jommelli's  "Semiramide,"  Venice,  1743, 
should  no  longer  be  confused  with  his  "Semiramide  riconosciuta,"  first  performea 
at  Turin,  December  26,  1741,  as  appears  from  the  original  libretto  in  possession  of 
Manoel  de  Carvalhaes.  (This  settles  definitely  the  questions  left  half -open  by  Abert 
on  p.  46,  78  of  his  Jommelli  biography.)  Schatz  4880 

Sem.iram.ide.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Ducale  di  Stutgard  festeggiandosi  il  felicissimo  giorno  natalizio  di 
Sua  Altezza  Serenissima  Carlo,  duca  regnante  di  Wirtomberg  e  Teck, 


OPERA   LIBRETTOS  987 

S  emiramide — Continued . 

etc.  ...  La  poesia  e  del  Signer  abbate  Pietro  Metastasio  ...  La 
musica  e  nuovamente  composta  dal  Signer  Nicold  Jonmielli  ...  I 
balli  sono  inventati  dal  Signer  Giovanni  Giorgio  Noverre  .  .  . 

[Stutgard],  Cotta,  1762.     170,  [5]  p.     IS'^'^. 

Three  acts.  Argument,  cast,  Bcenario.  German  title  page,  "Semiramis,"  and 
text  face  Italian.  On  p.  [66]-73,  cast  and  description  of  "Amore  e  Peiche,  ballo 
eroico — Amor  und  Psyche  ..."  On  p.  [122]-131  of  the  ballet,  "La  morte  d'Ercole — 
Der  tod  des  Hercules."  The  5  add.  p.  contain  brief  explanation  and  cast  of  "Le 
feste  persiane — Das  persianische  freuden-fest."  The  composers  of  the  music  are  not 
mentioned,  but  Abert  mentions  as  composer  of  the  first  two  Rudolph. 

Schatz  calls  this  opera  Jommelli's  second  setting  of  "Semiramide,"  first  performed 
{see  Schatz  4880)  as  "Semiramide  riconosciuta "  at  Turin,  December  26, 1741 ;  at  Stutt- 
gart, as  indicated,  February  11,  1762.  Schatz  4870 

—  Semiramide.     Dramma  per  musica  da  rappresentarsi  nel  Real 
Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1771. 
Lishona,  Stamperia  reale,  n.  d.     72  f.     16^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author,  of  Niccol6 
Jommelli  as  composer.  The  text  is  slightly  different  from  that  of  1762.  For  instance, 
the  aria,  "Come  all'  amiche  arene  "  has  been  dropped  at  end  of  I,  8. 

First  performed,  as  indicated,  January  25,  1771.  Schatz  4892 

La  Semiramide,  ballet.     See  Jommelli's  Armida  abbandonata. 

Semiramide.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
alia  Scala  il  camevale  dell'  anno  1785  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     67,  [I]  p.     W^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Dedication,  ail- 
ment, cast,  scenario,  and  name  of  Michele  MorteUari  as  the  composer.  With  the 
opera  were  performed  Sebaetiano  Gallet'e  ballets,  "II  ratto  delle  Sabine,"  "II  manis- 
calco  francese,"  and  a  third  without  characteristic  title.  The  composers  of  the  music 
are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1784.  Schatz  6692 

Semiramide.  Dramma  per  musica.  Da  rappresentarsi  nel  famoso 
Teatro  Grimani  di  S.  Gio.  Grisostomo.  II  carnovale  dell'  anno 
1714  .  .  . 

Venezia,  Marino  Rossetti,  1714-     58  p.     l^Y'^- 

Three  acts.  Dedication  by  the  author,  Francesco  Silvani,  who  is  not  mentioned  by 
name,  argument,  cast,  scenario,  and  name  of  Carlo  Francesco  Pollaroli  as  the  composer. 

First  performed,  as  indicated,  December  26,  1713.  Schatz  8318 

Semiramide.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Nuovo  di  certe  per  comando  di  S.  A.  S.  E.  Carl  Teodoro  conte 
Palatine  del'  Reno,  duca  dell'  Alta  e  Bassa  Baviera  .  .  .  nel  carno- 
vale MDCCLXXXII. 

[Munich],  n.  pull.,  n.  d.     157  p.     15*^^. 

Three  acts.  Metastasio  is  mentioned  as  author,  Lorenz  Hflbner  as  translator  and 
Salieri  as  composer.  Argument,  cast.  German  t.-p.  "Semiramis"  and  text  face 
Italian. 

First  performed  in  January,  1782,  as  indicated.  ML  50.2.S48S2 

Semiramide.  Dramma  per  musica,  da  rappresentarsi  sul  Regio 
Teatro  Danese,  I'autunno  dell'  anno  1762. — Semiramis  .  .  . 

Ki^henhavn,  Lars  Nielsen  Svare,  n.  d.     127  p.     15^"^. 

Three  acts.  Areument,  cast,  and  names  of  Metaataaio  as  author,  of  Giuseppe  Sarti 
as  the  composer  ('^La.  musica  6  tutta  nuova  ").  Schatz  9463 


988  LIBRARY  OF  CONGRESS 

Semiraxnide — Continued. 

—  Semiramide.     Dranuna  per  musica  da.rappresentarsi  nel  Teatro 
Vendramino  di  S.  Salvatore  la  fiera  dell'  Ascensione  dell'  anno  1768. 
Veneda,  Modesto  Fenzo,  1768.     46  p.     15'^"'. 

Three  acts.  By  Metaetaaio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Sarti  as  the  composer.  The  text  is  noticeably  different  from  the 
original  text  01  1762.  The  first  act,  for  instance,  had  only  ten  scenes  instead  of  thir- 
teen, the  tenth  being  "Come?  qual  foggia  6  questa,"  which  was  not  in  the  1762  version, 

ScHATZ  9476 

Semiramide.  Dramma  per  musica  del  Signor  abate  Pietro  Metas- 
tasio,  Poeta  Cesaro  da  rappresentarsi  nel  Teatro  Tron  di  S.  Cassano 
il  carnovale  dell'  anno  1765  .  .  . 

Venezia,  Modesto  Fenzo,  1765.     64  p.     17^"^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of 
Tommaso  Trajetta  as  composer.  Schatz  10413 

La  Semiramide.     Drama  per  musica  nel  famoso  Teatro  Grimano  h. 
S.  Gio.  e  Paolo.     Per  1' anno  MDCLXXI  .  .  . 
Venetia,  Nicolini,  1671.    front,  72  p.     W"^. 

Three  acts.  Publisher's  dedication,  dated  Venice,  December  11,  1670,  argument, 
scenario,  and  notice  to  the  reader,  informing  him  that  the  text  is  by  Gio.  Andrea 
Moniglia,  with  alterations  "per  a^iuatar  all'  uso  di  Venetia  il  presente  drama."  The 
alterations  were  by  Matteo  Nons  (Schatz).  Neither  he  nor  the  composer,  Pietro 
Andrea  Zianl,  is  mentioned.  Schatz  11223 

Semiramide  in  Ascalona. 

Apostolo  Zeno,  Poesie  drammaticJie,  Venezia,  1744,  *•  ^^>  P-  [S66]-443} 
[1]  p.     W^. 

Five  acts  and  licenza.  Argument.  No  composer  is  mentioned.  In  the  "Cata- 
logo"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1725.  Same  as 
his  " Semiramide."    First  performed  August  28,  music  by  Caldara. 

ML  49.A2Z3 

Semiramide  in  bemesco.     Same  as  Jommelli's  II  cacciatore  deluso. 

La  Semiramide  in  India.  Dramma  del  conte  Maiolino  Bisac- 
cioni  .  .  . 

Venetia,  Francesco  Miloco,  16 48.     89  p.     15*^^. 

Three  acts,  with  prologue.  Author's  dedication,  dated  Venice,  January  4,  1649, 
notice  to  the  reader,  and  argument.  Francesco  Paolo  Sacrati,  the  composer,  is  not 
mentioned.  Schatz  9254 

La  Semiramide  riconosciuta. 

[71]-148  p.  19'^^.  {Pietro  Metastasio,  Opere  drammaticJie,  Venezia, 
Giuseppe  Bettinelli,  1733-37,  v.  2.) 

Three  acts.  Argument.  No  composer  mentioned.  Same  as  his  "  Semiramide. " 
This  is  one  of  the  texts  which  Metastasio  later  on  partly  rewrote.  Here  are  a  few 
telling  differences:  The  original  version  has  in  I,  6  the  aria  "Maggior  follia  non 
v'6,"  which  the  later  version  dropped.  In  I,  8  of  the  original  version  the  scene 
begins  with  "Amico,  in  rived erti"  and  has  the  aria  "Come  all'  amiche  arene";  in 
the  later  version  the  scene  begins  "Come!  e  tu  non  ravoisi "  and  has  no  aria.  In  the 
original  version  I,  10  begins  "Signor,  brama  Scitalce"  and  has  no  aria,  in  the  later 
version  it  begins  "Si^or,  quali  predici"  and  has  the  aria  "Se  intende  si  poco" 
which  occurs  in  the  original  version  in  I,  11.  ML  49.A2M4 


OPERA   LIBEETTOS  989 

Sezuiramide  riconosciuta.  Dramma  per  musica  da  rappresen- 
tarsi  nel  Teatro  novissimo  di  San  Benedetto  nel  carnevale  dell'  anno 
MDCCLVI. 

Venezia,  Angiolo  Geremia,  n.  d.     70  p.     15^'''^. 

Three  acts.  By  Metaetaeio.  Argument,  scenario,  and  cast,  but  without  name  of 
the  composer,  Francesco  Brusa.  Schatz  1377 

Semiramide  riconosciuta.  Dramma  per  musica  da  rappresen- 
tarsi  nel  Teatro  Tron  di  San  Cassiano.  II  camovale  deir  anno 
1753  .  .  . 

Venezia,  Modesto  Fenzo,  1753.    64  p.     i4J"». 

Three  acts.  By  Metastasio.  Dedication,  ai^ument,  cast,  and  name  of  the  com- 
poser, Gioacchino  Cocchi.  Schatz  2045 

La  Semiramide  riconosciuta,  dramma  per  musica  da  rappresen- 
tarsi  nel  Regio-Ducal  Teatro  di  Milano,  nel  camovale  delr  anno 
1749  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  17 J^.     6  p.  I.,  55  p.     1^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication,  dated 
Milan,  January  25,  1749,  argument,  cast,  scenario,  and  name  of  Baldassare  Galuppi 
as  composer.  Schatz  3469 

Second  copy.    ML  48. A5    v.  3 

Semiramide  riconosciuta.  Dramma  per  musica  da  rappresen- 
tarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  car- 
nevale 1745  ... 

n.  i.,  n.  d.     72  p.     15^"^. 

T^ree  acts.  Dedication,  argument,  cast,  scenaiio,  name  of  Johann  Adolph  Hasse 
as  the  composer,  and  apology  for  the  (perhaps  in  some  places)  excessive  cuts  in  Metas- 
tasio's  masterpiece. 

First  performed,  as  indicated,  at  Venice  December  26, 1744.  Schatz  4559 

—  La  Semiramide  riconosciuta,  dramma  per  musica,  da  rappre- 
sentarsi  nel  Reggio  Teatro  in  Dresda  nell'  occasione  delle  felicissime 
nozze  del  serenissimo  real  principe  Luigi  Delfino  di  Francia  collaseren- 
issima  Giuseppa  Delfina  ai  Francia,  principessa  real  di  Polonia  .  .  . 
anno  1747. 

n.  i.,  n.  d.    8  p.  I.,  {double)  111,  [2]  p.     16^9"^. 

Three  acts  and  licenza.  Argument  and  name  of  Johann  Adolph  Hasse  as  the 
composer.  German  title  page,  "Die  entdeckte  Semiramis,"  and  text  face  Italian, 
which  is  not  quite  the  same  as  in  the  original  Venice  (1745)  version.  For  instance, 
the  aria,  "Ma^or  foUia  non  v'6,"  has  been  added  to  I,  6,  and  the  aria,  "Ei  d'amor 
quasi  delira^"  has  been  added  to  I,  12.  Mennicke  (but  not  Schatz)  calls  this  Hasse's 
second  version  of  his  opera. 

First  performed,  as  indicated,  January  11,  1747.  Schatz  4560 

—  La  Semiramide  riconosciuta.  Dramma  per  musica  da  rappre- 
sentarsi  nel  Regio  Teatro  di  Varsavia  per  il  gloriosissimo  giomo 
natalizio  di  Sua  Maestk  Augusto  III  ...  In  Varsavia  a'  vn 
d'ottobre  MDCCLX. 

[Varsavia],  Presso  Micaele  GroeU,  n.  d.     Unpaged.     16^*^^. 

Three  acts  and  licenza.  Argument,  scenario,  and  names  of  Metastasio  as  the 
author,  of  Joh.  Ad.  Hasse  as  the  composer.  French  title  page,  "Semiramis,"  and 
text  face  Italian,  which  is  neither  quite  the  same  as  in  the  Dresden  version  of  1747, 
nor  as  in  the  original  Venice  version  of  1745.  For  instance,  the  aria,  "Ardo  per  te  d'a- 
more,"  in  1, 11  of  Venice  ed.  has  been  replaced  by  "Se  intende  si  poco  "  of  the  Dresden 
ed.  On  the  other  hand,  the  additional  arias  in  I,  6  and  I,  12  of  the  Dresden  version 
have  been  dropped,  and  the  original  text  has  been  restored.  Schatz  4572 


990  LIBRARY  OF   CONGRESS 

Semiramide  riconosciuta.     O.  T.  of  Jommelli's  Semiramide,  1762. 

Semiramide  riconosciuta.  Drama  per  musica.  Da  rappresen- 
tarsi  iiel  Teatro,  detto  delle  Dame  nel  carnevale  delP  anno  1741  .  .  . 

Roma,  gli  eredi  del  Ferri,  1741.    84  p.     14""^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  names  of 
Metastado  as  author,  of  Giovanni  Battista  Lampugnani  as  composer. 

First  performed,  as  indicated,  January,  1741.  Schatz  5389 

La  Semiramide  riconosciuta.  Dramma  per  musica  dell'  abbate 
D.  Piotro  Metastasio  da  rappresentarsi  nel  Regal  Teatro  di  S.  Carlo 
11  di  20.  gennajo  1751  .  .  . 

Napoli,  gli  eredi  di  Mosca,  1751.    6  p.  I.,  72  p. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication,  dated 
Naples,  January  20,  1751,  argument,  cast,  scenario,  and  name  of  Giuseppe  de  Majo 
as  comp>oser.  Schatz  5864 

La  Semiramide  riconosciuta.  Dramma  per  musica,  da  rappre- 
sentarsi nel  nobil  Teatro  del  Bairo  Alto  nel  autunno  dell'  1765. 

Lislona,  Pietro  Ferreira,  n.  d.     8  p.  I.,  133  p.     16'''^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  "La  musica  6  tirata  da  uno 
epartito  del  .  .  .  David  Perez."  Argument,  cast,  and  scenario.  Portuguese  title 
page,  "A  Semiramis  reconhecida,"  and  text  face  Italian. 

First  performed  at  Rome,  Teatro  Alibert,  carnival,  1749.  Schatz  7875 

Semiramide  riconosciuta.     Dramma  per  musica  di  Artino  Corasioj 

Pastore  Arcade,  da"  rappresentarsi  nel  famosissimo  Teatro  Grimani  di 

S.  Gio.  Grisostomo  nel  carnevale  del  1729. 

Venezia,  Carlo  Buonarigo,  n.  d.     1  p.  I.,  72  p.     14^^'^- 

Three  acts.     By  Metastasio,  who  is  not  mentioned.     Dedication  by  Domenico 

L^lli,  ailment,  cast,  scenario,  and  name  of  Nicole  Antonio  Porpora  as  the  composer. 

Schatz  8361 

Semiramide  riconosciuta.  Drama  per  musica  di  Pietro  Metasta- 
sio frk  gli  Arcadi  Artino  Corasio.  Da  rappresentarsi  nel  carnevale 
dell'  anno  1729  nel  Teatro  detto  delle  Dame  .  .  . 

Roma,  ZempeVe  de  Mey,  n.  d.     84  p.     15'^'^. 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  name  of  Leonardo  Vinci 
as  composer.  Schatz  10752 

Semiramis.     Tr.  of  Bemasconi's  Semiramide. 

Semiramis,  tragedie,  representee  par  I'Academie  royale  de  musique 
I'an  1718.  Paroles  de  M.  Roy.  Musique  de  M.  Destouches.  XCVI. 
opera. 

n.  i.,  n.  d.  pi.,  p.  377-44^-  (Recueil  general  des  opera,  t.  xii,  Paris, 
1734.)     14'^'^. 

Detached  copy.     Five  acts  and  prologue  with  "Avertissement." 
First  performed,  as  indicated,  December  4,  1718.  Schatz  2550 

Second  copy.    ML  48. R4 

Semiramis.     Tr.  of  Graun's  Semiramide. 

Semiramis.     Tr.  of  Hasse's  La  Semiramide  riconosciuta. 

Semiramis.     Tr.  of  Himmel's  Semiramide. 


OPERA  LIBKETTOS  991 

Semiramis.     Tr.  of  Jommelli's  Semiramide. 

Semiramis.     Tr.  of  Salieri's  Semiramide. 

Sezuiramis.     Tr.  of  Sarti's  Semiramide. 

A  Semiramis  reconhecida.  Tr.  of  Perez'  La  Semiramide  riconos- 
ciuta. 

La  sem.plice.     A.  T.  of  von  Schacht's  II  tutore  deluso. 

La  semplice  owero  La  virtil  premiata,  dramma  eroicomico  d'un 
atto  solo  originale  di  Giuseppe  Foppa  da  rappresentarsi  nel  nobile 
Teatro  Giustmiani  in  San  Moise  il  camovale  d.ell'  anno  1799. 
Venezia,  Modesto  Feme,  1798.     36  p.     15"^. 

Cast  and  name  of  Francesco  Gardi  as  the  composer.  After  the  opera  Giuseppe 
Cajani's  ballet  "L'isola  piacevole"  (composer  of  the  music  not  mentioned). 

SCHATZ  3541 

La  sem.plice  ad  arte.  Commedia  per  musica  di  Giuseppe  Palomba 
da  rappresentarsi  nel  Nuovo  Teatro  de'  Fiorentini  per  prun'  opera  di 
quest  anno  1782. 

Na'poli,  n.  puhl,  1782.     58,  [/]  y.     14Y^. 

Three  acts.    Cast  and  name  of  Pietro  Guglielmi  as  the  composer. 

First  performed,  as  indicated,  May  12,  1782.  Schatz  4266 

La  semplice  burlata  ballet.     See  Andreozzi's  Arsinoe. 

La  semplice  fortunata.     L.  T.  of  Paisiello's  L'innocente  fortiinata. 

La  semplice  spiritosa.  Draonma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Giustinian  di  S.  Moise  I'autunno  dell'  anno  1748. 

Venezia,  Modesto  Fenzo,  1748.     60,  [2]  p.     II^Y"^- 

Three  acts.  Cast,  scenario.  The  2  unnumb.  p.  contain  substitute  arias.  Author 
and  composer  not  mentioned  and  unknown  to  Schatz.  Schatz  11363 

Senocrita,  dramma  per  musica. 
n.  i.,  n.  d.     70  p.     IS""^. 

At  end:  Dresda  .  .  .  la  vedova  Stoessel.    MDCCXXXVII. 

Three  acts.  By  Stefano  Benedetto  Pallavicini,  who  is  not  mentioned.  Argument 
and  name  of  Johann  Adolph  Hasse  as  the  composer. 

First  performed  at  Dresden,  Hof theater,  February  27,  1737.  Schatz  4561 

La  sepolta  viva.     A.  T.  of  Dalayrac's  Camilla. 

A  sequel  to  the  opera  of  Flora.  As  it  is  now  acted  at  the  Theatre 
Royal  in  Lincoln's-Inn-Fields.  To  which  is  added,  the  musick 
engraved  on  copper  plates.     Written  by  the  author  of  Flora.    . 

London,  A.  Bettesworth  and  C.  Hitch  and  T.  Wood,  1732.  1  p.  I., 
31,  8  p.     16'^'^. 

Two  acts.  By  CoUey  Cibber,  not  by  John  Hipneeley,  who  played  Sir  Thomas 
Testy.  The  8  p.  contain  without  titles  Aire  1-15.  The  titles  of  the  airs  are  indicated 
in  the  text. 

First  performed  on  March  20,  1782,  aa  indicated.  ML  50.5. S3 

La  sera  sposa  del  sole.     A.  T.  of  Sacrati's  La  Delia. 


992  LIBRARY  OF   CONGRESS 

The  seraglio;  a  comic  opera,  in  two  acts:  as  performed  at  the 
Theatre-Royal  in  Co  vent-Garden. 

London,  T.  Evans,  1776.     1  p.l,  SI  p.    20'^. 

Cast.  Author-composer,  Charles  Dibdin.  Johnston's  vocal  score  says,  "chiefly 
composed  by  C.  Dibdin,"  and  heads  "What  shall  I  do?"  "I  simply  wait  for  your  com- 
mands," and  "Away  with  tyrant  laws"  as  composed  by  Samuel  Arnold,  and  "Ah 
what  avails?"  as  by  A.  [John  Abraham]  Fisher. 

First  performed  November  14,  1776.  Longe  124 

—  Airs,  chorusses,  in  the  new  musical  entertainment  of  The  seraglio; 
as  it  is  performed  at  the  Theatre-Royal  in  Covent-Garden. 

London,  T.  Evans,  1776.    16  p.    19'=^. 

Two  acts.    Cast  and  note: 

"On  account  of  the  unustial  number  of  songs  originally  performed  in  this  piece,  it 
has  been  found  expedient,  in  order  to  shorten  the  time  of  representation,  to  take  out 
some  of  the  airs,  among  which  are  those  sung  by  Mr.  Mattocks,  his  part  has  therefore 
been  given  to  Mr.  Robson."  ML  50.2.S48 

II  seraglio  di  Osmano.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustmiani  in  S.  Moise  per 
prima  opera  del  carnevale  1785. 

Venezia,  Antonio  Casali,  n.  d.     62  p.     17'^'^. 

Two  acts.    Cast,  scenario,  and  name  of  the  composer,  Giuseppe  Gazzaniga. 

First  performed,  as  indicated,  December  26, 1784.  Schatz  3676 

—  II  palazzo  d' Osmano:  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Reggio  Teatro  di  S.  Carlo,  della  Principessa  il  carnevale 
dell'  anno  1795. 

Lishona,  Simone  Taddeo  Ferreira,  1795.     191,  [2]  p.     14\'^. 

Two  acts.  Gazzanlga  is  mentioned  as  the  composer.  Portuguese  text  faces  the 
Italian  by  Bertati,  who  is  not  mentioned.  Schatz  3680 

Le  serdeau  des  the&tres.     Parody  of  Pirithoiis. 

La  serenade  venitienne.     See  Campra's  Trois  nouvelles  entries. 

Serenaden  eller  De  sorte  naeser.  Syngestykke  i  tre  optoge  af  0. 
Pram  sat  i  musik  af  hr.  regimentsquarteermester  Wedel. 

Ki0henhavn,  JoTian  Fredenk  Schultz,  1795.    80  p.    16'^. 

First  performed  at  Copenhagen  May  15, 1795.  Schatz  10919 

Les  serenades  &  les  joueurs.  Entries  in  Campra's  Les  festes 
venitiennes. 

Die  serenate.     A.  T.  of  Preu's  Adrast  und  Isidore. 

Le  serenate  notume,  ballet.    See  Anfossi's  Le  gelosie  villane. 

La  serieta  in  conflitto,  ballet.     See  Rust's  La  caccia  d'Enrico  IV. 

Serpilla  e  Bacocco.  L.  T.  of  II  marito  giogatore  e  la  moglie 
bacchettona. 

II  serraglio.     A.  T.  of  Paer's  Saed. 


OPERA  LIBRETTOS  993 

II  serraglio  di  Osmano.     Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  puU.,  1787.     143  p.     15^"^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Stefeino  Ghinassi  is 
named  as  the  composer.  The  German  title  page,  "Osmanns  serail,"  and  text  face 
Italian.  Schatz  3803 

Le  semirier,  opera  bouffon;  represents  pour  la  premiere  fois  par 
les  ComSdiens  italiens  ordinaires  du  roi,  le  20  dScembre  1764.  Les 
paroles  sont  de  M.  QuStant. 

Paris,  Duchesne,  1765.     47  p.    21<^. 

One  act.    Cast  and  note  on  p.  2: 

"Le  eujet  de  cette  baratelle  est  originairement  de  M.  de  la  Ribardiere.  La  pi^e 
avoit  et^  pr^ent^e  aux  Italiens  qui  n'en  firent  point  usage:  I'auteur  I'ayant  aban- 
donn4e  k  M.  Kohault,  ordinaire  de  la  musique  de  Moneeigneur  le  prince  de  Conti, 
je  la  refis  comme  elle  est  aetuellement  pour  I'amusement  de  S.  A.  S. 

On  p.  10-12,  the  ariette,  "Le  tendre  coeur  de  ta  bergere."  On  p.  38-40,  the  vaude- 
ville, Banniseons  le  soup^on  jaloux."  On  p.  [43J-47,  an  "Essai  sur  Topera-comique," 
in  which  Qu^tant  defines  this  form  of  art  and  gives  his  advice  as  routinier  on  siutable 
subjects,  on  the  "intrigues,"  the  dialogue,  the  proper  place  for  ariettes,  etc. 

First  performed  at  Paris,  Th^&tre  de  la  Comedie-itaHenne,  December  20,  1764. 

ScHATz  5205 

—  Le  semirier,  opera  bouffon;  repr^entS  pour  la  premiere  fois  par 
les  Comediens  italiens  ordinaires  du  roi,  le  20  d6cembre  1764.  Les 
parolles  sont  de  M.  Quetant. 

Paris,  Duchesne,  1766.     31  p.     19<^. 

One  act.    On  p.  [2],  the  same  note  as  above. 

On  p.  [28J-31  tne  "^Essai  sur  I'opera-comique."  Schatz  11716 

—  Le  semirier,  opera  bouffon,  represents  pour  la  premiere  fois  par 
les  ComSdiens  italiens  ordinaires  au  roi,  le  20  dScembre  1764.  Les 
paroles  sont  de  M.  Quetant. 

Paris,  Ducheme,  1771.    32  p.     IB*^"^. 

One  act.  Cast.  The  essay  on  the  op^ra-comique  is  not  in  this  edition,  the  text 
of  which  is  the  same  as  in  the  ed.  of  1766  with  the  addition  of  the  unaccompanied 
airs  of  "Le  tendre  coeur  de  ta  bergfere,"  on  p.  8-11  and  on  p.  28-31  the  vaudeville 
with  chorus  "Bannissons  le  80up?on  jaloux."  Schatz  11717 

—  Der  schlosser,  ein  singspiel  in  einem  aufzuge  aus  dem  franzoe- 
sischen  uebersetzt.    Mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1772.  60  p.,  9 
p.  (jnusic).     WY"^. 

Cast.  Neither  the  translator,  Johann  Heinrich  Faber,  nor  the  composer,  Joseph 
Kohault,  is  mentioned.  The  music  supplement  (voice  and  bass)  contains:  "Wenn 
mich  armen  mann"  (I,  5="Tandis  que,  du  matin  au  soir")  and  the  vaudeville 
"Eifersucht,  argwohn  und  verdacht"  (I,  13=  "Bannissons  le  soupfon  jaloux"). 

Schatz  5206 

La  serva  astuta.  Intermezzi  per  musica  a  tre  voci  da  rappresen- 
tarsi  nel  Teatro  di  via  del  Cocomero  nel  camevale  dell'  anno  1756. 

Firenze,  Gaetano  Albizzi,  1756.    30  p.     15<^. 

Two  parts.  Neither  author  nor  composer  mentioned  and  both  imknown  to  me. 
The  text  is  not  by  Goldoni.  ML  48.A5    v.l6 

La  serva  astuta  o  sia  H  filosofo  in  campagna.  L.  T.  of  Galuppi's 
II  filosofo  di  campagna. 

72251  "—VOL  1—14 63 


994  LIBRARY   OF   CONGRESS 

La  serva  bacchettona.     Commedia  per  musica  di  Antonio  Palomba 

Napoletano  da  rappresentarsi  nel  Teatro  de'  Fiorentini,  nella  prima- 

vera  di  quest'  anno  1749  .  .  . 

Napoli,  Domenico  Langiano,  1749.     ^  V-  ^v  ^^  V-     14Y^- 

Three  acta.    Impresario's  dedication  ("commedia,  che  prima  comparisce  in  quest' 

anno  sul  mio  teatro"),  cast,  and  name  of  the  composer,  Gioacchino  Cocchi. 

SCHATZ  2040 

La  serva  fatta  padrona.     Commedia  per  musica  da  rappresentarsi 
nel  Teatro  de'  Fiorentini  nell'  estk  di  quest'  anno  1769. 
Napoli,  Stamperia  AveUiniana,  1769.     72  p.     15^'=^. 

Three  acts.  Cast,  name  of  Paisiello  as  the  composer,  and  preface  by  the  author, 
Pasquale  Mililotti,  in  which  he  says  that  the  impressario  was  compelled  to  abandon 
his  plan  of  presenting  a  new  work  and  "di  replicare  la  presente  commedia,  tanto, 
pochi  anni  sono,  daU'  eccellentissima  nobilt^  e  dal  pubblico  compatita;  ed  acciocchfe 
poesa  magriormente  aggradire,  come  spera,  ha  proccurato  di  farla  in  buona  parte 
innovare  si  di  poesia,  come  di  musica,  come  si  osserverk  da  chi  cortese  degnerasse  di 


Accordingly,  these  performances  of  1769  can  not  have  been  the  first,  at  least  not 
in  the  original  form  of  the  opera,  and  it  is  known  that  the  title  of  the  original  dialect 
version  was  "Le  mbroglie  de  le  bajasee."  Schatz  7671 

La  serva  favorita.  Dramma  per  musica  da  rappresentarsi  in 
Firenze  nel  Teatro  di  via  del  Cocomero,  nell'  autunno  del  1741  .  .  . 

Firenze,  Anton  M.  Alhizzini,  n.  d.     65  p.     iJ^Y^- 

Three  acts.  By  Giov.  Cosimo  Villafranchi,  with  dedication  signed  by  Giovanni 
Ghinzer  (Chinzer)  as  impresario  and  cast.  Author  unknown  to  Schatz.  Composed 
by  the  impresario,  who  does  not  mention  the  fact. 

First  performed  at  Florence,  Teatro  via  di  Cocomero,  carnival,  1727. 

Schatz  1864 

La  serva  innaiuorata :  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Keggio  Teatro  di  S.  Carlo  della  rrincipessa,  Testate  dell' 
anno  1794. 
Lishona,  Simone  Taddeo  Ferreira,  179^.  165  p.  14^'^- 
Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Pietro  Q-uglielmi  as  the  composer.  With  the  opera  was  performed,  com- 
poser of  the  music  not  mentioned,  Carlo  Bencini's  ballet  "Lauretta. 

First  performed  at  Naples,  Teatro  de'  Fiorentini,  summer,  1790.       Schatz  4294 

La  serva  nobile.     Drama  civile  fatto  rappresentare  in  musica  dagP 
illustrissimi  Signori  Accademia  Immobili  nel  loro  teatro  .  .  . 
71.  i.,  n.  d.     [186]-298  p.     15^"^. 

Detached  apparently  from  Moniglia's  Poesie  drammatiche,  1689-90,  third  part 
which  is  wanting  in  oiu-  set.  Three  acts.  By  Giovanni  Andrea  Moniglia,  who  is  not 
mentioned.  Argument,  name  of  Domenico  Anglesi  as  composer  in  the  prefatory 
note,  and  on  p.  279-29,  " Dichiarazione  La  serva  nobile  de'  proverbi,  e  vocaboli  usati 
dalla  plebe  fiorentina,  de'  quali  per  legittima  imitazione  s^  valso  I'autore."  WTiy 
Pavan  attributes  the  music  to  Jacopo  Melajni  is  unknown  to  me. 

First  performed  at  Florence,  as  indicated,  in  1660.  Schatz  288 

La  serva  onorata.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  de'  Fiorentini  per  seconda  opera  del  corrente  anno  1792. 

Napoli,  Vincenzo  Flauto,  n.  d.     58  p.     15'^^. 

Two  acts.  Cast  and  name  of  Niccol6  Ficduni  as  the  composer.  On  p.  ^  this 
anonymous  note: 


OPERA  LIBRETTOS  995 

La  serva  onorata — Continued. 

'VIl  presente  dramma  e  una  imitazione,  o  sia  eetratto  del  libro  intitolato  le  Nozze 
•  j^°'     ^        onginale  francese  I'azione  fu  condotta  da  sedici  interlocutor!,  e 

poi  dal  Sig.  ab.  da  Ponte  questi  ei  ridussero  a  undici  .  .  .  ora  comparisce  sopra  queste 

scene  rietretta  I'azione  a  Bei  attori." 

According  to  Schatz  Giambattista  Lorenzi  is  responsible  for  this  version. 

SCHATZ  8129 

La  serva  padrona.     Intermezzo  per  musica  da  rappresentarsi  nel 
Teatro  Giustinian  di  S.  Mose. 

Venezia,  Modesto  Fenzo,  1748.     20  p.  (incl.  front) .     l^Y"^. 

Two  parte.  Neither  Gennaro  Antonio  Federico  is  mentioned  as  author,  nor  G.  B. 
Pergolesi  as  the  composer.  Cast.  The  text  is  exactly  the  same  as  in  the  score 
edited  at  Paris  by  Rousseau  in  1752.  It  agrees  also,  it  seems,  with  the  text  of  the 
original  libretto  (Naples,  1733)  as  analyzed  by  Radiciotti,  except  that  the  final 
duet,  "Per  te  io  ho  nel  core,"  has  been  substituted  from  act  III  of  Pergolesi's  "Fla- 
minio"  for  the  original  final  duet  of  "La  Serva  Padrona,"  "Contento  tu  sarai."  In 
the  replicas,  "Per  te  io  ho  nel  core"  appears  to  have  been  used  oftener  than  the 
oririnal. 

«The  libretto  contains  (arias  in  italics): 
(Int.  I)    1.  Aspettare  e  non  venire. 

Questa  b  per  me  disgrazia. 

2.  Sempre  in  contrasti. 

In  somma  delle  somme. 

3.  Stizzoso,  mio. 

Benissimo,  hai  tu  inteso?  * 

4.  Lo  conosco  a  quelli  occhietti  (duet), 
(Int.  II)       Or  che  fatto. 

5.  A  Serpina  penserete. 
Ah  quanto  mi. 

6.  Son  ivibrogliato  io  gul. 
Favorisca,  signor,  passi. 

7.  Per  te  ho  io  nel  core  (duet). 

First  performed  at  Naples,  Teatro  di  S.  Bartolomeo,  August  28,  1733. 

Schatz  7892 

—  La  serva  padrona.  Intermezzo  in  musica  da  rappresentarsi 
sopra  il  Theatro  Nuovo  dell'  opera  pantomima  del  Nicolmi. — Die  als 
magd  gewordene  frau  .  .  . 

Braunschweig,  Keitel,  n.  d.      Unpaged.     ISY^- 

Cast.  German  text  faces  Italian.  Pergolesi  is  not  mentioned.  Contains  the 
substituted  final  duet,  "Per  te  io  ho  nel  core." 

Performed  1749.  as  indicated.  Schatz  7894 

—  La  serva  padrona,  intermezzo  per  musica.  Stampato  a  spese 
degli  musici  italiani  e  riveduto  da  Marco  Soralli,  maestro  della  lingua 
italiana. 

n.  %.,  n.  d.     63  p.     16^"^- 

An  altered  version  of  Pergolesi's  2-act  intermezzo.  Soralli  or  somebody  else  made 
this  version  begin  with  an  "Intermezzo  prime.  Serpina  e  Axtimonio.  Serp.  'Di 
grazia  signore  conte.' "  After  this  comes  the  original  "Intermezzo  primo,"  and  called 
such!  The  second  intermezzo  is  followed  by  "Intermezzo  terzo.  Uberto,  poi  Ser- 
pina, etc.  Uber.  'II  prender  mogliCj'"  in  which  again  the  conte  figures.  Appar- 
ently two  different  works  were  combined  to  produce  this  hybrid  affair.  Gern^jin 
title  page,  "Die  herrschende  magd,"  and  text  face  Italian. 

First  performed  at  Frankfurt  a/M,  Theaterbude  am  Rossmarkt,  April  4.  1755,  by 
the  opera  comp>any  of  prince  Thum  &  Taxis  under  the  management  of  Girolamo  Bon. 

Schatz  7902 

—  La  servante  maitresse.  Comedie  en  deux  actes.  Mel4e 
d'ariettes,  parodies  de  La  serva  padrona,  intermMe  italien.     Repr6- 


996  LIBRARY   OF   CONGRESS 

La  serva  padrona — Continued. 

sent^e  pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du 
roi,  le  m^rcredi  14  aoClt  1754. 
Paris,  P.  G.  Le  Mercier,  1754.     31,  [1]  p.     19'^'^. 

Pergoleai  is  not  mentioned.     On  p.  3,  this  four-liner: 

"A  M"«  Favart. 
Nature  un  jour  ^pouea  I'art; 
De  leurs  amours  nftquit  Favart. 
Qui  semble  tenir  de  sa  mere. 
Tout  ce  qu'elle  doit  k  son  pere." 
The  parody  reep.  transl.  was  by  N.  Baurans,  who  is  not  mentioned. 
The  score  was  published  by  the  widow  Delormel.     Both  the  score  and  the  libretto 
contain  the  arias 
I,  1.  Longtemps  attendre  (=1  in  La  Serva  Padrona). 
I,  2.  Eh  bien!  Finiras  tuf  (source  unknown  to  Wotquenne). 
Sans  fins,  sans  cesse  (=2  in  S.  P.). 
Eh,  mais  nefait-il  pas?  (==3  in  S.  P.). 
Je  devine  a  ces  yeux  (=4  in  S.  P.). 
II,  1.   Vous  gentilles  jeunes  filles  (According  to  Wotquenne=i)on7i«  belle  che  bramate  in 

' '  Amor  mascherato , ' '  intermezzo  by  unknown  composer^ .  • 

II,  2.  Charmant  espoir  qui  nous  (Source  unknown  to  Wotquenne). 
II,  3.  A  Zerbine  laisses  par  grace  (=5  in  S.  P.). 
II,  4.  Qy^l  est  mon  embarras  (=6  in  S.  P.). 
II,  5.  Me  seras  tufiAhlef  (=Contento  tu  sarai,  the  original  final  duet  of  S.  P.). 

"  La  serva  padrona  "  was  first  performed  at  Paria^  Com6die  italienne,  October  4, 
1746,  with  an  overture  by  Paganelli,  and  again  at  Paris,  Academie  royale  de  mtisique, 
with  an  overture  by  Telemann  on  August  1,  1752,  before  a  ballet-pantomime  and 
after  LuUy's  "Acis  et  Galat^e."  Schatz  7895 

—  La  servante  maitresse,  comedie  en  deux  actes.    M616e  d'ariettes 

f)arodi6es  de  la  Serva  padrona,  intermede  italien.     Representee  pour 
a  premiere  fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le 
mercredi  14  aotit  1754. 
La  Haye,  Pierre  Pawpie,  1755.     36  p.     19""^. 
Baurans  translation.    Pergolesi  is  not  mentioned.  ML  48. A4 

—  La  servante  maitresse,  comedie  en  deux  actes,  mSl^e  d'ariettes, 
traduite  de  la  Serva  Padrona,  intermede  italien. 

Paris,  la  veuve  Duchesne,  1771.     32  p.     W'^. 

Transl.  by  N.  Baurans.  Pergolesi  is  not  mentioned.  Cast.  On  p.  27-32,  "Airs 
de  la  Servante  maitresse,"  viz,  "Sans  fin,  sans  cesse"  (I,  2),  "Vous,  gentilles  jeunes 
filles"  (II,  1).  Schatz  7895a 

—  La  servante  maitresse,  comedie  en  deux  actes,  melee  d'ariettes, 
traduite  de  la  Serva  padrona,  intermede  italien. 

Bruxelles,  J.  J.  Boucherie,  n.  d.     35,  [1]  p.     19''^. 
Cast.     Neither  Pergolesi  is  mentioned,  nor  Baurans,  the  translator,  resp.  parodist. 
On  p.  31-35,  "Airs  choisie  de  la  Servante  Maitresse."  ML  50.2.S51P3 

—  Die  magd  als  frau  im  hause,  ein  musicalisches  mittel-spiel. 
n.  i.,  n.  d.     [16]  p.     15^"^. 

Cast  and  date,  "Dresden  im  jahr  1740."    Pergolesi  is  not  mentioned. 

First  performed  at  Dresden,  Hoftheater,  February  8,  1740.  Schatz  7893 

—  Pandolfus  en  Zerbina,  of  De  meid  meesteres,  zangspel.  Naar 
het  fransche  La  servante  maitresse  gevolgd  door  Bartholomeus 
Ruloffs. 

Amsteldam,  J.  Helders  en  A.  Mars,  1793.     7  p.  l,  32  p.     16^*^. 
Prefatory  poem  by  the  translator,  followed  by  his  historical  preface. 

Schatz  7896 


OPERA    LIBRETTOS  997 

La  serva  padrona.     Intermezzo  in  due  atti  da  rappresentarsi  in 
musica  nella  Sala  del  Signor  Bartolomeo  Cambi  d!etto  Meo  .  .  . 
Posto  in  musica  dal  Sig.  maestro  Vittorio  Trento. 
Venezia,  n.  puhl,  1795.     20  p.     W"^. 

By  Gennaro  Antonio  Federico,  who  is  not  mentioned.  Compoaer'a  dedication  and 
cast. 

First  performed  1795,  as  indicated.  Schatz  10429 

La  serva  per  amore.  Dramma  giocoso  per  musica  di  Filippo 
Livigni,  da  rappresentarsi  nel  Teatro  di  San  Samuelle  I'autimno  dell' 
anno  1773. 

Venezia,  Modesto  Fenzo,  1773.     54  p.     17 Y"^. 

Three  acts.    Cast,  scenario,  and  name  of  Galuppi  as  the  composer.    Schatz  3508 

Ija  serva  scaltra.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  S.  Moise.  Nell'  autunno  delF  anno 
MDCCLIX. 

Venezia,  Modesto  Fenzo,  1749.     70  p. '  15'^'^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Impresario's  dedi- 
catory poem,  cast,  scenario,  and  name  of  Giuseppe  Scarlatti  as  the  composer. 

Schatz  9555 

La  serva  sposa.  Intermezzi  per  musica  a  tre  voci  da  rappresentarsi 
nel  Teatro  alia  Valle  nel  carnevale  dell'  anno  1758  ... 

Roma,  MarceUo  Silvestri,  n.  d.     23  p.     15Y^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Publisher's  dedica- 
tion, cast  and  name  of  Binaldo  di  Capua  as  composer.  Contains  arias:  "Piu  sono 
in  amore,"  "Sbagliate  Sor  conte,"  "D'amore  nella  rete,"  "Pitt  rimiro  quel  Adaino," 
etc.  •  ML50.2.S5R4 

La    servante    justifiee,   Op6ra  comique.     De  Messieurs  F***    et 

Paris,  Pravlt  jlls,  1744.  ^  V-  ^^'"*-  {Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t.  vi.) 

One  act.  Prose  and  vaudevilles.  By  Favart  and  Fagan.  "Suivi  de  12  airs  et 
du  duo  du  Tictac,  grav^  en  musique,"  says  Font,  but  they  are  not  in  this  reissue  of 
Prault'a  edition,  at  leaat  not  in  our  copy,  which  does  not  show  signs  of  imperfection. 
Font  does  not  mention  Favart's  musical  collaborator.  Towers  lists  an  opera  of  the 
above  title  as  composed  by  J.  B.  Moulinghem  (Moulinghen). 

First  performed  at  the  Foire  St.  Germain  March  19,  1740.  ML  49.A2F1 

—  La  servante  justifiee,  op6ra-comique  en  un  acte.     Repr&ent^ 
pour  la  premiere  fois  sur  le  Theatre  de  TOp^rar-comique,  le  19  mars 
1740. 
Paris,  la  veuve  Duchesne,  1766.     68  p.     19*^^. 

On  p.  45-68,  twelve  "Airs  de  La  servante  jufltifi^"  and  "Le  tictac.  Duo.  Comma 
on  volt  notre  moulin."  Without  names  of  the  authors,  Fagan  and  Favart,  or  the 
composer.  Schatz  11513 

La  servante  maitresse.     Parody  of  Pergolesi's  La  serva  padrona. 

Le  serve  rivali.  Dramma  giocoso  per  musica  del  Signor  abate  Pietro 
Chiari  da  rappresentarsi  nelTeatro  Giustiniani  di  S.  Mois^  I'autunno 
deir  anno  1767. 

Venezia,  Modesto  Fenzo,  1767.     70  p.     14^"^. 

Three  acts.  Argument,  cast,  scenario,  name  of  Tommaao  Trajetta  as  composer* 
and  description  of  the  ballets,  whose  composer  is  not  mentioned. 

First  performed  at  Venice,  as  indicated,  but  previously  at  Venice,  Teatro  di  S. 
Mois^,  fall  of  1766.  Schatz  10397 


998  LIBRARY  OF   CONGRESS 

U  servd^ astute.     A.  T.  of  Ferd.  Rutini's  II  matrimonio  per  industria. 

II  servo  di  due  padroni,  ballet.  See  Martin  y  Soler's  Ifigenia  in 
Aulide. 

II  servo  padrone  ossia  L'amor  perfetto.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  nobilissimo  Teatro  di  San  Samuele  il 
camovale  dell'  anno  1794. 

Veneda,  Modesto  Fenzo,  1794.     68,  [1]  p.     18^"^. 

Two  acts.  Impresario's  dedication  with  Caterino  Mazzol^'s  name  as  the  author 
of  the  text,  scenario,  cast,  and  name  of  Niccol5  Piccinni  as  the  composer. 

On  p.  37-43  argument,  cast,  and  description  of  Giuseppe  Trafien's  five  act  "Odo- 
acre,  primo  r^  d'ltalia,  hallo  tragico  eroico  pantomimo  ...  La  miisica  tutta  nuova 
fe  del  Signer  maestro  Vittorio  Trento." 

Mrst  performed  January  17,  1794,  as  indicated.  Schatz  8152 

II  servo  padrone,  ossia  L'amor  perfetto.  Dramma  giocoso  per 
musica,  da  rappresentarsi  nel  Teatro  Elettorale,  del  Signor  Caterino 
Mazzolk  .  .  . 

Dresda,  n.  puhl,  1792.     i73  p.     15^"^. 

Two  acts.  Joseph  Schuster  is  mentioned  as  composer.  German  title-page,  "Der 
herr  als  bedienter  oder  Die  wahre  liebe"  and  text  face  Italian. 

First  performed  January  5,  1793,  as  indicated.  Schatz  9756 

Sesostri.  Drammit  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnevaie  del  1755  alia  presenza  di  S.  S.  R.  Al. 
Torino,  Zappata  ed  Avondo,  n.  d.  viii,  62,  [1]  p.  IdY"^- 
Three  acts.  Argument,  cast,  scenario,  and  name  of  composer,  Ferdinando  Giuseppe 
Bertoni,  but  not  of.  Apostolo  Zeno  and  Pietro  Pariati,  the  authors.  The  ballets,  of 
which  the  second  was  called  "Coronazione  d' Apollo,  e  Dafne,"  were  by  Gaetano 
Veetri,  music  by  Rocco  Gioannetti. 

First  performed  at  Turin,  December  26,  1754.  '  Schatz  918 

—  Sesostri,  re  d'Egitto.     Dramma  per  musica  da  rappresentarsi 
nel  Reggio  Teatro  di  Praga,  in  decembre  dell'  anno  1766  .  .  . 
Praga,  Carlo  Giuseppe  Jaumich,  n.  d.     5  p.  I.,  119  p.     15'^'^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  composer,  Ber- 
toni. Zeno  and  Pariati  are  not  mentioned.  German  title-page,  "Sesostris,  konig  in 
Egypten,"  and  text  face  Italian.  Schatz  919 

Sesostri.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gri' 
manidi  S.  Benedetto  I'autunno  dell'  anno  1757. 

Venezia,  Modesto  Fenzo,  1757.     47  p.     i5<="». 

Three  acts.  By  Apostolo  Zeno  and  Pietro  Pariati,  who  are  not  mentioned.  Argu- 
ment, cast,  scenario,  and  name  of  Galuppi  as  composer. 

First  performed,  as  indicated,  November  26,  1757.  Schatz  3494 

Sesostri,  an  opera;  to  be  perform'd  at  the  King's  TJieatre  in  the 
Hay-Market.  For  the  benefit  of  Signora  Campolini,  and  Signor 
Guglielmi,  composer  to  the  opera.  The  music  was  composed  on 
purpose  for  this  benefit  by  the  above  Signor  Guglielmi.  The  poetry 
taken  from  an  old  book,  is  quite  alter'd  and  adapted  to  the  present 
taste  by  Giovan  Gualberto  Bottarelli. 

London,  W.  Griffin,  1768.     47,  [1]  p.     20<='^. 

Three  acts.    Italian  text  and  English  translation.    Cast  and  argument. 

First  performed^  as  indicated,  1768. 

It  is  not  known  in  iust  what  relation  this  "Sesostri"  stood  to  Guglielmi's  opera  of 
the  same  title,  text  by  Zeno  and  Pariati,  as  first  performed  at  Venice,  Teatro  di  S. 
Salvatore.  May  7.  1766.  Schatz  4267 


OPEBA   LIBRETTOS  999 

Sesostri,  re  di  Egitto. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744>  i-  ^^i  V-  [^01]- 
292.     W"^. 

Three  acta.  Ai^ument.  Written  in  collaboration  with  Pietro  Pariati.  No 
composer  is  mentioned.  In  the  "Catalogo"  at  end  of  the  t.  x,  date  and  place  of 
first  ed.  are  given  as  Venezia,  1710,  but  see  below.  ML  49.A2Z3 

—  Sesostri.     Pubblicato  per  la  prima  volta  in  Venezia  1708. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  x,  p.  199- 

287.    21'''^. 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Sesostri,  re  d'Egitto — Sesostris,  konig  in  Egypten.  L.  T.  of  Ber- 
toni's  Sesostri. 

Sesostri  re  d'Egitto.     Drama  per  musica  da  rappresentarsi  nel 
Regal  Teatro  di  S.  Carlo  a  di  30.  maggio  1752  .  .  . 
Napoli,  Domenico  Landano,  1752.     ^8  p.     14"^. 

Three  acts.  By  Apostolo  Zeno  and  Pietro  Pariati,  who  are  not  mentioned.  Im- 
presario's dedication,  dated  Naples,  May  30, 1752,  aigument,  cast,  scenario,  and  name 
of  the  compoeer,  Gioacchino  Cocchi.  Schatz  2046 

—  Sesostri  re  d'Egitto,  dranmia  per  musica  da  rappresentarsi  nel 
NuGvo  Teatro  di  Padova  per  la  solita  fiera  di  giugno  dell  anno  1756  . . . 

Venezia,  Modesto  Fenzo,  1756.     '4^  p.     17""^. 

Three  acts.  Dedication,  ar^ment,  scenario,  cast,  and  name  of  Gioachino  Cocchi 
as  composer.    Zeno  and  Pariati,  the  authors,  are  not  mentioned.         Schatz  11687 

Sesostri,  re  di  Egitto.  Drama  per  musica,  da  rappresentarsi  nella 
Cesarea  corte  .  .  .  nel  camevale  dell'  anno  MD(X)XVII.  La  poesia 
si  del  drama,  come  degl'  intramezzi  e  del  Sig.  dottor  Pietro  Pariati 
.  .  .  La  musica  pure  si  del  drama,  come  degl'  intramezzi  d  del  Sig. 
Francesco  Conti. 

Vienna  d' Austria,  Gio.  Van  Ghelen,  n.  d.  80  p.  l^Y'^- 
Argument,  scenario,  and  note  that  at  the  end  of  the  play  would  be  performed  a 
"ballo  di  fanciulli,"  music  by  Nicola  Matteis,  and  the  vntramezzi  after  tne  first  act, 
the  second  act  and  during  the  first  change  of  scenery  in  the  third.  The  subject  of 
these  intramezzi  (p.  69-80)  was  "Grilletta  e  PiMPiNOiifE  "  (Schatz  2198).  It  should 
be  noted  that  in  Zeno's  collected  works  "Sesostri,  rh  di  Egitto"  appears  as  written 
jointly  by  him  and  Pariati. 

First  performed,  as  indicated,  February,  1717.  Schatz  2197 

Sesostri,  re  d'Egitto.     Drama  per  musica,  da  rappresentarsi  nel 
Teatro  di  S.  A.  S.  di  Carignano,  nel  camevale  dell'  anno  1717  .  .  . 
Torino,  P.  G.  Zappata,  1717.     4  p.  I,  72  p.     15'^. 

Three  acts.  By  Apostolo  Zeno  and  Pariati,  who  are  not  mentioned.  Dedication, 
argument,  cast,  notice  to  the  reader  asking  his  pardon  for  the  liberties  taken  with 
"la  gloriosa  penna  dell'  autore,"  scenario,  and  name  of  the  composer,  Stefano  Andrea 
FiorS.  Schatz  3192 

Sesostri  re  di  Egitto.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  San  Cassano  nel  carnovale  dell*  anno  1 709  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     68  p.     15^'^. 

Three  acts.  By  Apostolo  2Jeno  and  Pariati,  who  are  not  mentioned.  Impresario's 
dedication,  argument,  cast,  scenario,  and  name  of  Carlo  Francesco  Oaspanni  as  the 
compoeer.  Schatz  3681 


1000  LIBRARY  OF  CONGRESS 

Sesostri  rd  d'Egitto,  dramma  per  musica  da  rappresentarsi  nel 
Regio  Ducal  Teatro  di  Milano,  nel  came  vale  dell'  anno  1760  .  .  . 
Milano,  Giusey'pe  Richino  Malatesta,  1759.     5  p.  I.,  36,  [7]  p.     HY^. 

Three  acts.  By  Zeno  and  Pariati,  who  are  not  mentioned.  Dedication,  argu- 
mentj  cast,  and  name  of  Carlo  Monza  as  the  composer.  On  the  additional  page  the 
substitute  aria  for  III,  6,  "Che  pena,  che  affanno."  With  the  opera  were  performed 
Soni^'s  ballets  "Venere  ed  Aaone,"  "I  molinari  francesi,"  and  "II  giudizio  di 
Paride."    The  composers  of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1759.  Schatz  6612 

Sesostri  re  d'Egitto.     Drama  per  musica  da  rappresentarsi  in  Roma 
nel  Teatro  delle  Dame  nel  carnevale  dell'  anno  MDCCLI  .  .  . 
Roma,  Fausto  Amidei,  n.  d.     65  p.     15'^'^. 

Three  acts.  By  Zeno  and  Pariati,  who  are  not  mentioned.  Dedication,  argu- 
ment, scenario,  cast,  and  name  of  Terradellaa  as  composer.  ML  50.2.S55T2 

Sesostris,  konig  in  Egypten.  Tr.  of  Bertoni's  Sesostri,  re  d'E- 
gitto. 

V  Sesto  Tarquinio.  Drama  per  musica.  Nel  famoso  Teatro  Ven- 
dramino  di  San  Salvatore,  I'anno  MDCLXXIX.  Del  dottore  Camillo 
Badovero  ... 

Venetia,  Francesco  Nicolini,  1679.     78  p.     14*^^. 

Three  acts.  Author's  dedication,  dated  December  5,  1678,  argument,  scenario, 
and  notice  to  the  reader: 

"Questo  h  il  mio  primo  drama,  che  nove  anni  sono  scrissi  per  vaio  diporto,  sceneg- 
giato  per5  con  altro  ordine  di  quelle,  che  lo  ritrovi  al  presente.  Per  incontrare  le 
Bodisfattione  de  molti,  h5  pregiudicato  alia  mia,  h  I'uso  corrente  della  moltipliciti 
deUe  arie,  hk  fatto  correr  in  aria  le  sostanze  del  piil  buono  recitative  ...  si,  per 
essere  primo  aborto  della  mia  penna,  come  ti  dissi,  come  per  essere  state  lacerate  piii 
volte,  e  gli  errori  .  .  .  sarebbe  rimasto  finalmente  estinto,  se  la  virtii  sLngolarissima 
del  illustre  Sig.  Gio.  Battista  Tomasi  Virtuoso  di  camera  del  Serenissimo  Duca  di 
Mantova  non  gli  havesse  soministrato  il  balsamo  vitale  della  sua  musica.  Respira 
dunque  questo  k  sola  forza  de  sospiri;  sono  le  note  i  suoi  giomi;  spera  passare  al  tuo 
a^radimento  k  favore  de  passaggi,  e  far  punto  al  periodo  delle  sue  awersitadi  c6  il 
solo  contrapunto.  II  Sig.  Tomasi  ancora  per  colpa  di  tante  mutationi  h  state  necesitato 
a  rendere  in  c^ualche  parte  dura  la  solita  sua  dolcezza,  che  per6  se  ti  ferir^  I'orrecchio 
alcuna  diversity,  di  tuono  accusa  il  troncamento  delle  scene,  le  a^unte  doppo  la 
perfettione,  che  per  altro  non  pu6  fallire  chi  insegna."  Schatz  10359 

Li  sforzi  d'ambizione  e  d'amore. — Drama  per  musica,  da  rap- 
presentarsi nel  Teatro  Giustiniano  di  S.  Moise.     Nel  carnovale  1724. 

Venezia,  Carlo  Buonarrigo,  n.  d.    front,  ^8  p.     IJ^Y"^. 

The  title  appears  separate  as  frontispiece. 

Three  acts.  By  Antonio  Maria  Lucchini,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Giovanni  Porta  as  the  composer.  Schatz  8392 

The  sham  captain.     A.  T.  of  The  boarding-school. 

The  shamrock  or  The  anniversary  of  St.  Patrick.  O.  T.  of  Shield's 
The  poor  soldier. 

The  shamrock  or  Revels  on  St.  Patrick's  Day.  O.  T.  of  Shield's 
The  poor  soldier. 

The  sheep -shearing:  or,  Florizel  and  Perdita.     A  pastoral  comedy. 
Taken  from  Shakespear.     As  it  is  acted  at  the  Theatre-Royal  m 
Smock-alley.     The  songs  set  by  Mr.  Ame. 
BuUin,  Peter  Wilson,  1755.     27,  [1]  p.     .?^'"». 

Two  acts,  prologue,  and   epilogue.     By  MacNamara   Morgan,  who   is  not  men- 
tioned. LONGE  201 
First  performed  at  London,  Covent  Garden,  March  25,  1754  (Genest). 


OPERA   LIBRETTOS  1001 

The  sheep -shearing — Continued. 

—  Florizel  and  Perdita;  or,  The  Sheepshearing:  A  dramatic  pas- 
toral.    In  two  acts.     (Altered  from  Shakespeare's  Winter's  tale. 

[87]-10S  f.  19'^^.  (Collection  of  the  most  esteemed  farces  and  enter- 
tainments, t.  i,  Edinburgh,  1792.) 

Drury-Lane  and  Edinbui^h  (1781)  caste.  Neither  MacNamara  Morgan  is  men- 
tioned, nor  Ame.  Schatz  11753A 

The  shepherd's  artifice,  a  dramatic  pastoral.     As  it  is  perform'd  at 
the  Theatre  Royal  in  Covent  Garden.     The  words  written  and  the 
music  compos'd  by  Mr.  Dibdin. 
•   London,  T.  Beclcet  and  P.  A.  De  Hondt,  1765.     32  p.     19'='^. 

Two  acts.    Cast. 

Firet  performed  Friday,  May  21,  1762,  at  Covent  Garden.  Longe  52 

The  shepherd's  lottery.  A  musical  entertainment.  As  it  is  per- 
form'd by  His  Majesty's  Company  of  comedians  at  the  Theatre- 
Royal  in  Drury-Lane.     The  music  compos'd  by  Dr.  Boyce. 

London,  M.  Cowper,  1751.    24  p.     19'^'^. 

Two  parts.    By  Moses  Mendez,  who  is  not  mentioned. 

First  performed  November  19,  1751,  as  indicated.  Lonoe  54 

The  shepherd's  wedding.     A.  T.  of  Stanley's  Arcadia. 

The  shepherdess  of  the  Alps :  a  comic  opera,  in  three  acts.  As  it 
is  performed  at  the  Theatre-Royal  in  Covent-Garden. 

London,  G.  Kearsly,  1780.     1  p.  I,  86  p.    20^"^. 

Cast.    The  author-compoeer,  Charles  Dibdin,  is  not  mentioned. 

First  performed  January  18, 1780,  as  indicated.  Lonoe  126 

Sherwood  forest.     A.  T.  of  Shield's  Robin  Hood. 

La  sibille,  repr^sent^,  devant  Sa  Majesty,  a  Fontainebleau,  le 
jeudi  25  octobre  1770. 

[Paris], Pierre Rohert  ChristopTie BaUard,  1770.    2  p.  1, 15  p.    21^"". 

One  act.  Cast  and  names  of  De  Moncrif  as  author,  of  Antoine  Dauvergne  as 
composer. 

First  performed  at  Paris,  Acad^mie  royale  de  muaique,  August  8,  1758,  and  pre- 
viously at  Fontainebleau  November  13,  1753,  as  first  act  of  a  ballet  callea  "Lea  fetes 
d'Euterpe."    (5c*  afeo  fti»  La  coquette  tromp6e.")  ML  50.2.S59D2 

Der  sich  raechende  Cupido.  L.  T.  of  Reiser's  Die  entdeckte 
verstellimg. 

The  Sicilian  romance:  or,  The  apparition  of  the  cliffs,  an  opera, 
by  Henry  Siddons.  As  performed  with  universal  applause  at  the 
Theatre  Royal,  Covent-Garden. 

London,  J.  Barker,  1794.     1  p.  l,  44  V-    ^^i""- 

Three  acts.  Cast,  prologue,  and  dedication.  The  composer,  William  Beeve,  is 
not  mentioned. 

First  performed  May  28,  1794.  Lonoe  239 

Sicotencal.     Dramma  per  musica  da  rappresentarsi   nel   Nuovo 
Teatro  de'  ^uattro  Si^ori  associati  cavalieri  e  patrizj  della  Regia 
cittk  di  Pavia  nella  prunavera  dell'  anno  1776  .  .  . 
Pavia,  Porro,  Bianchi  e  compagni,  n.  d.     4h  [^]  V'     ^7*^» 


1002  LIBRARY  OF   CONGRESS 

Sicotencal — Continued. 

Three  acta.  By  Cesare  Oliveri.  Impresario's  dedication,  argument,  cast,  scenario, 
and  names  of  the  author  and  the  composer,  Giuseppe  Colla  (  'La  musica  sar^  tutta 
nuova").  The  ballets,  of  which  the  nret  was  called  "Arianna,"  were  by  Giuseppe 
Salomon!;  the  music  by  Giuseppe  Sighizzelli.  Schatz  2110 

Sicotencal.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  camovale  del  1776  ... 

Torino,  Onorato  Derossi,  n.  d.     viii,  60  p.     16^™'' 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Cesare  Oliveri  as  author,  of 
Giovanni  Marco  Butizd  as  composer.  With  the  opera  were  performed  (music  by 
Giuseppe  Antonio  Le  Messier)  Giuseppe  Canziani's  ballets,  "Le  dissensioni  d'amore 
nel  campo,"  "L'amante  travestita,"  and  "Lo  sbarco  de'  Spagnuoli  nell'  America." 

Schatz  9191 

Sidney  e  Silly,  ballet.     See  Bianchi's  Eurione.  s 

Sidonio.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
S.  Cassano  I'autunno  dell'  anno  1706  .  .  . 

Venezia,  Marino  Rossetti,  1706.     70  p.     IS""^. 

Three  acts.  By  Pietro  Pariati,  who  is  not  mentioned.  Dedication,  argument, 
cast,  scenario,  and  name  of  Antonio  Lotti  as  composer.  Schatz  5722 

Sidonio  e  Dorisbe.  Drama  di  Francesco  Melosio.  Honorato  di 
musica  dal  Sig.  Nicolo  Fontei  e  rappresentato  nel  Teatro  di  S.  Moisd 
I'anno  [1642]. 

Venetia,  Gio.  Battista  Surian  [ MDCXLII].     106  p.     IS'^^. 

Dates  partly  filled  out  in  pencil.  On  p.  106  (incorrectly  numbered  104),  a  mounted 
notice  to  the  reader: 

"Scusa  gli  errori  della  stampa,  che  sono  infiniti,  occorsi,  per  hauer  I'autore  lasciata 
ad  altri  la  cura  di  correggere." 

Three  acts  and  prologue.  Author's  dedication,  dated  February  16,  1642,  argu- 
ment, author's  notice  to  tne  reader,  and  "Scherzo  avanti  il  prologo."      Schatz  3290 

Der  sieg  der  bescheidenheit  auf  der  insel  des  vergnuisgens.  A.  T. 
of  KS,uer's  Kaspars  zoegling. 

Der  sieg  der  Clelia.     Tr.  of  Michl's  II  trionfo  di  Clelia. 

Der  sieg  der  natur  ueber  die  schwaermerey.  A.  T.  of  Phanty's 
Don  Sylvio  von  Rosalva. 

Der  sieg  der  natur  ueber  die  schwaermerey.     A.  T.  of  F.  S. 

Sander's  Don  Sylvio  von  Rosalva. 

Der  sieg  der  natur  ueber  die  schwaermerey.  A.  T.  of  Ulbrich's 
Der  blaue  schmetterling. 

Sieg  der  schoenheit,  in  einem  singspiele  auf  dem  Hamburgischen 
Schau-Platz  vorgestellet  1722. 

Hamburg,  Philipp  Ludwig  Stromer,  n.  d.      Unpaged.     18'^'^. 

Three  acts.  According  to  Schatz,  originally  written  by  Christian  Heinrich  Postel 
as  "Der  grosse  konig  der  afrikanischen  Wenden  Gensericus  als  Roms  und  Karthagos 
ueberwinder,"  but  first  performed  at  Hamburg  in  1693  as  "Gensericus,"  with  music 
by  Johann  Georg  Conradi.  The  text  was  then  partly  rewritten  by  Weichmann,  and 
further  altered  for  the  performances  of  1722  by  Geoi^  Philip  Teletnann,  who  com- 
posed the  new  music.  Under  its  original  title,  "Der  grosse  koenig,"  etc.,  Telemann's 
version  of  Conradi's  opera  was  then  performed  at  Braimschweig  in  February,  1725.  It 
was  repeated,  so  Schatz  claims,  at  Braunschweig  in  February,  1732,  as  "Sieg  der 


OPERA   LIBRETTOS  1003 

Sieg  der  schoenheit — ContinHed. 

schoenheit."  Schatz'  statements  do  not  quite  agree  with  those  of  Ottzenn,  who,  in 
his  monograph  on  Telemann,  mentions  a  score  preserved  at  Berlin  headed  "Genserich 
Opera,  so  zu  Braunschweig  anno  1732,  in  der  Winter  Mesee  representiret  worden. 
Componirt  von  kapellmeister  Telemann  in  Hamburg."  This  would  seem  to  imply 
that  Telemann  composed  an  opera,  "Genserich,"  performed  at  Braunschweig  in 
1732,  and  that  this  opera  is  not  identical  with  Conradi's  "Sieg  der  schoenheit,"  aa 
revised  by  Telemann. 

Cast,  scenario,  and  avertissement,  which  indicates  cuts  and  states: 

"Femer  hat  man  fiir  gut  befimden  [das]  in  der  dritten  handlung  am  ende  dee 
zehenden  auftritts  befindliche  B[allet]  nicht  vorzustellen,  an  dessen  statt  aber  soli 
vor  dem  schluss-chore  ein  Gr[and]  Balleten  chaconne  von  den  eamtlichen  taentzem  und 
taentzerinnen  hin  [zu]  gefueget  und  also  das  gantze  werck  mit  solcherprachtgeschloa- 
sen  werden,  [wie]  es  anfaenget." 

The  composer,  Johann  Georg  Conradi,  is  not  mentioned.  Schatz  2180 

Sieg  der  weissheit  ueber  die  liebe.     A.  T.  of  Telemann's  Calypso. 

Le  siege  de  Tyr.     Trag^die  en  cinq  actes. 

Venard  de  La  Jonchere,  Theatre  lyrique,  Paris,  1772,  t.  ii,  76  p. 

"Avant-propos "  (p.  3-12).  No  composer  mentioned,  nor  is  any  recorded  by 
Clement  &  Larousse.  ML  49.A2L2 

Songs,  duets,  trios,  chorusses,  etc.,  in  the  Siege  of  Belgrade.  An 
opera,  in  three  acts,  now  performing  at  the  Theatre-Royal,  Dniry 
Lane. 

London,  J.  J  arms,  1791.     2  p.  I,  27  p.     20'^'^. 

Cast.  Neither  the  author,  James  Cobb,  is  mentioned,  nor  Stephen  Storace,  who 
partly  composed  the  music,  partly  compiled  it  from  Maiidn  y  Soler's  "Una  cosa 
rara,"  and  other  works.  Dale's  vocal  score  mentions  in  the  headings  besides  Martin 
y  Soler,  Paisiello,  Salieri,  and  KeUy. 

First  performed  January  1,  1791,  as  indicated.  LoKOB  207 

—  The  siege  of  Belgrade ;  a  comic  opera,  in  three  acts.  As  it  is 
performed  at  the  Theatres  Royal,  in  London  and  Dublin  .  .  . 

Dublin,  Printed  and  sold  by  the  booJcseUers,  n.  d.     J^8  p.     17^^. 

Cast.    Neither  author  nor  composers  mentioned.  Longe  233 

Second  copy.    Schatz  6020 

—  Son^s,  duets,  trios,  chorusses,  etc.,  in  the  Siege  of  Belgrade.  An 
opera,  m  three  acts.  Now  performing  at  the  Theatre  Royal,  Drury- 
Lane.     The  music  by  the  late  Mr.  Storace. 

London,  Printed  by  C.  Lowndes,  and  sold  in  the  theatre,  n.  d.     23  p. 

21^"^- 

Cast.    As  Storace  died  1796,  this  would  be  the  earliest  possible  date  for  this  edition. 

LoNOB  263 

The  siege  of  Gibraltar:  A  musical  farce,  in  two  acts.  As  it  is  per- 
formed at  the  Theatre-Royal  in  Covent-Garden.  The  second  edition. 
By  F.  Pilon.  ' 

London,  G.  Kearsley,  1780.    2  p.  I.,  42  p.    21'^'^. 

Cast  and  prefatory  note,  in  which  Frederick  Pilon  acknowledges  the  "very  favourite 
Bong  of  'How  stands  the  glass  around,  my  boys?'"  as  not  his  own.  The  composer, 
William  Shield,  who  partly  selected  the  music  from  others,  is  not  mentioned. 

First  performed  April  25,  1780,  as  indicated.  Lonoe  95 


1004  LIBRABY   OF   CONGRESS 

The  siege  of  Rhodes:  the  first  and  second  part;  as  they  were 
lately  represented  at  His  Highness  the  Duke  or  York's  Theatre  in 
Lincolns-Inn  Fields.  The  first  part  being  lately  enlarg'd.  Written 
by  Sir  William  D'avenant. 

London,  Printed  for  Henry  Herringman  .  .  .  1663.  4  V-  ^v  A^  V-y 
1  I.,  [2],  61,  {2'\  p.     22^^. 

Signatures:  pt.  1:  A  in  four,  Aj-F  in  fours;  pt.  2:  2  1.  unsigned,  B-I  in  fouTB. 

The  second  part  has  special  t.-p.  and  separate  paging. 

The  first  part  consists  of  "Entry  "  first  to  fifth,  preceded  by  the  author's  dedication 
to  the  Earl  of  Clarendon,  and  "The  persons  represented."  The  second  part  consists 
of  five  acts^  prologue,  and  epilogue. 

This  edition  contains  no  allusion  to  the  fact  that  this  was  (practically)  the  first 
opera  produced  by  D'avenant  in  1656  after  he  obtained  permission  "for  the  per- 
formance of  operas."  Especially  does  this  edition  not  contain  the  particulars  given 
inthefirsteditionof  the  libretto,  1656.  (See  Prendergast  in  "English  music,"  1906),  as, 
for  instance,  "a  representation  by  the  art  of  prospective  in  scenes,  and  the  story  sung 
in  recitative  musick,"  nor  that  the  vocal  music  of  the  first  and  fifth  "entry"  of  the 
first  part  was  composed  by  Henry  Lawes,  of  the  second  and  third,  by  Captain  Henry 
Cook,  and  the  fourth,  by  Matthew  Locke,  nor  further,  that  the  instrumental  music 
was  composed  by  Charles  Coleraan  and  Geoige  Hudson.  The  music  of  this  first 
English  opera  seems  to  be  lost.  ML  50.2. S62 

Die  siegende  Atalanta.  A.  T.  of  Steffani's  Die  vereinigten  mit- 
buhler. 

Die  siegende  bestaendigkeit.     A.  T.  of  Reiser's  Bretislaus. 

Die  siegende  grossmuth.     A.  T.  of  Telemann's  Sancio. 

Der  siegende  Phaeton,  in  einem  sing-spiel  auf  dem  Hamburgischen 
Schau-platz  vorzustellen. 

Hamburg,  Nicolaus  Spieringlc,  1702.      Unpaged.     18^'^. 

Three  acts.  Neither  the  author,  Nothnagel,  is  mentioned,  nor  the  composer, 
Reinhard  Keiser. 

First  performed  at  Hamburg,  1700,  as  "Der  gedemiithigte  Phaeton." 

SCHATZ  5110 

Die  siegende  treue.     A.  T.  of  Reiser's  Lucius  Verus. 

Die  siegende  unschuld.  A.  T.  of  Handel's  Chelleri  and  Telemann's 
Judith,  gemahlin  Kayser  Ludewigs  des  Frommen. 

Der  siegreiche  koenig  der  Qothen  Alaricus.  Als  uberwinder  des 
maechtigen  Roms,  in  einem  singe-spiel  auiT  dem  Hamburgischen 
Schau-Platze  vorgestellet. 

Hamburg,  Conrad  Neumann,  n.  d.      Unpaged.     16^'^. 

Three  acts.  Argument.  Neither  the  author,  Nothnagel,  nor  the  composer, 
Johann  Christian  Schieferdecker,  is  mentioned. 

First  performed,  as  indicated,  1702.  Schatz  9603 

Siface.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  Sant' 
Angelo  per  la  solita  fiera  dell'  Ascensione  dell'  anno  1761. 
Venezia,  Modesto  Fenzo,  1748  [!]  46  p.     14^"^- 

Three  acts.  Cast,  scenario,  argument,  and  name  of  the  compoeer,  Domenico 
Fischietti. 

The  author  of  the  text  is  not  mentioned,  but  comparison  showed  it  to  be  a  rifaci- 
mento  of  Metastasio's  text  for  Porpora's  "Siface,"  which  itself  was  but  a  rifacimento 
of  some  earlier  text  by  unknown  author.  (See  below.)  Metastasio's  dialogue  was 
kept  largely  intact,  but  most  of  his  arias  have  disappeared  and  others  were  replaced 
by  texts  from  other  operas  of  his.    For  instance  I,  4  "Potria  fra  tan  to"  if  from  hifl 


OPERA    LIBRETTOS  1005 

Siface — Continued. 

"Achille  in  Sciro,"  II,  4  "Piu  temer  non  posso  ormai"  from  his  "Ipermeetra,"  II,  8 

"lo  v^go  in  lontananza"  from  his  "Semiramide."     Fischietti's  "Siface"  has  in 

I,  2  " Delia miasorte  altera,"  Porpora's  I,  2  has  "Seti  scopro  il  foco  mio,"  Fischietti's 

II,  3  has  no  aria,  Porpora's  II,  3  has  "Porto  6  vero  il  sen  piagato,"  Fischietti's  II,  4 
has  "Pill  temer  non  deve  ormai,"  Porpora's  has  "Come  nave  in  mezzo  all'  onde" 
and  Porpora's  III,  9  "Quel  basso  vapore"  was  moved  to  III,  7.  Other  original 
"Siface"  arias  in  Fischietti's  opera  are  "Son  pellegrin  errante"  (II,  5),  "Rendimi  i 
lacci  miei"_(II,  11),  "Sempre  in  soglio"  (final  chorus).  "A  gli  oltraggi  della  sorte" 
(II,  14)  which  is  listed  by  Wotquenne  as  from  Zeno's  "Omospade"  (I,  1)  appears  in 
Fischietti's  "Siface"  in  II,  13  and  in  Porpora's  "Siface"  in  II,  14! 

It  should  be  noted  that  Schatz  claims  Porpora  not  to  have  been  the  first  to  com- 
pose Metastasio's  "Siface."  He  records  a  setting  by  Francesco  Feo  for  Naples, 
Teatro  di  S.  Bartolomeo,  spring  1723. 

The  date  in  the  imprint  is  a  misprint,  as  the  first  p>erfonnance  took  place  as  indi- 
cated, on  April  29,  1761.  Schatz  3242 

Siface.  Dranuna  per  musica  da  rappresentarsi  in  Rovigo  nel  Teatro 
Venezij  per  la  fiera  I'anno  MDCCXLIV. 

Bologna,  Costantino  Pisarri,  n.  d.     1  p.  I.,  55,  {2\  p.     IJ^Y"^. 

The  imprint  on  first  add.  p.  On  second  add.  p.  a  list  of  "Comedie  diverse  stam- 
pate  da  Costantino  Pisarri." 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  {See  above  and  next  entry.) 
Dedication  by  the  impresario,  Alessandro  Paghetti,  dated  Rovigo,  October  10,  1744, 
argument,  cast,  scenario,  and  name  of  Francesco  Maggiore  as  composer. 

Schatz  5834 

Siface.     Drama  per  musica  da  rappresentarsi  nel  famosissimo  Teatro 
Grimani  di  S.  Gio.  Grioostomo  nei  carnevale  dell'  anno  MDCCXXVI. 
Venezia,  Marino  Rossetti,  1726.     60  p.     15'^'^. 

Three  acts. 

No  author  is  mentioned.  Quadrio  was  the  first  to  attribute  the  text  to  Metastasio, 
who  then  had  this  to  say  about  his  authorship  in  a  letter  written  on  June  29,  1772,  to 
abbate  Vincenzo  Cammillo  Alberti : 

"E  un  dramma  fatto  senza  volerlo  fare:  I'idea  era  di  raffazzonare  un  antico  libretto 
a  istanza  del  maestro  Porpora  (but  see  above)  e  nel  raffazzonarlo  fu  interamente 
cambiato  .  .  .  ma  pure  non  h  mio,  ben  ch&  non  credo  che  vi  sia  rimasto  alcun  verso 
del  prime  autore." 

It  is  unknown  to  me  whose  text  Metastasio  undertook  to  raffazzonar.  However, 
it  is  a  curious  fact  that  the  aria  "A  gli  oltraggi  della  sorte  "  in  II,  14  of  "Siface  "  also 
occurs  and  only  slightly  different  in  I,  1  of  Zeno's  Omospade!  This  fact  was  over- 
looked by  Wotquenne,  who  failed  to  incorporate  several  "Siface"  arias  in  his  "Ver- 
zeichnis"  (See  above  Fischietti's  Siface.) 

Areument,  cast,  scenario,  and  name  of  Nicoli  Antonio  Porpora  as  the  composer. 

First  performed  at  Milan,  Regio  Ducal  Teatro,  December  26, 1725.    Schatz  8362 

—  Syphaz,  in  einem  sing-spiele  auf  dem  Hamburgischen  Schau- 
platze  vorgestellet.     Im  janr  1727. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.     Unpaged. 

iQcm  i 

Three  acts.  Cast,  argument,  and  names  of  Nicole  Antonio  Porpora  as  the  com- 
poser "der  Arien/'  of  Johann  Philipp  Praetorius  as  the  translator.  The  arias  are 
printed  with  Italian  and  German  text.  Schatz  8363 

Siface  e  Sofonisba.  Dramma  per  musica  da  cantarsi  nelia  Real 
Villa  di  Queluz  per  celebrare  il  felicissimo  giomo  natalizio  di  S.  M. 
fedelissima  I'augusto  D.  Pietro  III.  r^  di  Portogallo  .  .  .  li  5.  luglio 
1783. 

n.  pi.,  n.  d.,  NeUa  stamperia  reale.     34  P-     15"^. 

One  act.  Argument  and  cast.  Gaetano  Martinelli  is  mentioned  as  the  author, 
Antonio  L«il  Moreira,  maestro  del  Real  Seminario  di  Lisbona,  as  the  composer. 

Schatz  6632 


1006  LIBRARY   OF   CONGRESS 

V  Sigismondo  prime  al  diadema.  Dranuna  musicale  da  rappre- 
sentarsi  nel  famosissimo  Teatro  di  SS.  Gio.  e  Paolo,  nell'  anno 
MDCLXXXXVI  .  .  .  Composto  in  musica  dal  Sign.  D.  Pietro 
Romolo  abbatte  Pignatta. 

Venetia,  Nicolini,  1696.     62  p.     W"". 

Three  acts.  Compoeer's  dedication  and  argument.  Text  from  a  "penna  illns- 
tre"  scil.  Giovanni  Grimani,  who  is  not  mentioned  by  name.  Schatz  8171 

II  signer  benefice,  ballet.     See  Salieri  and  Rust's  II  talisniano. 

II  signer  benefice,  ballet.     See  Tarchi's  II  trionfo  di  Clelia. 

II  signer  dettere.  Drajmna  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  I'anno  MDCCLVIII. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  t.  Ifi, 
[57]-112  p.     18^^. 

See  next  entry.  PQ 

II  signer  dettere.  Dramma  giocoso  per  musica  di  Polisseno  Fegejo, 
Pastor  Arcade  [Goldoni]  da  rappresentarsi  in  Monaco  di  Baviera.  nel 
anno  1760. 

[Monaco],  Giuseppe  Francesco  Thuille,  n.  d.     64,  [1]  p.     15'^'^. 

Three  acts.  With  name  of  Domenico  Fischietti  as  composer.  The  additional 
page  contains  the  substitute  arias  (I,  6)  "Donne  belie  avete  il  vanto"  and  (II,  2) 
E  un  grandiseimo  piacere." 

First  performed  at  Venice,  Teatro  di  San  Mois^,  fall  of  1758.  Schatz  3236 

—  II  signer  dettere.  Dramma  giocoso  per  musica.  Da  rappre- 
sentarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia.  Dresda,  Finvemo 
del  1768. 

n.  %.,  n.  d.,  141  p.     16^"^. 

Three  acts.  Cast,  scenario,  and  names  of  Goldoni  as  author,  of  Domenico  Fischi- 
etti as  composer.  German  title-page,  "Der  herr  doctor,  ein  lustiges  singspiel,"  and 
text  face  Italian.     Differs  considerably  from  the  Munich  version.         Schatz  3237 

II  signere  benefice,  ballet.     See  Zingarelli's  Alsinda. 

V  Silla.     Drama  da  rappresentarsi  nel  Teatro  di  Sant'  Angelo.     L'anno 
MDCI.XXXIII  .  .  . 

Venetia,  Francesco  Nicolini,  1683.     58  p.     14Y'^- 
Three  acts.    By  Andrea  Rossini,  who  is  not  mentioned.     Impresario's  dedication, 
dated  Venice,  February  4, 1683,  argument,  scenario,  and  author's  notice  to  the  reader, 
in  which  he  mentions  Giovanni  Domenico  Freschi  as  the  composer,  and  says: 

"Per  agiustare  il  presente  drama  alia  necessity,  che  seco  porta  I'angustia  del  teatro, 
e  la  brevity  desiderata  ne  tempi  correnti,  h5  convenuto  renderlo  come  uno  scheletro 
spolpato  dalla  maggior  forza  degl'  ac(iidenti,  essendosi  levati  non  solo  moltissimi  versi, 
Vik  ancora  I'intiere  mutationi  di  scena."  Schatz  3355 

Silla.  Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Berlino  per  il  felicissimo  giorno  natalizio  della  Sacra  Real  Maestll  di 
Sofia  Dorotea,  regina  madre  .  .  . 

Berlino,  Haude  e  Spener,  1753.     107,  [1]  p.     16^"^. 

Three  acts.     In  the  preface  the  court  poet,  Giampietro  Ta^liazucchi,  says: 

"Venutami  leggiadramente  in  francese  scritta  [by  Fredenck  the  Great^  based  on 
Duchy's  'Scylla'Tmi  h  convenuto  darle  I'omamento  della  italiana  dramatica  poesia, 
perch^  sia  dell'  altro  della  musica  soggettibile." 

The  composer,  Carl  Heinrich  Graun,  is  not  mentioned.  German  title-page  and 
text  (by  Francesco  Grugnanelli,  according  to  Mennicke)  face  Italian. 

First  performed,  as  indicated,  March  27,  1753.  Schatz  4116 


OPERA.  LIBRETTOS  1007 

Silla — Continued. 

—  Sylla.  A  dramatic  entertainment,  presented  at  the  King's 
Theatre  in  Berlin,  on  the  27th  day  of  March,  1753.  Being  the  birth- 
day of  the  Queen  Mother.  Translated  from  the  French  of  the  king 
of  Prussia,  by  Mr.  Derrick, 

London,  P.  Vaillant,  J.  Bouquet,  [etc.],  1763.     vii,  [1],  39,  [1]  p. 

Three  acts.  Dedication  by  Samuel  Derrick,  dated  London,  July  11,  1753,  transla- 
tion of  Tagliazucchi's  "address  to  the  reader,"  in  which  he  makes  it  clear  that  he 
simply  translated  the  French  prose  text  by  Frederick  the  Great  in  order  to  adapt  it 
to  the  "beauties  of  Italian  music  "  and  to  render  it  fit  for  a  theatrical  representation," 
and  "A  short  accoimt  of  Sylla."  Graun,  the  composer,  is  not  mentioned.  English 
text  only. 

Not  performed  in  England.  Longe  262 

Silvain,  conj^die  en  un  acte,  mesl6e  d'ariettes;  par  M.  Marmontel  .  .  . 
La  musique  est  de  M.  Gretr^.     Representee  pour  la  premiere  fois 
par  les  ComMiens  italiens  ordinaires  du  Roi,  le  19  f6vrier  1770. 
Paris,  Merlin,  1770.    Jfi  p.     18^ 


?cm 


Caat.  On  p.  33-40,  the  ariettes,  "Nos  coeurs  ceeeent  de  s'entendre"  (I,  1),  "Ne 
croie  pas  qu'un  long  manage  "  (I,  3).  Schatz  4184 

—  Silvain,  comedie  en  un  acte,  m^l^e  d'ariettes;  par  M.  Marmontel, 
de  I'Academie  Fran^oise.  La  Musique  est  de  M.  Gretry.  Repre- 
sente  pour  la  premire  [  !1  fois  par  les  Com^diens  Italiens  ordinaires  du 
Roi,  le  19  Fevrier  1770. 

Paris,  Merlin,  1770.     55  p.     19^"^. 

Cast.  On  p.  [47]--55,  the  "Ariettes  de  Silvain:"  "Nos  coeurs  cessent,"  "Ne  croie 
pas  qu'un  long  manage."    The  approbation  is  dated  February  21,  1770. 

ML  50.2.S63 

—  Silvain,  ein  sin^piel  in  einem  aufzuge  aus  dem  franzoesischen 
uebersetzt,  mit  musik. 

FranTcfurt  am  Mayn,  mit  Andreaeischen  schriften,  1772.  52  p.,  16 
p.  {folded  music).     16^'"'^. 

Neither  Marmontel  nor  Gr6trynor  the  translator  (Joh.  Heinr.  Faber)  mentioned. 
The  music  (bass  and  voice)  consists  of  "Glaube  mir,  was  ich  Dir  sage  "  ("Ne  crois  pas 
<][u'un  long  manage,"  I,  3),  "Ich  weisa  nicht,  ob  die  schwesterliebe  "  (" Je  ne  sgais  paa 
61  ma  Boeur  aime,"  I,  3),  and  "Er  hat  langst  diesen  trieb'  gespurt"  ("Hd  comment  ne 
pas  le  ch^rir,"  I,  3).  "        Schatz  4185 

—  Sylvain,  ein  singspiel  in  einem  aufzuge  uebersetzt  aus  dem 
franzoesischen.  Die  musik  ist  vom  herrii  Gretry.  Aufgefuehrt  auf 
dem  K.»K.  Nationaltheater. 

Wien,  zufinden  heym  logenmeister,  1778,     39  p.     16\^. 

Translator  not  mentioned,  and  unknown  to  Schatz. 

First  performed,  as  indicated,  November  18,  1778.  Schatz  4186 

—  Erast  und  Lucinde.  Eine  operetta  in  einem  aufzuge.  Nach 
dem  Silvain  des  herm  Marmontel.  Neue  durch  herm  Eschenburg 
veraenderte  auflage.     Die  musik  ist  von  herm  Gretry. 

Muenster,  Perrenon,  1777.     43  p.     HY 


Icm 


First  performed  at  Berlin,  Theater  i.  d.  Bohrenstraese,  October  16,  1773. 

Schatz  4187 


1008  LIBRARY   OF   CONGRESS 

Silvia;    or,  The  country  burial.     An  opera.  As  it  is  j>erformed  at 

the  Theatre-Royal  in  Lincoln's-Inn-Fields.  With  the  music  pre- 
fix'd  to  each  song. 

London,  J.  Watts,  1731.     j  p.  l,  77,  [1]  p.  W'^'^. 

Three  acts.  Ballad  opera.  Dedication  by  the  author,  George  Lillo,  and  table  of  the 
63  Bongs,  the  airs  of  which  are  printed  in  the  text,  with  their  titles. 

first  performed  November  10,  1730.  Lonoe  262 

La  Silvia.     Drama  pastorale  da  rappresentarsi  nel  Teatro  Gius- 

tinian  di  S.  Moise  I'autunno  dell'  anno  1730  .  .  . 
Veneiazia  [!],  Carlo  Buonarigo,  n.  d.     1^5  p.     14^^- 
Three  acts.     By  conte  Enrico  Bissari  (not  mentioned).    Argument,  dedication, 

cast,  notice  to  the  reader.    The  dedication  is  dated  October  28,  1730.    The  composer, 

Bortolamio  Cordans,  is  not  mentioned. 

First  performed  at  Vicenza,  Teatro  nuovo  di  Piazza,  1710  (Schatz).     Schatz  2228 

Silvia.     Opera  pastorale.     Da  rappresentarsi  in  musica  in  Ratis- 
bona  .  .  . 
Ratishona,  n.  puhl.,  1690.     Unpaged.    20'^^. 

Three  acts  and  prologue.  With  dedication  to  the  participants  in  the  Reichs- 
versammlung  at  Ratisbon,  February,  1690,  signed  by  the  author,  Ruggiero  Fedeli, 
who  also  composed  the  music.    German  title-page,  ' '  Silvia, ' '  and  text  face  the  Italian . 

Schatz  3038 

Silvie,  oj)6ra  en  trois  actes ;   avec  un  prologue.     Repr6sent6  devant 
Leurs  Majest^s,  k  Fontainebleau,  le  17  octobre  1765. 

[Paris],  ChristopJie  Ballard,  1765.  56  p.  20^"'^.  (Journal  des 
Spectacles,  t.  ii,  1766.) 

Prologue  and  three  acts.  Cast  and  names  of  Laujon  as  author,  of  Le  Berton  (Pierre 
Montan  Berton)  and  Jean  Claude  Trial  as  composers. 

First  performed,  as  indicated,  at  the  Acad^mie  royale  de  musique,  November  18, 
1766 — ^not,  aa  incorrectly  in  the  libretto,  November  11  (Schatz).  ML  48.J7 

La  sincerita  con  la  sincerita  owero  II  Tirinto.     Favola  dramma- 
tica  per  musica  comj)osta  e  fatta  rappresentare  dagli  Accademici 
Sfaccendati.     Nell'  Aricia,  I'anno  1672  .  .  . 
Cosmopoli  [Roma],  1672.     84  p.     i5i'="». 

Three  acts.  Dedication,  argument,  scenario.  Authors  and  composers  not  known 
to  Schatz.  .  Schatz  11364 

Ein  singspiel  ohne  titel  in  drey  aufzuegen. 
n.  %.,  n.  d.     108  p.     16'='^. 

Possibly  printed  after  1800.  Neither  the  author,  Leopold  Hiesberger,  nor  ihe 
composer,  Johann  Baptist  Schenck,  is  mentioned. 

First  performed  at  Vienna,  Theater  auf  der  Wieden,  November  4,  1790. 

Schatz  9594 

Die  singschule  oder  Drei  heirathen  an  einem  tage.     Eine  komische 
oper  in  drei  aufzuegen  von  Ludwig  v.  Baczko. 

Koenigsberg,  Hartung,  1794.     84  p.     15^'^'^. 

"Die  musik  ist  von  herm  musikdirektor  Mile"  (Nicolaus  Miihle). 

First  performed  at  Koenigsberg,  Ackermannsches  Theater,  1794.       Schatz  6872 

Sir  Politick  Ribband.     A.  T.  of  The  state  juggler. 


OPEBA  LIBRETTOS  1009 

Sirita. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744}  i-  '^t  V-  [183\- 
269.     19^^. 

Three  acts  and  licenza.  Ailment.  No  composer  is  mentioned.  In  the  "Cata- 
logo,"  at  end  of  t.  x,  date  and  place  of  first  ed.  are  given  as  Vienna,  1719.     {See  below). 

ML  49.A2Z3 

—  Sirita.     Pubblicata  per  la  prima  volta  in  Vienna  1719. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  tl  v,  p.  87-166. 

21cm 

Three  acts.    Ai^ument.    No  composer  is  mentioned.  ML  49.A2Z4 

Sirita,  dramma  per  musica,  da  rappresentarsi  nell'  imperial  favorita 
.  .  .  per  le  felicissime  nozze  de  serenissimi  principi  Maria  Gioseffa 
arciduchessa  d'Austria  e  Federico  Augusto,  principe  ereditario  di 
Sassonia.  La  poesia  h  del  Sig.  Apostolo  Zeno  ...  La  musica  e  del 
Sig.  Antonio  Caldara  .  .  , 

Vienna  d'Austria,  Gio.  Van  Ghelen,  1719.     4  p.  I.,  72  p.     15^^. 

Three  acts  and  licenza.  Argument  and  scenario.  The  ballet  music  was  composed 
by  Niccola  Matteis. 

First  performed,  as  indicated,  at  Laxenburg,  August  20, 1719.  Schatz  1487 

II  Siroe. 

70  p.  W^™.  (Pietro  Meta^tasio,  Opere  drammatiche,  Venezia, 
Giuseppe  BeUinelli,  173S-S7,  v.  2.) 

Three  acts.    Argument.    No  composer  mentioned.  ML  49.A2M4 

—  Siroe. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1756,  t.  Hi,  [111]-215  p. 
16""^. 

Three  acts.    Argument.  ML  49.A2M42 

—  Siroe.  Rappresentato  con  musica  del  Vinci  la  prima  volta  in 
Venezia,  nel  camevale  dell'  anno  1726. 

J)l.,  [22S]-S36  p.    26'='^.     (Pietro  Metastasio,  Opere,  t.  Hi,  Parigi, 
ova  Herissant,  1780.) 
Three  acts  with  licenza.    Argument.  ML  49.A2M44 

—  Siroes. 

Metastasio,  Tragedies  opera,  Vienne,  1751,  t.  Hi,  127  p.     14"^. 
Three  acts.     Richelet's  translation  of  "Siroe."  ML  49.A2M47 

n  Siroe.  Dramma  per  musica  da  rappresentarsi  nel  Gran  Ducal 
Teatro  di  Bronsevigo  nella  fiera  d'estate  del  anno  MDCCLXVII. 

n.  i.,  n.  d.     151  p.     15Y'^- 

Three  acts.  Argument,  scenario.  German  title  page,  "Der  Siroee,"  and  teort 
face  Italian.  A  19th  cent.  ms.  note  on  the  t.-p.  reads:  "Gedichtet  von  Metastasio. 
In  musik  gesetzt  von  Vinci,  Handel,  Wagenseil,  Bioni,  Hasse,  Vivaldi,  u.  s.  w." 
Of  course,  this  "in  musik  gesetzt"  is  misleading,  since  the  music  of  this  pasticcio  was 
not  composed  for  the  occasion,  but  selected.  Schatz  11365 

Siroe.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Benedetto  nel  camevale  dell'  anno  MDCCIjXXI. 
Venezia,  Modesto  Fenzo,  n.  d.     62  p.     W"^. 
72251°— VOL  1—14 64 


1010  LIBRAllY  OF  CONGBESS 

Siroe — Continued. 

Three  acta.  By  Metastaeio.  Argument,  cast,  scenario,  and  name  of  the  composer, 
Giovanni  Battista  Borghi.  On  p.  27-30  detailed  description  of  Charles  Lepicq's 
ballet  "Gli  amanti  protetti  dall'  Amore."  The  composer  of  the  music  is  not  men- 
tioned. 

First  performed  in  January  1771  aa  indicated.  Schatz  1237 

Siroe.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo,  nel  camovale  dell'  anno  1750. 

Venezia,  AW  insegna  deUa  scienza,  n.  d.     59  p.     15'^^. 

Three  acts.  By  Metastasio.  Caat,  scenario,  and  name  of  the  composer,  Gioacchino 
Cocchi.  Schatz  2041 

Siroe.     See  Hasse's  Siroe,  re  di  Persia. 

Siroe.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro  in 
Padova  per  la  solita  fiera  di  giugno  1753  .  .  . 

Padova,  Conzatti,  1763.     78  p.     17\'''^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Dedication,  argument,  cast, 
scenario,  and  name  of  Gaetano  Latilla  as  composer. 

First  performed  at  Rome,  Teatro  delle  Dame,  carnival,  1740.  Schatz  5451 

Siroe.     Dramma   per   musica   da   rappresentarsi   nel   famosissimo 
Teatro  Grimani  di  S?  Gi6.  Grisostomo  nel  carnevale  1743  .  .  . 
n.  i.,  n.  d.     1  p.l.,  60  p.     ISY"^. 

Three  acts.  By  Metastaeio,  who  is  not  mentioned.  Argument,  scenario,  caat,  and 
name  of  Gennaro  Manna  as  composer.  Schatz  5902 

Siroe.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1780  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  60  p.     15Y'^- 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Giuseppe  Sarti  as  composer.  With  the  opera  were  performed,  music  by 
Vittorio  Amedeo  Canavasso,  Sebaetiano  Gallet's  ballets  "Rinaldo  nella  Selva  incan- 
tata,"  "Ninetta^  o  sia  La  contadina  nel  palazzo  signorile,"  and  "L'incoronazione  di 
Siroe,"  descriptions  of  which  are  noted  to  have  been  published  separately. 

pirst  performed,  as  indicated,  December  26, 1779.  Schatz  9464 

Siroe.  Drama  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Torino  nel  carnovale  del  1750  ... 

Torino,  Pietro  Giuseppe  Zappata  efigliuolo,  n.  d.     4  V-  ^'>  ^^  V-    16'^^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast,  and 
names  of  Giuseppe  Scarlatti  as  composer  of  the  opera,  of  Alessio  Rasetti  of  the  three 
ballets,  which  had  no  specific  titles. 

First  performed  December  26,  1749,  as  indicated;  at  Florence,  Teatro  in  via  della 
Pei^ola,  summer  of  1742.  Schatz  9557 

n  Siroe.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
di  corte  .  .  .  nel  carnovale  1767.  La  poesia  e  del  Signor  abbate 
Pietro  Metastasio  ...  La  musica  h  del  Signor  Tommaso  Tra- 
jetta  .  .  . 

Monaco,  appresso   Marie   Magdalene   Mayrin,  n.  d.     173,  [24]  p- 

Three  acts.  German  title  page  "Siroes"  and  text  face  Italian.  Argument,  sce- 
nario, cast.  On  the  [24]  p.  description  (in  German  and  French)  and  cast  of  Chalan- 
dray's  two  ballets  "Persee  &  Andromede"  and  "La  liaison  de  TAmour  et  de  Bachus." 

ML  50.2.S6T8 


OPERA  LIBRETTOS  1011 

Siroe,  re  di  Persia.  Drama  per  musica,  da  rappresentarsi  nel 
Regio  Teatro  di  Torino,  nel  camovale  del  1730  .  .  . 

Torino,  Gio.  Battista  Valetta,  n.  d.     3  p.  I.,  54,  U]  p.     15\^. 

Three  acts.  By  Metastasio.  Ai^ument,  scenario,  cast,  and  name  of  the  composer, 
Stefano  Andrea  FiorS,  "maestro  di  cappella  di  S.  M.  il  r6  di  Sardegna,  etc." 

First  performed,  as  indicated,  December  26,  1729.  Schatz  3193 

Siroe,  re  di  Persia. 

Text  by  Metastasio;  music  by  Hasse. 

His  so-called  first  setting  first  performed  at  Bol(^a,  May  2,  1733. 

Not  in  L.  of  C. 

—  Siroes,  king  of  Persia.  An  opera  perform'd  at  the  King's 
Theatre  in  the  Hay-Market. 

London,  Charles  Bennet,  1736.     83  p.     17^"^. 

Three  acts.  Amiment  and  cast.  English  text  faces  the  Italian.  Neither  Metaa- 
taaio,  the  author  of  "Siroe  "  (as  in  caption  title),  nor  Johann  Adolph  Hasse,  the  sup- 
posed composer,  is  mentioned.    (^See  next  entry.) 

First  performed,  as  indicated,  November  23,  1736.  Schatz  4587 

—  Siroe,  dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro  di 
Dresda  per  il  gloriosissimo  giomo  di  nome  di  Sua  Maestk  Augusto 
III  ...  La  poesia  h  del  Sig.  abbate  Metastasio.  La  musica  6  del 
Sig.  Hasse  ... 

Dresda,  Stamperia  regia,  1763.    3  p.  I.,  87,  [2]  p.     17"'^. 

Three  acts  and  licenza.  Argument  and  scenario.  Schatz  and  Mennicke  call  this 
Hasse's  second  version  of  the  text,  which  is  not  quite  the  same  as  in  the  London  (1736) 
edition.  For  instance,  London  has,  in  I,  1,  the  aria,  "Dovea  svenarti  allora"  (from 
Metastasio's  Catone  in  Utica),  whereas  Dresden  has  "Se  il  mio  patemo  amore;"  Lon- 
don has,  in  I,  3,  the  aria,  "Dille  pur  che  il  suo  riposo,"  which  is  not  in  the  Dresden 
edition,  and  is  not  by  Metastasio  at  all;  Dresden  has,  in  I,  5,  the  aria,  "D'ogni  amator 
la  fede/'  whereas  London  has  "Ancor  io  pensai  d'amore,"  which  is  also  not  oy  Metas- 
tasio; Dresden  has,  in  I,  8,  the  aria,  "O  placido  il  mare,"  whereas  London  has  "Nel 
cor  il  mio  pensier, ' '  which  is  not  by  Metastasio.  Considering  that  Metastasio's  dialogue 
has  been  freely  tampered  with,  and  that  bo  many  arias  are  neither  from  his  "Siroe" 
nor  by  him  at  all,  it  becomes  clear  that  this  London  "Siroe  "  (by  Schatz  and  Mennicke 
so-called  first  version  of  the  "Siroe"  text)  was  really  a  pasticcio,  and  though  Hasse 
presumably  composed  the  new  numbers,  at  its  best,  a  Hasse  pasticcio,  though  Bumey 
(IV,  400)  says:  Composed  by  Hasse.  This  is  the  first  time  that  I  ever  perceived  the 
composer  of  an  opera  named  in  the  advertisements  and  bills  of  the  day. 

First  performed  at  Dresden,  as  indicated,  August  3,  1763.  Schatz  4562 

—  Siroes.  Opera,  qui  sera  represents  au  Theatre  Royal  de  Varsovie 
au  carnaval  de  I'an  MDCCLXIIL 

Yarsome,  Michel  GroeU,  n.  d.     Unpaged.     161*^. 

Three  acts.  Argument  and  scenario.  The  composer,  Joh.  Ad.  Hasse,  is  not 
mentioned.  German  title  page,  "Siroes,"  and  text  faces  this  French  translation  of 
Metastasio's  text.    The  opera  was,  of  course,  performed  in  Italian.        Schatz  4592 

Siroe,  rd  di  Persia.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  detto  delle  Dame  nel  camovale  dell'  anno  1727  .  .  . 

Roma,  Bemahb,  n.  d.     72  p.     15*^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast, 
name  of  Niccola  Porpora  as  composer,  and  dedication  to  "Clementina  regina  della 
Gran  Bretagna,"  in  wnich  this  is  called  the  second  opera  of  the  season. 

ML50.2.S64P6 


1012  LIBRARY  OF   CONGRESS 

Siroe,  re  di  Persia.  Drama  per  musica  di  Artino  Corasio  Pastor^ 
Arcade  da  rappresentarsi  nel  Teatro  di  S.  Bartolomeo  nel  carnevale 
dell'  anno  1727  .  .  . 

Napoli,  Angeh  Vocola,  1727.     64  p.     IW"^. 

Three  acts.  By  Metastasio.  Impresario's  dedication,  argument,  scenario,  cast, 
and  name  of  Domenico  Saxro  as  the  composer  also  of  the  two  intermezzi  by  an 
unknown  author,  on  p.  57-64,  "Moschetta  e  Grullo,"  performed  with  the  opera. 

ScHATz  9420 

Siroe,  re  di  Persia.     Drama  per  musica  di  Artino  Corasio  Pastore 
Arcade.     Da  rappresentarsi  nel  famosissimo  Teatro  Grimani  di  S. 
Gio.  Grisostomo  nel  carnevale  dell'  anno  1731  .  .  . 
Veneiia,  Carlo  Buojiarigo,  n.  d.     70  p.     14"^. 

Three  acts.  By  Metastasio.  D  dication  by  Domenico  Lalli,  argument,  cast,  and 
scenario.    The  composer,  Leonardo  Vinci,  is  not  mentioned. 

First  performed  at  Venice,  same  theatre,  carnival,  1726.  Schatz  10749 

Siroe,   re   di  Persia.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  dell'  illustriss.  pubblico  di  Keggio  in  occasione  della  fiera  dell' 
anno  MDCCXXVII  ... 
Reggio,  li  Vedrotti,  1727.    72  p.    16^'^. 

Three  acts.  By  Metastasio  (not  mentioned).  Impresario's  dedication,  dated 
Reggio,  April  29,  1727,  argument,  cast,  scenario,  name  of  Antonio  Vivaldi,  and  note 
to  the  effect  that  "per  comodo  della  musica,"  the  arias,  "'Non  ei  presto  il  suo colore'' 
(I,  9)  and  "  Vado  con  alma  sorte  "  (II,  13)  were  eubetituted.  Schaxz  10780 

Siroes.     Tr.  of  Metastasio's  Siroe  text. 

Siroes.     See  Hasse's  Siroe,  r&  di  Persia,  ) 

Siroes.     Tr.  of  Traetta's  Siroe. 

Siroes,  king  of  Persia.     See  Hasse's  Siroe,  xh  di  Persia. 

II  Sismano  nel  Mogol.     Dramma  serio  per  musica  da  rappresen- 
tarsi in  Cremona  nel  Teatro  Nazari  il  carnevale  dell'  anno  1785. 
Cremona,  Manini,  n.  d.     Jfi  p.     IS*^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  names  of 
Giovanni  de  Gamerra  as  the  author,  of  Paisiello  as  the  composer.  With  the  opera 
were  performed  Luigi  Corticelli's  ballets  "Adelaide"  and  II  tutore  ingannato." 
The  composer  of  the  music  is  not  mentioned. 

First  performed  at  Milan,  Regio  Ducal  Teatro,  January,  1773.  Schatz  7697 

Skibbruddet  ved  Cypren.     Tr.  of  Sarti's  II  naufragio  di  Cipro. 

Den  ski0nne  Arsene.     Tr.  of  Monsigny's  La  belle  Arsene. 

The  skirts  of  the  camp.     A.  T.  of  Shield's  Hartford-Bridge. 

Skovhuggeren  eller  De  tre  0nsker.     Tr.  of  Philidor's  Le  bucheron. 

Slaves  in  Algiers ;  or,  A  struggle  for  freedom :  A  play,  interspersed 
with  songs,  in  three  acts,  by  Mrs.  Rowson.  As  performed  at  the 
New  Theatres,  in  Philadelphia  and  Baltimore. 

Philadelphia,  Printed  for  the  author,  1 79^.    2  p.  I.,  ii,  72,  [2]  p.     W"^. 

Three  acts,  prolc^e,  and  epilogue.  Dedication  of  "this  first  dramatic  effort "  "to 
the  citizens  of  the  United  States  of  North  America,"  cast  and  preface  in  which  Susanna 
Rowson  says  that  her  play  is  founded  in  part  on  Cervantes,  that  she  hopes  some 


OPERA  LIBRETTOS  1013 

Slaves  in  Algiers — Continued. 

alterations  made  eince  the  first  performance  have  improved  her  play,  that  she  returns 
her  thanks  to  the  performers,  since  it  was  chiefly  owing  to  their  exertions  that  the 
play  was  received  with  such  unbounded  marks  of  approbation."  As  to  Alexander 
Beinagle  she  acknowledges  her  obligation  "for  the  attention  he  manifested,  and  the 
taste  and  genius  he  displayed  in  the  composition  of  the  music." 
First  performed  at  Philadelphia,  New  Theatre,  December  22,  1794. 

PR  1241.D7     V.9 

La  smorfiosa.  Intermezzi  per  musica  a  tre  voci  da  recitarsi  nel 
Teatro  alia  Valle  nel  carnevale  dell'  anno  1756  .  .  . 

Roma,  Ottavio  PucdneUi,  1766.     24  p.     1S<^^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Caat,  name  of  Bi- 
naldo  6i  Capua  as  composer  and  dedication  signed  by  the  publisher  and  Angelo 
Lungi.  Contains  arias:  "Signor  Tenente  non  serve  niente,  "Se  a  un  bel  canto 
lusinghiero,"  "Cosi  per  terra,"  etc.  ML  50.2.S66R4 

—  La  smorfiosa.  Intermezzi  per  musica  a  tre  voci  da  rappresentarsi 
nel  pubblico  Teatro  di  Lucca  nel  carnevale  dell'  anno  MDCCLXII. 
In  occasione  delle  recite  in  prosa  da  farsi  dall'  Accademia  de'  dilet- 
tanti deUa  Comica  .  .  . 

Litcca,  Filippo  M.  Benedini,  1762.     26  p.     W"^. 

Two  acts.  Author  unknown  to  Schatz.  Composed  by  Binaldo  di  Capua,  who  is 
not  mentioned.  Schatz  8799 

La  smorfiosa.  Intermezzi  "k  tre  voci  da  recitarsi  nel  Teatro  aUa 
Valle  il  carnevale  dell'  anno  1748  .  .  . 

Roma,  Ottavio  PucdneUi,  1748.    21  p.     15'^^. 

Two  intermezzi.  Author  not  mentioned  and  unknown  to  Schatz,  Dedication  by 
Angelo  Lungi  and  the  publisher,  cast  and  name  of  Gregorio  Sciroli  as  composer. 
Contains  the  arias:  "Lasciate  fare,  non  dubitare,"  "Gia  mi  ih  Galeno  al  core," 
"Qual  colomba  innamorata,"  "E  nemico,  e  non  amante,"  etc.  Entirely  different 
text  from  that  of  Rinaldo  di  Capua's  opera.  ML  50.2.S66S2 

The  smugglers;  a  musical  drama,  in  two  acts.     As  it  is  performed 
at  the  Theatre  Royal,  Drury  Lane.     By  Samuel  Birch. 
London,  C.  DiUy,  1796.     2  p.  I.,  37,  [1]  p.     21<^'^. 

Cast  and  prefatory  note.  The  composer,  Thomaa  Attwood,  is  not  mentioned.  In 
Longman  &  Brodenp's  vocal  score  "My  fathers  before  me"  is  headed  as  "Sung  and 
composed  by  Mr  Suett."  Long e  238 

Yvcet  performed  April  13,  1796,  as  indicated. 

« 

The  snake  in  the  grass :  A  dramatic  entertainment,  of  a  new  species ; 
being  neither  tragedy,  comedy,  pantomime,  farce,  ballad,  nor  opera. 

{87\-114  p.  21*^"^.  {Aaron  BiU,  Dramatic  worTcs,  London,  1760, 
vol.  ii.) 

One  act.     No  composer  or  performance  recorded  by  Clarence.  Long  e  326 

The  snuffbox;  or,  A  trip  to  Bath.  A  comedy  of  two  acts,  as  it  was 
performed  at  the  Theatre  Royal  in  the  Hay-Market.  By  William 
Heard  .  .  .  [vignette] 

London,  Printed  for  the  author),  1775.     4p.l.,26p.     21'^'^. 

Prologue,  dedication,  dated  Martlet-Court,  Bow-street,  May  13,  1775,  in  which 
this  is  called  "the  first  effort  of  an  inexperienced  Muse"  and  preface,  from  which  it 
appears  that  the  piece  was  "intended  for  a  comic  opera"  (ana  it  is  so  printed),  but 
that  it  was  performed  without  "the  embellishments  of  music  "  except  the  song  "With 
head  thrown  back,"  composed  "in  a  most  elegant  style"  by  James  Hook. 

LONOE  310 


1014  LIBRARY  OF  CONGRESS 

So  bessert  sie  sich.     Tr.  of  Martin  y  Soler's  La  capricciosa  corretta. 

So  prellt  man  alte  fuechse.  Eine  komische  operette  in  einem 
aufzuge,  nach  dem  franzoesisclien  des  Moliere.  Die  musik  dazu  ist 
von  Johann  Christoph  Kaffka. 

n.  i.,  n.  d.  p.  [1^7]-180.  {Sammlung  auserlesener  iheaterstiicke, 
Breslau,  1784.)     17'"^. 

Detached  copy.    Text  by  August  Gottlieb  Meissner  and  the  composer. 

First  performed  at  Breslau,  Neuee  Wasersches  Theater,  1782.  Schatz  4987 

Socrate  immaginario.  Commedia  per  musica  da  rappresentarsi 
nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1781.     183  p.     15^"^. 

Three  acts.  By  Ferdinando  Galiani  and  Giambattista  Lorenzi,  who  are  not  men- 
tioned.   German  title-page,  "Der  eingebildete  Sokrates  and  text  face  Italian." 

First  performed  1781,  as  indicated;  atPortici,  Teatro  di  Corte,  December  23,  1775; 
and  at  Naples,  Teatro  Nuovo  sopra  Toledo  in  October  of  the  same  year.    Schatz  7658 

II  Socrate  immaginario.     Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  nobile  Teatro  di  San  Samuele  il  carnovale  dell'  anno  1776. 
Venezia,  Gio.  BaUista  Casale,  1776.    32  p.     17 i""^. 

One  act.  Author  not  mentioned  and  tmknown  to  Schatz.  Cast  and  name  of  the 
composer,  Giacomo  Bust.  Schatz  9170 

Sofonisba.  Dramma  per  musica  del  Sig.  Mattia  Verazzi,  poeta  e 
secretario  intimo  di  S.  A.  E.  Elettoral  Palatina  da  rappresentarsi  nel 
Teatro  Vendramino  di  S.  Salvatore  la  fiera  dell'  anno  1764  .  .  . 

Venezia,  Modesto  Fenzo,  1764.     58  p.     14^"^- 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  name  of  the  composer, 
Antonio  Boroni.  Schatz  1251 

Sofonisba.  Drama  per  musica  da  rappresentarsi  nel  famosissimo 
teatro  Grimani  di  S.  Gio.  Grisostomo.  L'autunno  dell'  anno 
JVIDCCVIII.     Consegrato  ...  da    Francesco  Silvani. 

Venezia,  Marino  Rossetti,  1708.     71,  [1]  p.     14^""^. 

Three  acts.  With  author's  dedication  dated  Venice,  November  22, 1808,  ai^ument, 
notice  to  the  reader  with  name  of  Antonio  Caldara  as  composer,  cast,  and  scenario. 

Schatz  1500 

Sofonisba.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1764  ... 

Torino,  Gaspare  Bayno,  n.  d.    viii,  55,  [1\  p.     16^^. 

Three  acts.  By  Matteo  Verazj,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Baldassare  Galuppi  as  composer.  With  the  opera  were  performed 
Augusto  Huss'  ballets  "La  contnbuzione  sforzata,"  "La  costanza  affricana  soccorsa 
dair  arte  magica,"  and  "Le  allegrezze  per  le  vittorie  di  Scipione,"  music  by  Giuseppe 
Antonio  Le  Messier.    The  ballets  are  described  on  p.  53-55.  Schatz  3470 

La  Sofonisba.  Dramma  per  musica  da  rappresentarsi  nel  Regio 
Ducal  Teatro  di  Milano  nel  carnovale  dell'  anno  1744  .  .  . 

Milano,  Giuseppe  Richino  Malatesta,  1744-     ^  V-  ^-i  ^^>  t-^]  V-  ^5'^™'- 
Three  acts.     Recitatives  by  Francesco  Silvani,  most  of  the  lyrics  from  Metasta- 
sio's   works.     (Comp.    Wotquenne).     Dedication   dated   Milan,   January    13,    1744, 
argument,  cast,  scenario,  and  the  name  of  Gluck  as  the  composer.         Schatz  3932 


OPERA  UBEETTOS  1015 

Sofonisba.  Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.  Grisostomo  nel  carnevale  MDCCXLVI. 

[Venezia],  n.  publ.,  n.  d.     1  p.  I.,  60  p.     14Y^. 

Three  acts.  By  Antonio  and  Girolamo  Zanetti,  who  are  not  mentioned.  Argu- 
ment, cast,  scenano,  and  name  of  Niccol6  Jommelli  aa  the  composer. 

(Abert  incorrectly  1749,  on  p.  5;  correctly  1746,  on  p.  46.)  Schatz  4871 

Sofonisba.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Bartolomeo  nel  carnevale  dell'  anno  1718  .  .  . 

Napoli,  MichdeLuigi      Muzio,  1718.     76  p.     13^"^. 

Three  acts.  Dedication  by  Nicola  Serine,  dated-  Naples,  January  22,  1718,  argu- 
ment, scenario,  cast,  and  name  of  Leonardo  Leo  as  composer.  The  author,  Fran- 
cesco Silvani,  is  not  mentioned.  Schatz  5555 

Sofronia,  ed  Olindo.  Azione  tragica  per  musica  di  Carlo  Sernicola, 
P.  A.  da  rappresentarsi  nel  Real  Teatro  di  S.  Carlo  nella  Quaresima 
del  1793  .  .  . 

Napoli,  Vincenzo  Flauto,  1793.    39  p.     18^"^- 

Two  acts.  Impresario's  dedication  dated  Naples,  February  17,  1793,  cast,  and 
name  of  Gaetano  Andreozzi  as  composer.  Schatz  200 

—  Olindo  e  Sofronia.  Dranmia  per  musica  da  rappresentarsi  nel 
Teatro  Venier  in  San  Benedetto  la  prima  vera  dell'  anno  1798. 

Venezia,  Modesto  Fenzo,  1798.     50  p.     18''"*. 

Two  acts.  Cast,  scenario,  and  name  of  composer,  Gaetano  Andreozzi,  but  not  of 
librettist.  Pages  37-50  contain  cast  and  detailed  description  of  "  Riccardo  cuor  di 
Lione,  ballo  eroico  pantomime  in  sei  atti "  by  Salvatore  Vigano.  Giuseppe  Waigel  [!] 
is  mentioned  as  the  composer  of  the  music.  Schatz  220 

II  sogno.  Coniponimento  drammatico,  scritto  d'ordine  sovrano 
dair  autore  in  Vienna  I'anno  1756,  ed  ese^ito  la  prima  volta  con 
musica  del  Reiitter  ne'  privati  appartamenti  dell'  imperatrice  regina, 
dall'  A.  R.  deU'  arciducnessa  Marianna,  e  da  due  dame  della  sua  corte. 

[417]-430  p.  £^<=™.  (Pietro  Metastasio,  Opere,  t.  4,  Parigi,  vedova 
Herissant,  1780.) 

One  act.    Argument.  ML  49.A2M44 

II  sogno.  Nuovo  componimento  dramatico  del  Sig.  abbate  Pietro 
Metastasio,  Poeta  Cesareo,  da  cantarsi  dallaSerenissima  arciduchessa 
Marianna  figlia  primogenita  delle  LL.  MM.  Imp.  e  da  due  dame  dell' 
imperial  corte  di  Vienna  I'anno  1757.     [vignette] 

Pisa,  Gio.  Paolo  Giovanelli  e  comp.,  n.  d.     1  p.  I.,  xv  p.    22^^. 

Vignettes,  head  and  tail  pieces.  On  p.  [21  medallion  portrait  "Pietrus  Metasta- 
flius.     Poeta.     Caesareus.  /  Apollini  Austriaco  MDCCLIV. 

One  act.  Argument  and  name  of  Georgio  Reutter  (Johann  Adam  Joseph  Carl 
Geoi]g  Beutter)  as  the  composer. 

First  performed  at  Vienna,  privately  before  Maria  Theresia,  1757.    Schatz  8696 

II  sogno  di  Scipione. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  1765,  t.  ii,  [40S\-430  p. 

One  act  and  licenza.  ML  49.A2M42 

—  II  sogno  di  Scipione.  Azione  teatrale,  allusiva  alle  sfortunate 
campagne  delle  armi  Austriache  in  Italia;  rappresentata  la  prima 
volta  con  musica  del  Predieri  nell'  Imperial  Favorita,  alia  presenza 


1016  LIBRARY  OP   CONGRESS 

n  sogno  di  Scipione — Continued. 

de'  Sovrani,  il  di  primo  ottobre  1735,  per  festeggiare  il  giomo  di 

nascita  dell'  imperator  Carlo  VI  .  .  . 

[SSS]-S68  p.  j?^*='».  (Pietro  Metastasio,  Opere,  t.  i,  Parigi,  vedova 
Herissant,  1780.) 

One  act  and  licenza.     Argument.  ML  49.A2M44 

II  sogno  di  Scipione.  Drammatico  componimento  da  rappresen- 
tarsi  nel  Regio  Teatro  di  Berlin©  per  ordine  di  Sua  Maestk. 

Berlin,  A.  Eaude,  1746.     45,  [2]  p.     16'^'^. 

Two  parts.  The  Italian  title  page  is  preceded  by  German  title  page,  "Der  traum 
des  Scipio,"  and  German  text  faces  Italian.  Neither  Metastaeio,  3ie  author,  nor 
Christoph  Nichelmann,  the  composer,  is  mentioned. 

First  performed,  as  indicated,  March  27,  1746.  Schatz  7103 

La  soiree  a  la  mode.     A.  T.  of  Le  cercle. 

La  soiree  des  boulevards,  ambigti  m^l6  de  scenes,  de  chants,  &  de 
danses.  Repr^sentes  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  13  novembre  1758. 

Paris,  N.  B.  Duchesne,  1769.     36  p.     19^"^. 

One  act.  Cast.  Neither  the  author,  Charles  Simon  Favart,  is  mentioned,  nor  the 
arranger  of  the  popular  airs,  etc,  who,  according  to  Font,  also  contributed  original 
music.  Schatz  11514 

—  La  soiree  des  boulevards,  ambigu  m^le  de  scenes,  de  chants,  & 
de  danses;  repr^sente  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  13  novembre  1750  [!].  Nouvelle  Edition. 
Paris,  N.  B.  Duchesne,  1759.  60,  [4],  16  p.  19''^.  (Theatre  de 
M.  Favart,  Paris,  Duchesne,  1768-77,  t.  iv.) 

One  act.  Again  the  composer  and  arranger  of  the  music  is  not  mentioned.  The 
[4]  p.  contain  catalogues  of  plays  and  opera  music.  The  16  p.  contain  six  "Airs  et 
vaudevilles  de  la  Soiree  des  boulevards.     They  are  followed  by 

—  Supplement  de  la  Soiree  des  boulevards;  representee  pour 
la  premiere  fois,  par  les  Comediens  italiens,  ordinaires  du  roi,  le  10 
mai  1760. 

Paris,  Duchesne,  1760.     64  p.     19''^. 

One  act.  Cast.  Several  of  the  airs  and  vaudevilles  are  printed  in  the  text.  Ac- 
cording to  Font,  the  text  of  this  sequel  was  partly  by  Panard  and  Gu^rin 

ML  49.A2F1 

La  soiree  orageuse,  com^die  en  un  acte  et  en  prose,  m^lee  d'ariettes; 
par  M.  Radet;   musique  de  M.  d'Alayrac:  representee  pour  la  pre- 
miere fois  par  les  Comediens  italiens  ordinaires  du  roi,  le  samedi  29 
mai  1790. 
Paris,  Brunei,  1791.     40  p.,  U^]  I.     19^"^. 

Cast.  The  unnumb.  1.  contain  (printed  on  inside  p.)  seven  airs  and  one  vaudeville 
from  the  opera,  all,  with  one  exception,  with  guitar  accompaniment,  and  all,  with  two 
exceptions,  with  Imbault's  imprint.  ML  50.2.S67D2 

II  solachianello.     A.  T.  of  Pietro  Guglielmi's  La  finta  zingana. 

Der  soldat  als  zauberer.     Tr.  of  Philidor's  Le  soldat  magicien. 


OPERA   LIBRETTOS  1017 

Le  soldat  magicien,  opera-comigue  en  un  acte;  repr^ente  pour  la 
premiere  fois  sur  le  Th6&tre  de  rOp^ra-comique  de  la  Foire  S.  Lau- 
rent, le  14  aoM  1760. 

Paris,  Duchesne,  1760.     76  p.     20^-^. 

Cast.  Neither  Anseaume,  the  author,  is  mentioped,  nor  Philidor,  the  composer. 
On  p.  67-76  the  same  airs  as  below.  ML  50.2.S68P4 

—  Le  soldat  magicien,  opera-comigue  en  un  acte ;  repr6sent6  pour 
la  premiere  fois  sur  le  Theatre  de  rOp^ra-comique  de  la  Foire  S. 
Laurent,  le  14  aoftt  1760. 

Paris,  la  veuve  Duchesne,  1775.     ST  p.     18^*^^. 

On  p.  43-61,  "Airs  choisis  du  Soldat  magicien":  "Femme  qu'on  offense"  (I,  3), 
"Tons  les  voeux  d'une  fiUette"  (I,  7),  "L'nymen  est  k  craindre"  (I,  10).  Neither 
Anseaume,  the  author,  nor  Philidor,  the  composer,  is  mentioned.         Schatz  8024 

—  Der  soldat  als  zauberer,  eine  komische  oper  in  einem  aufzuge 
aus  dem  franzoesischen  uebersetzt  von  F.  W.  M.  Die  musik  ist  von 
Hn.  Philidor. 

Mannheim,  C.  F.  Schwan,  1772.     80  p.     14^"^. 

Tranel.  by  Friedrich  Ludwig  Wilhelm  Meyer.  Schatz  8025 

—  Arien  der  komischen  operette :  Der  zaubernde  soldat.  In 
einem  akte. 

n.  i.,  n.  d.     14  p.     16"'^. 

On  p.  3,  this  note:  ( 

"Das  stueck  ist  aus  dem  franzoesischen,  und  die  arien  unter  die  musik  des  herm 
Philidor  von  dem  uebersetzer  des  Sancho  Panssa  untergelegt,"  which  points  to  Johann 
Joachim  F/Schenburg.  Schatz  8026 

II  soldato  per  forza  impazzito  per  amore.     Intermezzo  a  quattro 
voci  da  rappresentarsi  nella  presente  stagione  nel  Teatro  di  questa 
citta  .  .  . 
Pavia,  Porro,  Bianchi  e  comp.,  n.  d.     36  p.     16^^. 

Imprimatur  dated  at  end,  April  22,  1775  or  1774. 

Two  acts.  Antonio  Sacchini  is  mentioned  as  the  composer.  The  author,  Tom- 
maso  Mariani,  is  not  mentioned. 

First  performed,  as  "II  fin  to  pazzo  per  amore,"  at  Rome,  Tealro  aila  Valle,  spring 
of  1766.  •  Schatz  9221 

—  Der  verstellte  narr  aus  liebe.  Ein  singspiel  in  zwey  aufzuegen. 
Aus  dem  italiaenischen  uebersetzt,  auf  die  musick  des  herm  Ant. 
Sacchini  .  .  .     Aufgefuehrt  in  dem  K.  K.  National-Theater. 

Wien,  heym  Logenmeister,  1779.     52  p.     16"^. 

Two  acts.    Transl.  by  Gottlieb  Stephanie  d.  jiing. 

First  performed,  as  indicated,  April  6,  1779.  Schatz  9222 

Soliman.     Tr.  of  Hasse's  Solimano. 

Soliman  den  Anden.  Comoedie  i  tre  acter,  efter  hr.  Favarts 
Soliman  Second.  Med  nye  arier  for0get,  hvortil  musiken  er  sat  af 
hr,  secretaire  Thomas  Christian  Walter. 

n.  i.,  n.  d.     Ill  p.     16^"^. 

By  Charlotte  Dorothea  Biehl,  who  is  not  mentioned. 

First  performed  at  Copenhagen,  Court  theater,  February  17, 1778.    Schatz  10867 


1018  LIBRABY  OF  CONGRESS 

Soliman  der  Zweite,  oder  Die  drei  sultaninnen.  Ein  singspiel  in 
zwey  aufzuegen.  Nach  dem  franzoesischen  des  herrn  Favart  bear- 
beitet  von  Franz  Xaver  Huber.  Die  musik  ist  von  hrn.  Franz  Xav. 
Suessmayer  .  .  .     Aufgefuehrt  auf  den  k.  k.  Hoftheatern. 

Wien,  J.  B.  Wallishamer.  1799.     88  y.     16^"^. 

First  performed  October  5,  1799,  as  indicated.  Schatz  10182 

SoUman  Second,  com6die  en  trois  actes,  en  vers;  par  M.  Favart: 
reprfeent6e  pour  la  pi;emiere  fois  par  les  Com6diens  italiens  ordi- 
naires  du  roi,  le  9  avril  1761.  Et  remise  au  Theatre  de  19  d^cembre 
de  la  m§me  ann^e. 

Paris,  Duchesne,  1762.  4  p.  L,  118  p.  W"^.  {Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  iv.) 

The  4  p.  1.  contain  besides  the  t.-p.,  catalogues  of  plays,  etc.,  and  Favart's  dedica- 
tion to  the  due  de  Richelieu.  No  cast!  On  p.  100-102  the  Divertissement,  a.  fete 
turque  and  errata,  on  two  unnumb.  p.  Favart's  privilege  and  then  on  p.  103-118  six 
"Airs  de  Soliman  Second  et  de  la  Feste  turque.  The  arranger  and  composer  of  the 
music,  Paul  C^sar  Gibert,  is  not  mentionea.  ML  49.A2F1 

—  Soliman  second ;  ou,  Les  trois  sultanes,  com6die  en  trois  actes 
et  en  vers  par  M  Favart.  Representee  pour  la  premiere  fois  par  les 
Comediens  italiens,  ordinaires  du  roi  le  9  avril  1761  &  remise  au 
Theatre  le  19  D6cembre  de  la  mfime  ann^e.     Nouvelle  edition. 

Paris,  Didot  Vaine,  1772.     6^  p.     19<^^. 

The  composer,  Paul  C^sar  Gibert,  is  not  mentioned.  For  the  revival  of  January 
16,  1777,  he  partly  set  the  text  anew.  ML  48.M2N 

Solimano.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1782  ... 

Torino,  Onorato  Derossi,  n.  d.    viii,  63,  [1]  p.     17"^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  the  composer,  Giuseppe 
Maria  Ciircio  ("Curci").    The  author  is  imknown  to  Schatz.    With  the  opera  were 

Serformed  Sebastiano  Gallet's  "Aci  e  Galatea,  favola  ridotta  in  ballo  eroico,"  "La 
era  di  Batavia,  ballo  comico,"  and  "II  Beiram,  o  sia  II  carnovale  turco,"  music  of 
all  three  by  Vittorio  Amedeo  Canavasso. 

First  performed,  as  indicated,  January  19,  1782.  Schatz  2301 

Solimano.     Dramma   per   musica   da   rappresentarsi   nel   Teatro 
Giustinian  di  S.  Mois^  nel  carnovale  1755. 
Venezia,  Modesto  Fenzo,  1755.     58  p.     15^'^. 

Three  acts.  By  Giannambrogio  Migliavacca,  who  is  not  mentioned.  Cast,  sce- 
nario, and  name  of  Domenico  Fischietti  as  composer.  Schatz  3240 

Solimano.  Drama  per  musica  da  rappresentarsi  nel  Teatro  della 
Regia  elettoral  corte  di  Dresda,  nel  came  vale  dell'  anno  MDCCLIII. 
La  poesia  e  del  Sig^  Giannambrogio  Migliavacca  .  .  .  La  musica  6 
del  Sig"  Gio.  Adolfo  Hasse  .  .  . 

Dresda,  la  vedova  Stossel,  n.  d.     4  P-  ^-j  ^^  P-     19^^. 

Three  acts.    Argument^  cast,  and  scenario. 

First  performed,  as  indicated,  February  5,  1753.  Schatz  4563 


—  Solimano.     Dramma  per  musica  da  rappresentarsi  nel  T( 
della   Regia   elettoral   corte    di   Dresda,    nel    carnevale   dell'    : 
MDCCLIV.     La  poesia  ^  del  Sig^?  Giannambrogio  Migliavacca 
La  musica  e  del  Sig^?  Gio.  Adolfo  Hasse  .  .  . 

Dresda,  la  vedova  Stossel.  n.  d.     7  p.  I.,  (double)  92  p.    23*^^. 


OPERA  LIBRETTOS  1019 

Soliraaiio — Continued. 

Three  acts.  Argument,  cast,  scenario.  German  title  page,  "Soliman,"  and  text 
face  Italian,  which  is  practically  the  same  as  in  the  1753  edition. 

First  performed,  as  indicated,  January  7,  1754.  Schatz  4564 

Solimano.     Drama  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  carnovale  dell'  anno  MDCXLXXIII. 
Venezia,  Modesto  Fenzo,  1773.    52  p.     17^"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  £(jid  name  of  Johann  Gottlieb  Naumaun.  aa  the  composer. 

On  p.  24  brief  description  of  the  ballet  "II  th  alia  caccia  by  Gasparo  Angiolini, 
who  also  composed  the  music.  Schatz  7062 

Solimano.  Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
dell'  Ajuda  in  occasione  di  festeggiarsi  il  felicissimo  giorno  natalizio 
di  Sua  Reale  Maestk  .  .  .  D.  Marianna  Vittoria  .  .  .  nella  prima- 
vera  dell'  anno  1768. 

Lishona,  Michele  Maneschal  da  Costa,  n.  d.     70  p.     18'^'^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast, 
scenario,  and  name  of  David  Perez  as  the  composer. 

Performed  as  indicated,  March  31,  1768;  previously  at  Lisbon,  Theatro  provi- 
sional do  BarracSo  da  Ajuda,  1757.  Schatz  7877 

Solimano.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Tron  di  S.  Cassano  Tautunno  dell  anno  1766. 

Venezla,  Modesto  Fenzo,  1766.    56  p.     W^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Dedication  signed 
A.  C.  and  dated  Venice,  November  22,  1766,  argument,  cast,  and  name  of  Gregorio 
SciroU  as  the  composer.  Schatz  9784 

Solimano.  Dramma  per  musica  da  rappresentarsi  nel  Regio  Teatro 
di  Torino  nel  carnovale  del  1756  .  .  . 

Torino,  gli  Zappata  et  Avondo,  n.  d.  x,  [2],  76  p.  15^'^- 
Three  acts.  By  Giannambrogio  Migliavacca,  who  is  not  mentioned.  Argument, 
cast,  scenario,  and  name  of  Michel  Angelo  Valentdni  as  composer.  With  the  opera 
were  performed  (brief  descriptions  in  the  libretto)  three  ballets  by  Vincenzo  Saunier. 
music  by  Rocco  Gioanetti,  "Di  selvaggi,"  "Del  Bezeetan,  o  Mercato  di  schiavi" 
and  "Di  MartCj  Venere  e  la  Gloria."  Schatz  10587 

Solimano  U,  ballet.    See  Bianchi's  Seleuco. 

II  Solimano  Secondo,  ballet.  See  Caruso's  II  matrimonio  in 
conmiedia. 

II  Solimano  secondo,  ballet.    See  Gassmann's  L'amore  artigiano. 

Solimano  n,  ballet.    See  P.  Guglielmi's  Le  pazzie  di  Orlando. 

Solimano  II  o  sia  La  francese  trionfante,  ballet.  See  Anfossi's 
Lucio  Silla. 

II  solitario  reso  sociabile  per  amore,  ballet.  See  Cimarosa  's  H 
convito. 

Solone.     See  M.  Curzio. 


1020  LIBRARY  OF   CONGRESS 

La  somiglianza,  ossiano  I  gobbi.  Drama  giocoso  per  musica,  da 
rappresentarsi  nel  Teatro  Elettorale. 

Dresda,  n.  publ,  1793.     135  p.     iJ<"». 

Two  acte.  The  author,  Cosimo  Mazzini,  is  not  mentioned.  Portugal  Is  men- 
tioned aa  the  composer.  German  title-page,  "Die  taeiischende  aehnlichkeit  oder 
Die  buckeligen,"  and  text  face  Italian. 

First jjerformed  at  Dresden  on  December  4, 1793,  as  indicated;  at  Florence,  Teatro 
Palla  a  Corda,  spring  of  1793,  under  the  title,  "  La  confusione  della  somiglianza  ossiano 
I  due  gobbi"  as  probably  the  first  of  Portugal's  operas  performed  in  Italy. 

SCHATZ  8400 

—  I  due  gobbi.  Dramma  giocoso  in  musica  da  rappresentarsi  nel 
nobilissimo  Nuovo  Teatro  di  Padova  I'autunno  dell'  anno  1793  .  .  . 

Padova,  lifrateUi  Conzatti,  n.  d.     SI  p.     18"'^. 

Two  acts.     Dedication,  cast,  and  name  of  Marcos  Portugal  as  the  composer. 
With  this  title,  the  opera  was  first  performed  in  Siena  spring  of  1793. 

ScHATZ  8445 

—  Arien  und  gesaenge  aus  dem  komischen  singspiel  Verwirrung 
durch  aehnlichkeit  in  zwey  aufzuegen  aus  dem  italienischen  frey 
uebersetzt  von  C.  Herklots.     Die  musik  ist  von  Marco  Portogallo. 

n.  i.,  1795.    46  p.    16<^. 

Two  acts.    Cast. 

First  performed  at  Berlin,  Kgl.  Nationaltheater,  August  3, 1795.         Schatz  8401 

The  son-in-law,  a  comic  opera:  as  it  acted  at  the  Theatres  Royal  in 
London  and  Dublin. 

Dublin,  Printed  for  the  looksellers,  1788.     32  p.     15^"^. 

Two  acts.  Neither  the  author,  John  O'Keefe,  is  mentioned,  nor  the  comjxtser, 
Samuel  Arnold. 

First  performed  at  London,  Haymarket,  August  14,  1779.  Longe  223 

n  sonambulo,  ballet.     See  Andreozzi's  Amleto. 

Das  sonnenfest  der  Braminen.  Ein  heroisch-komisches  original- 
singspiel  in  zwey  aufzuegen,  fuer  die  k.  k.  privU.  Marinellische  schau- 
biinne  von  Karl  Friedrich  Hensler.  Die  musik  ist  von  herm  Wenzel 
Mueller,  kapellmeister. 

Wien,  Schmidt,  1790.    60  p.    17^'^. 

Cast  and  dedication  dated  "Im  herbstmonat  1790." 

First  performed,  as  indicated,  September  9,  1790.  Schatz  6965 

—  Het  feest  der  Braminen,  zangspeel. 

Amsteldam,  I.  Helders  en  A.  Mars,  1798.     3  p.  l,  79,  [1]  p.     17""^. 

Dedicatory  sonnet  by  the  translator,  Salomon  Bos. 

First  performed  at  Amsterdam,  Nationale  Stads  schouwburg,  1798.    Schatz  6966 

Das  sonntagskind.     L.  T.  of  Wenzel  Muller's  Das  neusonntagskind. 

Sophie,  ou  Le  mariage  each 6,  com6die  en  trois  actes,  m^lee  d'ariettes. 
La  musique  est  de  M.  Kohaut.     Representee  pour  la  premiere  fois 
par  les  Com6diens  italiens  ordinaires  du  roi,  en  1770. 
Paris,  veuve  Duchesne,  1771.     Jfi  p.     16^"^. 

By  Madame  Riccoboni,  who  is  not  mentioned. 

Date  above  incorrect;  first  performed  there  June  4, 1768.  Schatz  5207 


OPERA  LIBRETTOS  1021 

Sophie  et  Moncars,  ou  L'intrigue  portugaise;  com^die  lyrique  en 
trois  actes  et  en  prose,  m^lee  de  chants:  Representee  pour  la  pre- 
miere fois  a  Paris  sur  le  Theatre  de  la  rue  Feydeau,  le  9  vendemiaire 
an  VI  de  la  R^publique  (30  septembre  1797).  Par  J.  H.  Guy.  Mise 
en  musique  par  P.  Gaveaux. 

Paris,  Tiger,  an  VI  {1797.  v.  st).    2  f.  I.,  60  p.     ;?/<"». 

Cast.  ML  50.2.S7G2 

Sophie  et  Sigismond.     See  Les  desesperes. 

SophohiSbe :  ein  musikalisch  drama,  mit  historischem  prolog  und 
choeren  von  A.  G.  Meissner. 

Leipzig,  Bykische  huchhandlung ,  1776,  32  p.  IS'^^, 
One  act.  "Die  musikbegleitung  ist  von  herm  musik  direktor  Neefe."  In  the 
"  Vorbericht,"  dated  Dresden,  July  23, 1776,  the  author  dwells  at  considerable  length 
on  the  problem  of  "dieae  art  von  drama,"  meaning  the  "melodrama"  of  Benda, 
Neefe,  etc.  At  the  end  he  says  that  he  had  contemplated  going  more  into  detail 
about  the  dramaturgic  problem  of  prologues  for  piurposes  of  dramatic  exposition,  but 
gave  up  the  idea  since  he  heard  that  a  similar  work  was  to  leave  the  press  soon. 
First  performed  at  Frankfurt  a/M,  Theater  im  Junghof ,  1778.  Schatz  7072 

—  Sophonisbe.  Ein  musikdrama  von  herrn  Meissner.  Die  musik 
ist  von  herrn  Neefe. 

n.  i.,  n.  d.     [109\-129  p.     l^Y"^. 

Detached  copy.    From  his  Collected  works,  published  after  1800?    Schatz  11724 

Le  sorcier,  comedie  Ijrrique,  mesl6e  d'ariettes  en  deux  actes:  repre- 
sentee pour  la  premiere  fois  par  les  Com^diens  franpois  ordinaires  du 
roi,  le  [oZanJt]  1767  .  .  . 

Coperihague,  CI.  Philihert,  1767.    68  p.     W"^. 

Cast,  author's  dedication,  names  of  Philidor  as  composer  and  of  Poinsinet  as  author, 
who  says,  in  a  note : 

"  Je  profite  de  cette  occasion  pour  avertir  le  public  au  sujet  de  I'^quivoque  qu'a 
Bouvent  occasionn^la  conformity  du  nom  de  mon  cousin  avec  le  mien;  c'est  pour  la 
prevenir  d^sormais  que  M.  Poinsinet  de  Sivri,  auteur  de  I'el^ante  traduction  dee 
pontes  Ij-riques  Grecs  .  .  .  ne  prendra  plus  que  le  nom  de  Sivri  ..." 

According  to  Tiersot,  Philidor  helped  himself  to  music  from  Gluck's  Orpheus. 

For  date  of  first  performance,  see  next  entry.  'Yudin  PQ 

—  Le  sorcier,  comedie  lyrique,  mesl^e  d'ariettes,  en  deux  actes,  rep- 
r^ent6e  pour  la  premiere  fois  par  les  Com^diens  italiens  ordinaires 
du  roi,  le  lundi  2  janvier  1764. 

Paris,  la  veuve  D'^ichesne,  1770.    67  p.     17\^. 

Neither  the  author,  Poinsinet  is  mentioned,  nor  Philidor,  the  composer.  On 
p.  55-67,  the  air  of  the  vaudeville  "Loin  de  I'objet  de  ma  tendresse "  (II,  12)  and  the 
^'Airs  du  Sorcier:"  "Jeune  fiUette"  (I,  4),  "Sur  les  gazons"  (II,  2),  "Dans  le  sein 
de  la  liberty"  (II,  12),  "Rien  ne  pent  bannir,"  substitute  air  for  "Non  ma  m^re" 
(I,  3).  Schatz  8027 

—  Der  zauberer,  ein  singspiel  in  zween  aufzuegen  aus  dem  franzoesi- 
schen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andreaeischen  schriften,  1772.  110  p.,  12 
p.  {music)     16'^^. 

Cast.  Transl.  for  Theod.  Marchand's  company  by  Johann  Heinrich  Faber.  Neither 
he  nor  Philidor  is  mentioned.  The  music  (voice  and  pf.)  consists  of  "Faengt  der 
stahl  nur  an  zu  gltihn  "  (I,  1,  "De  ce  linge  que  je  repasse  "),  "Am  baum  dort "  (^11,  2, 
"Sur  lea  gazons   ),  "Als  mir  das  schicksal"  (II,  12,  "Dans  le  sein  de  la  liberty   ). 

Schatz  8028 


1022  •     LIBRARY  OF  CONGRESS 

Le  sorelle  rivali.     Dramma  giocoso  per  musica  da  rappresentarsi 

nel  Teatro  di  Monza  Tautunno  dell'  anno  1782  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.  63  'p.  IdY"^- 
Three  acts.    By  Giovanni  Bertati,   who  is  not  mentioned.     Dedication,  cast, 

scenario,  and  note:  "Musica  in  buona  parte  del  Sig.  maestro  [Giovanni]  Valentini  ed 

in  parte  d'altri  celebri  autori."    With  the  opera  were  performed  Antonio  Bertini'a 

balleta,  "II  matrimonio  inaspettato"  and  "Le  paetorelle  difese,"  the  composers  of 

the  music  not  being  mentioned. 

First  performed  at  Brescia,  Teatro  dell'  Accademia  degli  Erranti,  1781;  at  Venice, 

Teatro  di  S.  Moisfe,  December  26, 1780,  as  "La  statua  matematica."      Schatz  10586 

De  sorte  naeser.     A.  T.  of  Wedel's  Serenaden. 

II  sospetto  senza  fondamento.  Dramma  pastorale  fatto  rappre- 
sentare  da  gli  Accademici  Oscuri  per  festivo  applauso  al  giorno 
natalizio  del  Sereniss.  principe  Ferdinando  di  Toscana. 

Firenze,  Stam'^eria  di  S.  A.  S.  alia  Condotta,  1691,  Ad  istanza  di 
Andrea  Orlandini.     1^3  p.     16^"^. 

Three  acts.  Dedication  signed  by  Andrea  Orlandini,  whom  Schatz  calls  the 
author.    Composer  not  mentioned,  and  unknown  to  Schatz. 

First  performed,  as  indicated,  August  9,  1691.  Schatz  11366 

The  sot.     A  burletta,  in  two  parts.     As  it  is  performed  at  the  Theatre 
Royal  in  the  Hay  market.     Altered  from  Fielding.     The  music  com- 
posed by  Dr.  Arne. 
London,  Cox  and  Bigg,  1775.     2  p.  I,  [1],  10-35  p.     20^"^. 

The  caption  title  is  "'Squire  Savage.  Part  the  first."  The  prefatory  advertise- 
ment reads: 

"The  characters  and  design  of  this  piece  are  taken  from  a  ballad  opera,  written  by 
Henry  Fielding,  Esq. 

"Some  ot  the  songs  are  likewise  written  by  that  celebrated  author;  but  many 
others,  with  the  quintetto  and  chorus  necessarily  added,  and  the  measure  of  the 
dialect  is  obliged  to  be  changed  throughout,  on  accoimt  of  its  being  delivered  in 
recitative. 

.  "Dr.  Arne  is  sensible  of  the  disadvantage  attending  all  dramatic  performances, 
deprived  of  their  greatest  ornaments,  viz. — Action,  characteristic,  dress  and  scenes; 
but  a  restrictive  Act  of  Parliament,  (intended  chiefly  to  prevent  strolling  vagabonds 
from  infesting  the  town  with  their  paltry  attempts;  but  no  way  meant  to  suppress 
native  genius,  when  displayed  by  persons  of  imdoubted  establishment  and  reputa- 
tion) has  unfortunately  prevented  the  Dr.  from  displaying  his  productions  in  the  most 
advantageous  manner,  he  humbly  hopes  (supposmg  it  was  difficult  to  draw  a  line 
between  the  two  extremes)  that  the  public,  ever  favourable  and  indulgent,  will,  as 
in  oratorios,  by  the  assistance  of  printed  books,  supply  with  their  ever  fertile  imagina- 
tion, this  imavoidable  deficiency  which,  as  now,  will  hereafter  give  him  a  fair  oppor- 
tunity to  exert  his  best  endeavours  towards  the  entertainment  oi  his  gracious  patrons, 
without  infringing  the  interdicts  of  the  said  Act." 

The  piece  was  advertised  for  first  performance  on  March  16, 1772,  aa  "a  new  burletta, 
called  Squire  Badger"  (Cummings),  and,  according  to  Clarence,  was  printed  in  1772 
under  that  title.  Longe  274 

II  sotteraneo  ossia  Catterina  di  Coluga,  ballet.  See  Nasolii's  Len 
feste  d'Iside. 

Les  souliers  mors-dores  ou  La  cordonniere  allemande,  com6die 
lyrique  en  deux  actes ;  representee  pour  la  premiere  f ois  sur  le  Theatre 
des  Comediens  italiens  ordinaires  du  roi,  le  jeudi  11  Janvier  1776. 
Paris,  Vente,  1776.     63  p.     W^. 

Cast.  Neither  de  Ferrieres,  the  author,  nor  Fridzeri,  the  composer  is  mentioned 
in  the  libretto.  On  p.  59-63  the  melodies  of  the  "Air.  Bien  loin  d'oser  douter" 
and  the  "  FatMimZZe.    Chez  I'etranger,  on  appr^cie."  Schatz  3372 


OPERA   LIBRETTOS  1023 

Le  souterrain.     A.  T.  of  Dalayrac's  Camille. 

Airs,  duets,  trios  and  finale,  introduced  in  the  comedy  of  The  Spanish 
barber.  As  performed  at  the  Theatre-Royal  in  the  Hay-Market. 
The  third  edition. 

London,  T.  Cadell,  1783,     12  y.    21^^.      ' 

Text  by  George  Colman  (who  is  not  mentioned)  and  founded  on  Beaumarchais' 
"Barbier  de  Seville."  Samuel  Arnold,  who  partly  composed,  partly  adapted  the 
music,  is  not  mentioned. 

Firet  perfonned,  August  30,  1777.  Longe  91 

The  Spanish  lady,  a  musical  entertainment,  in  two  acts.  Founded 
on  the  plan  of  the  old  ballad.  As  perform'd  at  the  Theatre  Royal  in 
Covent-Garden  .  .  . 

London,  J.  Cooyer,  n.  d.    36  p.     18^"^. 

Caat,  dedication,  and  preface  dated,  Theatre-Royal,  Covent-Garden,  December  8, 
1769,  which  reads  in  part: 

"The  following  scenes  were  written  on  receiving  the  news  of  a  signal  conquest, 
gained  in  the  Spanish  West  Indies,  by  the  English  forces  in  the  year  1762,  and  intendea 
aa  a  small  tribute  to  the  noble  family  who  had  the  direction  of  that  important  expedi- 
tion. It  was  accordingly  licensed  and  rehearsed,  when  some  public  commotiona  in 
the  theatrical  world,  prevented  th^  intended  exhibition;  since  which,  it  haa  been 
once  acted  for  a  performer's  benefit. 

"It  haa  now  undergone  some  few  changes  and  abridgmen ta,  and  is  to  be  conaidered 
merely  aa  the  story  of  the  Spanish  lady,  in  a  dramatic  dress  .  .  .  With  the  aid  of 
the  music  (which  haa  been  selected  under  the  inspection  of  an  eminent  composer^,  it 
ia  hoped  the  piece  may  not  prove  unentertaining  to  a  delicate  and  susceptible 
mind  .  .  ." 

The  author,  Thomas  Hull,  ia  not  mentioned.  The  compoeer,  who  selected  the 
music,  ia  not  recorded  by  W.  Barclay  Squire. 

First  performed  May  2,  1765,  as  indicated.  Longb.150 

The  Spanish  rivals.  A  musical  farce,  in  two  acts,  as  performed  at 
the  Theater-Royal  in  Drury-Lane. 

London,  J.  Almon,  1784.     1  p.  l,  34  p.    21^"^. 

Caat  and  dedication,  in  which  the  author,  Mark  Lonsdale,  calla  thia  the  "first 
oSering  of  a  Cumbrian  Muae."    The  composer,  Thomaa  Linley,  ia  not  mentioned. 
He  utilized,  aa  appears  from  Thompaon's  vocal  score,  a  number  of  folk-dancea. 

First  performed  November  4,  1784  (Schatz);  November  5  (Tufta).        Lonob  95 

Spartaco.  Dramma  per  musica,  da  rappresentarsi  nell'  Imperial 
Corte  .  .  .  nel  carnevale  dell'  anno  MDCCXXVI.  La  poesia  h  del 
Sig.  abate  Giovan  Claudio  Pasquini.  La  musica  h  del  Sig,  Giuseppe 
Porsile  .  .  . 

Vienna  d^ Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.    4  V-  ^-t  ^^  P-    l^h"^' 
Three  acts.    Argument,  scenario,  and  name  of  Niccola  Matteis  aa  composer  of  the 
ballet  muaic. 

First  performed,  aa  indicated,  February  21, 1726.  Schatz  8377 

La  Spartana  generosa,  owero  Archidamia,  dranmia  per  musica 
rappresentato  ...  in  occasione  delle  doppie  auguste  nozze  celebrate 
in  Dresda.     L'anno  MDCCXXXXVII.     La  poesia  6  del  Sign,  abbate 
Gio.  Claudio  Pasquini  .  .  . 
n.  i.,  n.  d.    7  p.  l,  174  P-    ■'^i""'- 

At  end:  "Dalla  Stampa  regia  per  la  vedova  StOssel." 

Three  acta.  Argument,  caat,  and  scenario.  Johann  Adolph  Hasse,  the  com- 
poser is  not  mentioned.  German  title  page,  "Die  groaamuethige  Spartanerin,  oder 
Archidamia,"  and  text  face  Italian. 

FiiBt  perfonned,  as  indicated,  Jxme  14,  1747.  Schatz  4565 


1024  LIBBABY  OP  CONGBESS 

Lo  spazzacamino,  ballet.     See  Bianchi's  Ines  de  Castro. 

Lo  spazzacamino.     L.  T.  of  Portugal's  Lo  spazzacamino  principe. 

Lo  spazzacamino  principe.  ,  Commedia  con  musica  d'un  atto  solo 
da  rappresentarsi  nel  nobilissimo  Teatro  Giustiniani  in  San  Mois^  11 
camovale  dell'  anno  1794. 

Venezia,  Modesto  Fenzo,  1794.     48  p.     18'^. 

By  Giuseppe  Foppa,  who  is  not  mentioned.  Cast  and  name  of  Marcos  Portug'al 
as  the  composer.  After  the  opera  was  performed  Urbano  Garzia's  comic  ballet  II 
quadro  animate."    The  composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  January  4,  1794  (Carvalhaes).  Schatz  8417 

—  Lo  spazzacamino.  Commedia  con  musica  d'un  atto  solo  da 
rappresentarsi  nel  Teatro  Elettorale. 

Dresda,  n.  puhl,  1794.     48  p.     16<^. 

By  Giuseppe  Foppa,  who  is  not  mentioned.  Marco  Portogalli  (Portogallo)  is 
mentioned  as  the  composer.  Schatz  8418 

—  II  barone  Spazzacamino.  Farza  in  prosa  di  un  solo  atto  da 
rappresentarsi  nel  Regio  Teatro  di  S.  Carlo  ofTerto  al  rispettabil 
puDlico  di  Lisbona  da  Giuseppei  Tavani  nel  giorno  del  suo  benefizio 
ai  27  maggio  1799. 

Lishona,  Simone  Taddeo  Ferreira,  1799.     103  p.     14Y^. 
Cast  and  name  of  Marco  PortogaUo  as  the  the  composer.     Portuguese  text  faces 
Italian,  which  is  practically  Giuseppe  Foppa's  "Lo  spazzacamino  principe." 

Schatz  8433 

—  Der  schorsteinfeger  Peter,  oder  Das  spiel  des  ohngefaehrs. 
Eine  komische  oper  in  zwei  akten.  Nach  dem  italiaenischen  sing- 
spiele  lo  Spazzacamino  frei  bearbeitet  von  K.  H.  Zscliiedrich. 

Pima,  Arnold  und  Pinther,  1799.     2  p.  I.,  80  p.     i5«™. 

Name  of  PortogEillo  as  composer,  and  translator's  preface,  dated  Dresden,  May, 
1799,  in  which  he  says  that  Brocchi  selected  Portugal  s  opera,  "Lo  spazzacamino," 
for  his  debut  at  Pillnitz  (near  Dresden),  with  great  succ  ss.    He  then  continues: 

* '  Hier  sahe  sie  der  bearbeiter  derselben  mit  ver^uegen  lind  glaubte  dem  teutschen 
opem theater  nicht  unnuetz  zu  werden,  wenn  er  ihm  dies  lustige  machwerk  eignete. 

"Dies  geschahe  mit  mannichfaltigen  noethigen  abaenderungen  des  plans,  mit 
yeredlung  des  karakters  der  Donna  Flora,  der,  unter  der  welschen  maske,  dem 
sittlichen  vaterlaendischen  zuschauer  schwerlich  behagen  konnte  und  mit  vertheilung 
einer  handlung  in  zwo;  jedoch  unter  beibehaltimg  der  ganzen  lokalitaet  und  der 
schoenen  musik." 

First  performed  at  Dresden,  Theater  vor  dem  schwarzen  Thore,  May  22,  1799. 

Schatz  8419 

Lo  spazzacamino  principe.  Commedia  con  musica  divisa  in  due 
atti'  e  tolta  dal  francese  da  rappresentarsi  nel  Teatro  di  Monza 
Tautunno  1790  ..  . 

Milano,  Gaetano  Motta,  n.  d.     4  V-  ^-j  ^^  V-     l^""^- 

Two  acts.  Dedication  by  the  impresario,  Antonio  Puttini,  in  which  he  calls  this 
"imo  epettacolo  che  h  il  primo  di  questo  genere,  che  compaja  in  Italia."  The  author, 
Giuseppe  Carpani,  who  is  not  mentioned  by  name,  takes  his  mouth  still  more  full  in 
his  notice  to  the  public.  He,  too,  insists  on  the  novelty  saying  of  his  version  of  "Le 
ramoneur  prince: 

"non  VI  avendo  musica,  si  poteva,  col  farvela  tra  noi,  riunire  per  la  prima  volta  ai 
pregj  deir  opera  francese  la  p>ompa,  e  le  attrative  della  musica  italiana,  e  dar  cosi  uno 
spettacolo,  0  signori,  novissimo  e  ben  de^o  di  voi,  e  che  imitato  venendo  produrrebb? 
air  Italia  una  quantity  di  attori,  ed  amcchir  potrebbela  di  bellissime  commedie  alia 
musica  accomodote . " 

On  a  slip  pasted  on  p.  1.  4,  the  note:  "La  musica  sar^  tutta  nuova  del  eel.  Sig. 
maestro  Angeio  Tarchi.  With  the  opera  was  performed  (composer  of  the  music  not 
mentioned)  Urbano  Garzia's  ballet,  "La  cosa  rara."  Schatz  10238 


OPERA  LIBRETTOS  1025 

n  speciale  ingannato.     A.  T.  of  the  ballet  II  mercato  di  Pozzuolo. 

Les  spectacles  malades.  Prologue.  Par  M^?  le  S  *  *  * 
(j'Or    *     *     represente  a  la  Foire  Saint  Laurent  1729. 

Le  Theatre  de  la  foire,  Paris,  1731,  t  vii,  pi,  {2131-240  p.     l?""^. 

By  Le  Sage  and  d'Omeval.  Largely  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  the  "compositeur"  of  the  company,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs." 

First  performed  August  29,  1729.  ML  48.L2VII 

Lo  speziale.  Dramma  di  tre  atti  per  musica.  Rappresentato  per 
la  prima  volta  in  Venezia  Fanno  1753  con  musica  del  PaUavicini  e 
del  Fishietti. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95',  t.  4^, 
p.  [109]-158.     18'^'^.  PQ 

Lo  speziale.     See  also  Fischietti's  II  bottanico  novellista. 

Lo  speziale.  Dramma  giocoso  per  musica  di  Polisseno  Fegejo  pas- 
tor Arcade  da  rappresentarsi  nel  Teatro  Grimani  di  S.  Samuel,  nel 
carnovale  dell'  anno  1755  .  .  . 

Venezia,  Modesto  Fenzo,  1755.     48  p.     14^"^- 

Three  acts.  By  Goldoni.  Impresario's  dedication,  cast,  scenario,  names  of  Vin- 
cenzo  PaUavicini  and  Domenico  Fischietti  as  composers,  and  notice  to  the  reader, 
which  reads: 

"Ponendosi  nel  frontispizio  il  nome  arcadico  dell'  autore,  ben  conoeciuto,  ha  egli 
desiderate,  che  si  faccia  sapere  al  mondo,  essere  state  da  lui  composto  il  presente 
libretto  tre  anni  sono  in  Bologna  ad  istanza  del  Sig.  Francesco  Baglioni  e  del  Sig. 
Francesco  Carratoli,  in  tempo  che  col^  trovavasi  colla  compagnia  del  Sig.  Girolamo 
Medebac. 

"Tale  protesta  intende  egli  di  fare  per  sua  giustificazione  verso  di  quelli,  che  lo 
caricano  ingiustamente  aver  traecurato  di  scrivere  per  il  Comico  suo  Teatro  per  lucrare 
con  altri.  Egli  ha  liberty  di  scrivere  per  teatri  di  musica.  II  Filosofo  di  Campagna 
lo  ha  scritto  nella  Quaresima  passata,  in  tempo,  che  non  potea  prevedere  la  malatia 
eofferta  per  cinque  mesi.  Ma  a  chi  mai  rende  egli  conto  di  ci6  la  gente  oziosa,  e 
mali^a,  che  non  ha  che  fare  con  lui." 

First  performed,  according  to  Schatz,  at  Milan,  Regie  Ducal  Teatro,  1754,  hut  see 
above  the  entry  from  Goldoni's  works.  Schatz  7714 

—  Lo  speziale,  dramma  giocoso  per  musica,  da  rappresentarsi  nel 
Nuove  Teatro  di  Dresda  I'anno  MDCCLV.     Der  Apotneker  .  .  . 

[Dresden],  Gedruckt  hey  der  verwitt.  .  .  .  Stoesselin  und  .  .  .  Johann 
Carl  Krausen,  n.  d.     131  p.     16^""- 

Three  acts.  Cast  and  scenario.  German  text  faces  Italian.  Neither  Goldoni  nor 
the  composers,  PaUavicini  and  Fischietti,  are  mentioned.  The  Dresden  text  seems 
to  follow  the  original  closely.  Schatz  7715 

Der  Spiegel  von  Arkadien.     Eine  grosse  heroisch-komische  oper  in 
2  aufzuegen.     Von  Emanuel  Schikaneder. 
n.  i.,  1796.     79  p.     15'='^. 

Franz  Xaver  Suessmayr  is  mentioned  as  the  composer.  See  also  his  "  Die 
koenigin  der  Schwarzen  inseln. 

First  performed  at  Vienna,  Theater  aiif  der  Wieden,  November  14,  1794. 

Schatz  10183 

—  Der  Spiegel  von  Arkadien.  Eine  heroisch-komische  oper  in 
zwei  aufzuegen.  Unter  dem  titel:  Die  neuen  Arkadier  neubearbeitet 
und  zum  erstenmal  auf  dem  Hoftheater  zu  Weimar  den  2.  februar 
1796  aufgefuehrt.     Die  musik  ist  von  Franz  Suessmeyer.  " 

Weimar,  Hoffmannische  Buchhandlung,  1796.     4  V-  ^v  ^^^  V-     17'^^. 

72251  °  —VOL  1—14 65 


1026  LIBRARY   OF   CONGRESS 

Der  Spiegel  von  Arkadien — Continued. 

This  title  page  followed  by  a  special  t.-p.  with  the  new  title. 
*     In  his  "  Vorrede,"  Christian  August  VuJpius  (not  mentioned)  under  date  of  "Wei- 
mar, am  tage  Renata,  1796"  says: 

"Wer  das  original  dieser  oper  kennt,  deren  bearbeitung  ich  hier  liefere,  der  wird 
finden,  was  ich  dabei  geleistet  habe,  oder  nicht.  Ich  habe  anderswo  (In  den  Rhei- 
nischen  Musen,  5  bd.,  1  St.  S.  67-72)  als  ich  diese  arbeit  begann,  schon  etwas  da- 
rueber  gesagt." 

Vulpius  then  takes  issue  with  Schikaneder  for  having  given  the  piece  an  incorrect 
title,  for  having  made  of  Arcadia  an  island  and  other  such  silly  and  absurd  nonsense, 
and  he  continues : 

"Der  dialog  aller  handelnden  pereonen  ist  groesstentheils  ganz  neu  fuer  gesittete 
und  deutsche  zuschauer  geschrieben  worden  und  die  verse  sind  allenthalben  abge- 
aendert  .  .  ".  Freilich,  die  musik  war  da  und  der  neue  text  musste  derselben  erst 
angepasst  werden,  und  daher  kamen  die  fesseln,  in  die  ich  mich  sehr  ungem  schmiegen 
musste."  ScHATZ  10184 

Gresaenge  aus  dem  singspiele:  Der  spiegelritter,  in  drey  aufzuegen, 
vom  praesidenten  von  Kotzebue.     In  musik  gesetzt  von  Ignaz  Waiter. 
Hamburg,  Freystatzky  und  Robe,  1795.     51  'p.     16^"™. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  October  26,  1795;  at 
Frankfurt  a.  M.,  Nationaltheater,  September  11,  1791.  Schatz  10865 

—  Der  spiegelritter,  eine  oper  in  drey  aufzuegen. 

n.  i.,  n.  d.    front,  [321]-448  p. 

Obviously  detached  from  some  volume  of  an  edition  (before  1800?)  of  August  von 
Kotzebue's  collected  works,  as  the  opera  libretto  is  followed  on  p.  [449]-^76,  by  his 
"Einige  zuege  aus  dem  leben  des  guten  Musaeus  von  der  hand  seines  schuelers  ent- 
worfen."     In  the  "Vorbericht"  to  the  opera,  Kotzebue  says: 

"Man  hat  mich  oft  aufgefordert,  doch  auch  einmal  eine  oper  nach  heutigem 
zuschnitt  zu  verfertigen,  und  da  habe  ich  denn  endlich  eine  gemacht.  Der  leser 
wird  hoffentlich  finden,  daes  sie  eben  so  naerrisch  und  abentheuerlich  und  albem 
ist,  als  ihre  aeltem  geschwister  auf  der  deutschen  buehne.  Unter  alien  operibus 
einea  schriftstellers  ist  eine  solche  oper  das  leichteste  opus.  Der  himmel  mache 
mich  so  gluecklich,  als  er  die  herren  Eberl  &  consorten  gemacht  hat;  das  heisst:  er 
schenke  meinem  Spiegelritter  eine  musik,  wie-die  der  Dittersdorffe,  Mozart's,  Mar- 
tin's oder  Reichard  s,  so  wird  sich  der  bursche  wohl  durch  die  welt  helfen." 

Schatz  10865a 

Das  spiel  des  ohngefaehrs.  A.  T.  of  Portugal's  Der  schorstein- 
feger  Peter. 

Lo  spirito  di  contraddizione.  Dramma  giocoso  per  musica  da 
rappresentarsi  nel  Teatro  di  S.  A.  E.  di  Sassonia,  composto  dal  Signor 
Caterino  Mazzola  .  .  . 

Dresda,  n.  puhl,  1785.     139  p.     15^"^. 

Two  acts.  Joseph  Schuster  is  mentioned  as  composer.  Crerman  title-page,  "Der 
geist  des  widerspruchs,"  and  text  face  Italian. 

First  performed,  as  indicated,  April  20,  1785.  Schatz  9757 

Lo  spirito  di  contradizione.     Dramma  giocoso  per  musica  del 
Signor  Gaetano  Martinelli  Romano.     Da  rappresentarsi  nel  Teatro 
Giustiniani  di  San  Moise  il  carnovale  dell'  anno  1766. 
Venezia,  Modesto  Fenzo,  1766.     70  p.     15""^. 

Three  acts.     Cast,  scenario,  and  name  of  Pietro  Gugllelmi  as  the  composer. 

Schatz  4305 


OPERA   LIBRETTOS  1027 

Lo  spirito  di  contradizione.     Dramma  giocoso  per  musica  da  rap- 
presentarsi  nel  Real  Teatro  di  Salvaterra  net carnovale  dell'  anno  1772. 
Lishona,  Stamperia  reale,  n.  d.    98  p.     16'^^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Gaetano  Martinelli  as  author, 
of  Girolamo  Francesco  Lima  (Jeronymo  Francisco  de  Lima)  as  composer. 

SCHATZ  5616 

The  spoil'd  child.     A  farce,  in  two  acts.     As  performed  at  the 
Theatre  in  Boston.     First  American  edition. 
Boston,  Thomas  Hall,  1796.     28  jp.     loY"^. 

Cast.  Neither  the  author,  Bickeretaffe,  is  mentioned,  nor  the  composer  of  the 
incidental  music. 

First  performed  in  America  as  a  "musical  farce"  at  Baltimore,  October  27,  1794. 

PR  1241.D7     V.  7 

Li  sponsali  d'Enea.  Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  nella  Fiera  dell'  Ascensione  .  .  . 

Venezia,  Girolamo  Savioni,  1731.     4^,  [1]  p.     14^""^. 

Three  acts.  Impresario's  dedication,  argument,  notice  to  the  reader  cast  and 
scenario.  Neither  the  author,  Francesco  Passarini,  nor  the  composer,  Michele  Flni, 
is  mentioned.  Schatz  3104 

La  sposa  bisbetica.     Dramma  giocoso  per  musica  da  rappresentarsi 

nel  Teatro  di  S.  A.  S.  il  Signor  prmcipe  di  Carignano  nella  primavera 

dell'  anno  1798. 

Torino,  Onorato  Derossi,  n.  d.     4  P-  ^v  4^7  Ul  P-     15'^'^- 

Two  acts.    Author  not  mentioned  and  unknown  to  Schatz  and  Piovano.     Cast, 

scenario,  and  name  of  [Pietro  Carlo]  Guglielmi  as  the  composer. 

First  performed  at  Rome,  Teatro  Valle,  carnival,  1797.  Schatz  4312 

—  La  sposa  di  stravagante  temperamento.  Dramma  per  musica 
da  rappresentarsi  nel  nob.  Teatro  di  S.  Cassiano  nella  state  1798. 

Venezia,  Antonio  Rosa,  n.  d.     i7"". 

Incomplete,  ending  with  p.  46. 

Two  acts.  Cast  and  name  of  Pietro  [Carlo]  Guglielmi  as  the  composer.  The  text 
is"  that  of  his  "La  sposa  bisbetica,"  but  with  alterations.  For  instance,  I,  4,  now 
begins  "Fate  largo,  buona  gente,"  instead  of  "Mie  care  donnette."       Schatz  4313 

La  sposa  bizzarra.     Opera  buff  a  di  Egesippo  Argolide,  Pastore 
Arcade  della  Colonia  Alfea.     Da  rappresentarsi  nel  Teatro  Gius- 
tiniani  in  S.  Moise  per  la  terza  opera  ai  camovale  I'anno  1781. 
Venezia,  n.  publ.,  n.  d.     63  p.     17^'^. 

Two  acts.  By  Carlo  Giuseppe  Lanfranchi  Rossi,  who  is  not  mentioned.  Cast  and 
name  of  Alfonso  Ssjiti  as  the  composer.  Schatz  9394 

La  sposa  contrastata.  Commedia  per  musica  di  Saverio  Zini  da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  terz' 
opera  di  questo  corrente  anno  1791. 

Napoli,  Vincenzo  Flauto,  n.  d.    4^  p.     14Y^- 

Two  acts.  Cast  and  name  of  Pietro  Guglielmi  as  the  composer.  On  p.  4-7,  cast, 
prefatory  note,  and  argument  of  Giovanni  Battista  Giannini's  II  more  di  corpo  bianco 
o  sia  Lo  schiavo  del  proprio  onore,  ballo  di  carattere,"  music  ("tutta  nuova")  by 
Giuseppe  Ercolano.  Schatz  4269 

La  sposa  costante.     A.  T.  of  S.  Vigand's  La  creduta  vedova. 

La  sposa  di  stravagante.  L.  T.  of  P.  C.  Guglielmi's  La  sposa 
bisbetica. 


1028  LIBRARY  OF   CONGRESS 

La  sposa  fedele.     Dramma  giocoso  per  musica  da  rappresentarsi 
nella  prossinia  priinavera  dell'  anno  1765[?].     Nel  Teatro  in  Cremona 
in  proprieta  di  un  nobile  di  detta  cittk  ,  .  . 
Cremona,  Ricchini,  n.  d.     J^8  y.     17^^. 

Three  act-s.  Cast  and  dedication.  Neither  the  author,  Pietro  Chiari,  is  mentioned, 
nor  the  compoaer.  If  the  date  in  the  title  is  1769,  instead  of  1765,  then  this  might 
have  been  a  replica  of  Pietro  Guglielxoi's  opera  of  the  same  title,  first  performed  at 
Venice  1767.  lYL  50.2.S72 

La  sposa  fedele.  Dramma  giocoso  per  musica  da  rappresentarsi  in 
Lisbona  nel  Teatro  della  rua  dos  Condes  nell*  autimno  dell'  anno 
1773. 

[Lishona],  Stamperia  reale,  n.  d.     85  f.     16'^'^. 

Three  acts.  By  Pietro  Chiari,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Pietro  Guglielmi  aa  the  composer.  With  the  opera  was  performed  (composer  of  the 
music  not  mentioned)  Gixiseppe  Magni's  ballet  "La  vedova  ecaltra." 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  carnival,  1767.  Schatz  4270 

—  La  sposa  fedele,  dramma  giocoso  per  musica  da  rappresentarsi 
nel  Regio  Teatro  Danese. — Den  troe  bruud  .  .  . 

Ki0henhavn,  Lars  Nielsen  Svare,  1768.     127  p.     17^"^. 

Three  acts.  Cast  and  name  of  Pietro  Guglielmi  as  the  composer.  Chiari  is  not 
mentioned.     Danish  text  faces  Italian. 

First  performed,  aa  indicated,  1768.  Schatz  4271 

—  La  sposa  fedele.  Dramma  giocoso  per  musica.  Da  rappresen- 
tarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  pull.,  1771.     131  p.     16^"^. 

Three  acts.  Name  of  Pietro  Guglielmi  as  the  composer.  Chiari  is  not  mentioned . 
German  title-page,  "Die  getreue  braut,"  and  text,  calling  the  composer  "Don  Petro 
Wilhelm,"  face  Italian. 

First  performed,  as  indicated,  1771,  but  also  pre\'iously,  1768.  Schatz  4272 

—  Bobert  und  Kalliste,  oder  Der  triumph  der  treue.  Eine 
operette  in  drey  akten.  Nach  dem  inhalte  der  Sposa  fedele  von 
Johann  Joachim  Eschenburg. 

Breslau  und  Leipzig,  n.  puU.,  1776.     62  p.     15"^. 

Pietro  Guglielmi  is  not  mentioned  as  composer. 

First  performed  at  Berlin,  Theater  in  der  Behrenstr,  April  8,  1775.     Schatz  4273 

La  sposa  gronlandese,  ballet.     See  Piccinni's  La  pescatrice. 

La  sposa  in  equivoco.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  Giustiniani  in  San  Mois6  I'autunno  dell'  anno 
1791. 

Venezia,  Modesto  Fenzo,  1791.     84  p.     17'='^. 

Two  acts.  By  unknown  librettist.  Impresario's  dedication  ("Si  riapre  .  .  . 
questo  teatro  " ),  cast,  scenario,  and  name  of  Francesco  Bianchi  as  composer.  On  pages 
45-53,  argument,  cast,  and  full  description  of  "Le  donne  invidiose  ossia  L'onesta 
trionfante,  ballo  giocoso  pantomime,"  by  Giuseppe  Scalesi,  music  ("tutta  nuova  ")  by 
Vittorio  Trento,  and  p.  80-84,  of  "Enrichetta,  comico  pantomime,"  by  the  sam  • 
authors.  Schatz  1007 

La  sposa  invisibile.  Dramma  buffo  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  publ.,  1788.     99  p.     15^"^. 

Two  acts.  Author  unknown  to  Schatz.  German  text  and  title-page,  "Die  unsicht- 
bare  braut,"  face  Italian.    Vincenzo  Fabrizj  is  mentioned  as  composer. 

First  performed,  as  indicated,  February  20,  1788;  at  Rome,  Teatro  Capranica,  car- 
nival, 1786.  Schatz  2970 


OPERA   LIBRETTOS  1029 

La  sposa  persiana.  Drama  giocoso  ter[!]  musica  da  rappresen- 
tarsi  nel  nobile  Teatro  di  San  Samuele  nell'  autunno  dell'  anno  1775. 

Venezia,  Carcani,  n.  d.    55  p.     16Y'^. 

Three  acts,  based  on  Goldoni's  comedy  of  the  same  title,  possibly  by  the  impresario, 
Onorato  Vigano,  who  signed  the  dedication.  Cast  and  name  of  Felice  Alessandri  aa 
composer.  Carlo  Canobbio  ie  mentioned  as  the  composer  of  the  music  of  the  first 
ballet.  ScHATz  155 

La  sposa  persiana,  ballet.    See  Anfossi's  II  curioso  indiscrete. 

La  sposa  peruviana,  ballet.     See  Martin  y  Soler's  Vologeso. 

La  sposa  polacca.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  nella  primavera  dell'  anno  1799, 

Venezia,  Casali,  n.  d.     62  p.     17^'=^. 

Two  acta.  Cast  and  name  of  composer,  Bemardini  (Marcello  di  Capua),  who  is 
also  mentioned  as  librettist. 

First  performed  at  Rome,  Nuovo  Teatro  di  Apollo,  December  26,  1795. 

SCHATZ  852 

La  sposa  rapita,  ballet.     See  Portugal's  La  donna  di  genio  volubile. 

La  sposa  tra  le  imposture.  Conunedia  per  musica  di  Francesco 
Antonio  Signoretti  da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo 
per  prim'  opera  di  quest'  anno  1798. 

Napoli,  n.  puhl,  1798.     51  p.     15<^. 

Two  acts.     Cast  and  name  of  Luigi  Mosca  as  the  composer.  Schatz  6725 

La  sposa  volubile  ossia  L'amante  imprudente.     Dramma  giocoso 
per  musica  per  celebrare  I'augusto  nome  di  Sua  Altezza  Reale  .  .  . 
D.  Carlotta  Gioacchina  ...  da  rappresentarsi  nel  Reggio  Teatro  di 
S.  Carlo  1' autunno  dell'  anno  1795. 
Lishona,  Simone  Taddeo  Ferreir,  1795.     173  p.     15*^^. 

Two  acts.  Author  unknown  to  Schatz.  Cast,  name  of  the  comjx)eer,  Luigi 
Caruso,  and  scenario.     Portuguese  text  faces  Italian. 

First  performed,  as  indicated,  November  4,  1795;  at  Rome,  Teatro  della  Valle, 
summer,  1789.  Schatz  1654 

Lo  sposalizio  de'  Morlacchi,  ballet.  See  Caruso's  Oro  non  compra 
I'amore. 

Lo  sposalizio  per  dispetto.  Dramma  giocoso  per  musica  di 
Giovanni  Bertati  da  rappresentarsi  nel  Teatro  *Giustiniani  in  S. 
Moise  per  la  prima  opera  del  carnevale  I'anno  1782. 

Venezia,  n.  publ.,  n.  d.    61  p.     17*^. 

Two  acts.    Cast  and  name  of  Gaetano  Monti  as  the  composer. 

First  performed,  as  indicated,  December  26,  1781.  Schatz  6600 

Le  spose  ricuperate.     A.  T.  of  Caruso's  I  campi  Elisi. 

Li  sposi  contenti,  ballet.     See  Martin  y  Soler's  L'isola  piacevole. 

Gli  sposi  delusi  dalle  astuzie  di  Crespino,  ballet.  See  Cimarosa's 
Artaserse. 

Li  sposi  in  commedia.  L.  T.  of  Caruso's  H  matrimonio  in  corn- 
media. 


1030  LIBRARY  OP   CONGRESS 

I  sposi  in  rissa.  Farsa  di  un'  atto  per  musica  di  G.  M.  D.[iodati] 
La  musica  h  del  P.  D.  Bernardo  di  Fraja  dilettante  attual  organista 
di  M.  Casino. 

Napoli,  n.  puhl,  1791.    24  p.     U^^. 

Caat. 

First  performed  at  Naples,  Teatro  Nuovo,  1791.  Schatz  3314 

Gli  sposi  per  inganno,  ballet.     See  G.  Giordani's  Caio  Ostilio. 

I  sposi  perseguitati.  Commedia  per  musica  di  Pasquale  Mililotti 
da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  terza  opera  del 
corrente  anno  1782. 

Napoli,  n.  puhl,  1782.     64,  [1]  p.     14^'"^. 

Three  acte.  Cast  and  name  of  Niccol5  Piccinni  as  the  composer.  On  the  addi- 
tional page  the  substitute  recitative  and  aria  (I,  8)  "Come  li  dentro  intesi" — "Ahi, 
che  Darlar  non  posso  "  with  this  note : 

"Non  essendo  I'aria  di  Vemold  dell'  atto  primo  confacente  alia  sua  voce,  e  tras- 
portandola,  avrebbe  perduta  I'armonia." 

On  p.  3  this  avvertimento: 

"Essendosi  stabilito  dal  sig.  impresario  di  far  rappresentare  per  terza  opera  la 
prcsente  commedia  rappresentata  nello  stesso  Teatro  nell'  anno  1769.  Per  adattarlo 
alia  presente  compagnia,  si  son  dovute  tradurre  in  Toscano  quattro  parti  Napolitane, 
cio6  la  parte  di  Bettina,  di  Melampo,  di  Nanella,  che  se  le  b  dato  il  nome  di  Lesbina, 
e  di  Rina,  a  cui  si  6  dato  il  nome  di  Ninetta.  Le  suddette  parti  sono  state  tradotte 
quasi  ad  literam  per  non  uscir  dalla  favola,  e  non  cambiare  i  pezzi  di  musica,  che 
fecero  allora  una  sorprendente  riuscita."  Schatz  8140 

Li  sposi  ridicoli  burlati,  ballet.     See  Anfossi's  Gli  amanti  canuti. 

Lo  sposo  burlato,  ballet.     See  Caruso's  II  vecchio  burlato. 

Lo  sposo  burlato.     See  Dittersdorf' s  "Der  gefoppte  braeutigam." 

Lo  sposo  burlato.  Intermezzi  in  musica  da  rappresentarsi  nei 
Teatri  privilegiati  di  Vienna  nell'  anno  1770. 

Vienna,  Giovanni  Tomaso  di  Trattnem,  n.  d.     54  p-     16'^^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Niccol6  Piccinni  is 
mentioned  as  the  composer. 

First  performed  at  Rome,  Teatro  della  Valle,  January  3,  1769.  Schatz  8153 

Lo  sposo  deluso,  ballet.     See  Astaritta's  L'isola  di  Begodi. 

Lo  sposo  di  tre  e  marito  di  nessuna,  dramma  giocoso  per  musica, 
da  rappresentarsi  nei  Teatri  privilegiati  in  Vienna  la  primavera  dell' 
annoMDCCLXVni. 

[Vienna],  neUa  Stamperia  Ghelen,  n.  d.     68  p.     15Y'^. 

Three  acts.  By  Antonio  Palomba,  who  is  not  mentioned.  On  p.  2,  the  note:  "La 
mtisica  e  del  Signor  Don  Pasquale  Anfossi  ...  A  riserva  dell'  introduzione,  e  de' 
tre  finali,  che  sono  del  Sig.  [Pietro]  GugUelmi,  e  dell'  arie  segnate  coll'  asterisco  che 
sono  del  Sig.  Floriano  Gasman  ..."  but  no  aria  appears  printed  with  asterisk! 

According  to  Schatz  (no  such  performance  in  Florimo),  the  opera  was  first  per- 
formed at  Naples,  Teatro  Nuovo  sopra  Toledo,  fall  of  1763,  music  by  Anfossi,  except 
the  introduction,  the  three  finales,  and  the  aria  of  the  baronessa  in  the  third  act,  which 
were  by  Pietro  GugUelmi.  Schatz  284 

Lo  sposo  di  tre  e  marito  di  nessuna.  Conmiedia  per  musica  di 
Antonio  Palomba  da  rappresentarsi  nel  Teatro  della  citta'  dell' 
AquUa. 

Napoli,  Amato  Ccms,  1781.     68  p.     15^<=^. 


OPERA   LIBRETTOS  1031 

Lo  sposo  di  tre  e  marito  di  nessuna — Continued. 

Three  acts.  Cast.  No  composer  mentioned,  but  Schatz  and  Florimo  attribute  the 
music  to  Pasquale  Anfossi,  Pietro  Gu^lielmi,  and  Giuseppe  Giordano.  The  text 
is  a  very  much  altered  version  of  the  Vienna  (1768)  ed.  of  "Lo  sposo  di  tr5,"  and  in 
Neapolitan  dialect.  One  distinguishing  difference  is  that  it  no  longer  contains  the 
famous  "Son  gi^  tr^  d\  che  Nina." 

First  performed  at  Naples,  Teatro  del  Fondo,  1781,  as  indicated.         Schatz  285 

Lo  sposo  di  tre,  e  marito  di  nessuna.  Dramma  giocoso  per 
musica  di  Filippo  Livigni  da  rappresentarsi  nel  nobile  Teatro  di  San 
Samuele  Fautunno  dell  anno  1783  .  .  . 

Venezia,  Gio.  Battista  Casali,  n.  d.     63  p.     17^''™. 

Two  acts.    Cast,  scenario,  and  name  of  the  composer,  Cherubini.    Schatz  1848 

Lo  sposo  di  tre,  e  marito  di  nessuna.  Dramma  giocoso  per 
musica  da  rappresentarsi  nel  Teatro  alia  Scala  la  quaresima,  dell' 
anno  1793  ... 

Milano,  Gio.  Batista  Bianchi,  n.  d.     66  p.     W^'^^. 

Two  acts.  By  Antonio  Palomba,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  and  name  of  Francesco  Gnecco  as  the  composer.  With  the  opera  were  performed 
Giovanni  Monticini's  ballets,  "La  fata  Urgella"  and  "Li  pastori  d'Arcadia."  The 
composers  of  the  music  are  not  mentioned  Schatz  3965 

Lo  sposo  disperato.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustimani  di  S.  Moisd  Fautunno 
dell'  anno  1777. 

[Venezia],  n.  pubL,  n.  d.     63  p.     18'^'^. 

Two  acts.    Cast  and  name  of  Pasquale  Anfossi  as  composer.  Schatz  252 

—  II  zotico  incivilito.  Dramma  giocoso  per  musica,  da  rappresen- 
tarsi nel  Teatro  Elettorale. — Der  civilisirte  bauer.  Ein  scherzhaftes 
singspiel  ... 

Dresda,  n.  puhl,  1792.     ISY"^. 

Two  acts.  Name  of  composer,  Anfossi.  Cast  added  in  pencil.  Text  a  later  ver- 
sion of  "Lo  sposo  disperato."    German  text  faces  Italian. 

First  performed  at  Dresden  on  December  12,  1792.  *  Schatz  253 

Lo  sposo  per  equivoco.  Intermezzo  in  musica  da  rappresentarsi 
nel  nobil  Teatro  Tron  Veronese  di  S.  Ca^siano  Fautunno  delF  anno 
MDCCLXXXIII. 

Venezia,  Pietro  Sola,  n.  d.     50  p.     16Y^- 

Two  acts.  Cast,  scenario,  and  name  of  Pasquale  Anfossi  as  composer,  but  not  of 
librettist,  who  is  unknown  to  Schatz. 

First  performed  at  Rome,  Teatro  Capranica,  carnival,  1781.  Schatz  277 

Lo  sposo  senza  moglie.     A.  T.  of  Cimarosa's  I  due  supposti  conti. 

Sprigs  of  laurel:  a  comic  opera.  In  two  acts.  As  performed,  with 
universal  applause,  at  the  Theatre-Royal,  Covent-Garden.  Written 
by  JohnO'Keeffee[!l  .  .  . 

London,  H.  S.  WoodfaU,  1793.    3  p.  ?.,  47  p.    20'^'^. 

Cast,  author's  dedication,  dated  April  6,  1793,  and  "A  card,"  dated  Brompton, 
Mav  21,  1793,  which  reads: 

Mr.  O'Keefe  owes  his  first  thought  of  writing  this  piece,  to  a  circumstance  he  had 
heard  of  a  centinel  quitting  his  post,  to  follow  the  detachment  from  the  Guards  when 
it  embarked  at  Greenwich:  But  whether  a  factj  or  fiction,  he  is  happy  if  it  has  afforded 
any  pleasure  from  the  popularity  of  the  occasion,  the  sweet  melodies  of  Mr.  Shield, 
and  the  zealous  exertion  of  the  respective  performers."     Longman  &  Broderip's 


1032  LEBRABY  OF  CONGEESS 

Sprigs  of  laurel — Continued. 

vocal  score  Bays:  "Consisting  of  German,  Scotch,  Irish,  and  English  airs,  one  by  a 
nobleman  and  others  by  Handel,  Anfossi,  and  Shield." 

First  performed,  as  indicated,  May  11,  1793,  and,  according  to  Genest,  in  an  altered 
version  as  "The  rival  soldiers,"  at  the  same  theatre,  May  17,  1797.        Longe  225 

—  Sprigs  of  laurel:    a  comic  opera,  in  two  acts.     As  performed, 
with,  universal   applause,    at   the   Theatre   Royal,   Covent-Garden. 
Written  by  John  O  Keefe  ...     A  new  edition. 
London,  G.  WoodfaU,  1794.    3  y.  I,,  47,  {1\  f.    20^'^, 
Same  cast,  dedication,  and  "card."  ML  50.2.S74S3 

The  Spring.     Pastoral  as  it  is  now  performing  at  the  Theatre  Royal 
in  Drury  Lane.     The  music  by  Mr.   Handel,   and  other  eminent 
masters  .  .  . 
London,  T.  Davies,  n.  d.     16  p.     21^'^. 

Two  acts.  Text  by  James  Harris,  who  is  not  mentioned  in  the  Advertisement, 
which  reads: 

"As  this  pastoral  was  not  originally  designed  for  the  theatre,  it  is  thought  proper  to 
give  the  public  some  account  of  it,  and  by  what  means  it  has  now  found  its  way  to 
the  stage. 

"The  chorusses  and  airs  were  selected  from  Mr.  Handel  and  several  other  eminent 
masters,  by  a  gentleman  whose  taste  and  knowledge  in  music,  is  perhaps  his  least 
merit. 

"Having  conceived  the  design  of  a  musical  entertainment  of  this  miscellaneous 
nature,  he  found  himself  obliged,  in  order  to  introduce  the  several  airs  and  chorusses 
with  propriety,  to  connect  them  by  a  recitative  of  his  own  composition :  This  naturally 

Eroduced  a  kind  of  little  drama;  and  the  ease  and  elegance  of  the  whole,  is  the  more  to 
e  admired,  when  it  is  considered  that  the  words  were  of  necessity  composed  in  perfect 
subservience  to  the  music. 

"The  piece  has  been  several  times  performed  at  Salisbury,  and  been  greatly 
admired  by  many  of  the  first  rank  and  other  acknowledged  judges  of  music.  The 
author,  upon  Mr.  Norris  (who  performed  a  capital  part  in  the  pastoral)  being  engaged 
at  the  theatre,  was  applied  to  lor  leave  to  bring  it  on  the  stage,  to  which,  he  has  most 
obl^ingly  given  his  consent  .  .  ." 

The  text  is  the  same  as  of  "  Daphne  and  Amaryllis,"  17G6  (Longe  293). 

First  performed  at  Drury  Lane  October  22,  1762.  ML  50.2.S743H2 

The  springs  glory,  a  maske.     Together  with  sundry  poems,  epi- 
grams, elegies,  and  epithalamiums.     By  Thomas  Nabbs. 
London,  Printed  hy  J.  Dawson,  1639.     61  unnumbered  p.     17ii''^. 

Second  ed.  Includes  his  "A  presentation  intended  for  the  Prince  his  Highnesse 
on  his  birthday  the  29  of  May  1638, "  partly  to  be  sung  and  danced.  The  text  of  the 
masque  is  preceded  by  Thomas  Nabbes'  dedication  to  "Guglielmo  Balle  [William 
Ball]  filio  natu  majori  Petri  Balle  armigeri"  (therefore  not  dedicated  to  Peter  Ball!), 
a  dedicatory  poem  by  "C.  G.  Oxon"  to  Nabbes  and  one  by  Robert  Chamberlaine  to 
Nabbes.    No  allusion  to  a  composer  is  made.    No  performance  recorded  by  Clarence. 

ML  52.2.S76 

Spurio  Postumio.  Drama  per  musica  da  rappresentarsi  nel  famo- 
sissimo  Teatro  Grimani  di  San  Gio.  Grisostomo  il  carnovale  dell' 
anno  1712  ... 

Venezia,  Marino  Rossetti,  n.  d.     68  p.     15'^. 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Historical  notes, 
cast,  and  scenario.    The  composer,  Carlo  Francesco  Pollaroli,  is  not  mentioned. 

SCHATZ  8320 

Squire  Badger.     See  Ame's  The  sot. 

Die  staats-thorheit  des  Brutus.  A.  T.  of  Kaiser's  Die  klein- 
muehtige  selbst-moerderin  Lucretia. 


OPERA   LIBRETTOS  1033 

The  stage -mutineers:  or,  A  play-house  to  be  lett.     A  tragi-comi- 
farcical-ballad  opera,  as  it  is  acted  at  the  Theatre-Royal  in  Covent- 
Garden.     By  a  gentleman  late  of  Trinity-College,  Cambridge  .  .  . 
London,  Richard  Wellington,  1733.     4  f.  I.,  Jfi  y.     19^"^. 

One  act,  prologue,  and  epilogue.  Cast.  The  airs  used  are  indicated  by  title. 
The  author  is  not  recorded  by  Clarence. 

First  performed,  as  indicated,  October  31,  1733.  Lonoe  262 

The  state  juggler:  or.  Sir  Politick  Ribband.  A  new  excise  opera. 
N.  B.  With  this  opera  is  given  gratis,  Britannia  excisa,  in  two  parts; 
and  the  Excise  Congress,  with  three  emblematical  pictures,  printed  on 
a  large  sheet  of  fine  paper,  fit  to  be  fram'd  .  .  . 

London,  T.  Reynolds,  1733.     1  p.  l,  [7}-43  p.     19'^. 

Three  acts.  In  form  of  a  ballad-opera,  the  airs  of  the  21  songs  in  which  are  indi- 
cated by  title.  The  extras  mention^  in  the  title  are  not  in  this  copy.  No  author 
or  performance  recorded.  Lonoe  136 

The  state  of  innocence,  and  fall  of  man:  an  opera.    Written  in 
heroick  verse;  and  dedicated  to  Her  Royal  Highness  the  Dutchess. 
By  John  Dryden    .  .  . 
London,  Printed  iy  E.  H.  for  H.  Herringman,  1684-    8  p.  I.,  38, 

[2]  p.    22^"^. 

"The  author's  apology  for  heroick  poetry,  and  poetick  licence"  ([8]  p.  preceding 

&.  1)  contains  first  Dryden's  reasons  for  publishing    an  opera  which  was  never  acted." 
ne  of  them  was  hia  desire  to  protect  his  reputation  as  a  poet: 
"many  hundred  copies  of  it  being  dispers'd  abroad,  without  my  knowledge  or 
consent;  so  that  every  one  gathering  new  faults,  it  became  at  length  a  Ubel  against 
me  ..." 

This  treatise  is  preceded  by  a  poem  "To  Mr.  Dryden,  on  his  poem  of  Paradise" 
and  by  Dryden's  dedication.  At  the  end  a  two-page  publisher's  catalogue.  No 
mention  is  made  of  a  composer  or  of  a  performance  and  none  are  recorded. 

ML  50.2.S745 

Ther  statesman's  opera.     A.  T.  of  The  patron. 

The  statesman  foil'd.  A  musical  comedy  of  two  acts.  Performed 
at  the  Theatre  Royal  in  the  Hay-Market.  The  musick  composed  by 
Mr.  Rush. 

London,  T.  BecTcet  and  co.,  1768.    2  p.  I.,  42  p.^   19^"^. 

Two  acts.    By  Robert  Dossie,  who  is  not  mentioned.     Cast. 

First  performed  July  8,  1768,  as  indicated.  Longe  37 

Statira.  Dramma  di  tre  atti  per  musica  rappresentato  per  la  prima 
volta  in  Venezia  I'anno  MDCCXL. 

Carlo  Goldoni,  Opere  teatrdli,  Venezia,  Zatta  ejigli,  1788-96,  v.  36, 
[205}-247  p.     18^"^-  PQ 

The  earliest  setting  recorded  by  Schatz  is  that  by  Pietro  Chiarini  for  Venice, 
Teatro  di  San  Samuele,  spring  1741. 

Statira. 

Apostolo  Zeno,  Poesie  drammatiche.    Venezia,  1744t  '•  *>  P-  {205]-288. 

Three  acts.  Argument.  Written  in  collaboration  with  Pietro  Pariati.  No  com- 
poser is  mentioned.  In  the  "Catalogo"  at  end  of  vol.  x  date  and  place  of  first  ed. 
la  given  as  Venice,  1706,  but  see  Gasparioi's  opera  below.  ML  49.A2Z3 


1034  LIBRARY   OF   CONGRESS 

Statira — Continued. 

—  Statira.     Pubblicata  per  la  prima  volta  in  Venezia  1706. 
Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ix,  p.  %79- 

359.     21"'^. 

Three  acts.  Argument.  No  composer  is  mentioned.  Written  in  collaboration 
with  Pietro  Pariati.  ML  49.A2Z4 

Statira.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  dell' 
lUustriss.  Signori  Capranica  Tanno  1726  .  .  . 

Roma,  Rossi,  n.  d.     64  p.     15'^^. 

Three  acts.  By  Apostolo  Zeno  and  Pietro  Pariati,  who  are  not  mentioned.  Dedi- 
cation by  Giuseppe  rolvini  Falliconti,  argument,  cast,,  scenario,  and  name  of  Tom- 
maso  Albinoni  as  composer  of  the  opera  and  of  the  intermezzi  ("ed  6  questa  la 
settantesima  opera  da  lui  posta  in  musica").  Schatz  98 

Statira.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron  di 
S.  Cassano  il  carnovale  dell'  anno  MDCCV  .  .  . 

Venezia,  Marino  Rossetti,  1705.     60  p.     l^Y'^- 

Three  acts.  Neither  the  authors,  Zeno  and  Pariati,  are  mentioned,  nor  the  com- 
poser, Carlo  Francesco  Gasparinl.  Dedication  dated  Venice,  February  2,  1705, 
argument,  and  scenario.  Schatz  3582 

—  Le  regine  di  Macedonia.  Drama  per  musica  da  rappresentarsi 
nel  famoso  Teatro  di  S.  Bartolomeo  in  quest'  anno  1708  .  .  . 

Napoli,  Salvatore  Votto,  n:  d.     5  p.  I.,  66,  [1]  p.     IJ^'^'^. 

Three  acts.  Impresario's  dedication,  notice  to  the  reader,  argument,  cast,  and 
scenario.  Is  Zeno  and  Pariati's  "La  Statira"  as  altei%d  by  Carlo  de  Pretis.  The 
usual  excuse  is  made  to  the  "Amico  Lettore,"  in  which  notice  Giuseppe  Vignola  is 
named  as  the  composer  of  the  additional  matter.  Gasparinl  is  not  mentioned  at  all. 
A  most  unusual  feature  of  this  libretto  is  that  on  the  additional  page  the  arias  by 
Giuseppe  Vignola  are  enumerated  by  first  line,  i.  e.  (Act  I)  "Dalle  pupille  della 
mia  bella,"  "Si,  si  consolami,"  "Fiero  addio";  (Act  II)  "Pupille  del  mio  bene," 
"Disperato  questo  core,"  "Co  i  lacci  del  tuo  amor  ;  (Act  III)  "Di  morte  non  cura  il 
rigore,"  "Si  godi,  o  cor,"  "Bella  mi  parto,"  "Cari  saesi,"  "Scherza  ridi,"  "Aure 
belle,"  "e  tutte  le  scene  buffe."  Schatz  3583 

Statira.     Dramma  per  musica  del  dottor  Carlo  Goldoni.     Da  rap- 

f)resentarsi  nel  Teatro  di  Sant'  Angelo.     Nella  fiera  dell'  Ascensione 
'anno  1751. 
Venezia,  Modesto  Fenzo,  1751.     45  p.     14^"^- 
Three  acts.    Argument,  cast,  scenario,  and  note  that 

"La  musica  de'  recitativi  con  alcune  arie  segnate  con  la  stelletta*  ear^del  Signer 
Francesco  Maggiore  maestro  di  capella  napolitano,  e  direttore  dell'  opera.  L'altre 
arie  saranno  poste  a  piacimento  de  cantanti. 

Accordingly,  Maggiore  composed  only  the  arias  "Fidi  amanti  fortunati  (III,  4), 
"Al  caro  Nume  appresso "  (III,  5)  and  no  others.  .  Schatz  5832 

Statira.     Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S?  Gio.  Grisostomo  il  carnevale  1742  .  .  . 
[Venezia],  n.  publ.,  n.  d.     59  p.     15'^"^. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Argument,  scenario, 
cast,  and  name  of  Nicole  Antonio  Porpora  as  the  composer.  Schatz  8364 

La  Statira.  Dramma  per  musica  recitato  nel  Teatro  di  Torre  di 
Nona.     L'anno  1690. 

Roma,  Gio.  Francesco  Buagni,  1990  [!].     68  p.     IS^"^. 

Three  acts.  By  cardinal  Ottoboni,  who  is  not  mentioned.  Impresario's  dedica- 
ion,  argument,  and  scenario.  The  composer,  Alessandro  Scarlatti,  is  not  men- 
tioned. Schatz  9536 


OPERA  LIBRETTOS  1035 

Statira.  Dramma  per  musica  del  dottor  Carlo  Goldoni  da  rappre- 
sentarsi  nel  Teatro  Grimani  di  S.  Samuele  nella  fiera  delF  Ascensione 
ranno  MDCCLVI  .  .  . 

Venezia,  Francesco  Pitteri,  n.  d.     Jfi  p.     15Y'^. 

Three  acts.    Argument,  cast,  scenario,  name  of  Giuseppe  Scolari  as  composer, 
and  Goldoni's,  as  always,  charming  dedication  "alle  nobilissime  dame  Veneziane, 
in  which  he  says : 

"AUora  quando  (Eccellentissime  dame)  su  queste  scene  medesime  fu  per  la  prima 
volta  rappresentata  la  mia  Statira,  nell'  anno  1741,  queeto  piccolo  dramma  era  parto 
d'un'  uomo  che  dir  potevasi  principiante,  e  da  pochissimi  conosciuto  .  .  .  Non  mi 
sarei  mai  creduto  vederla,  dopo  il  corso  di  quindici  anni,  tratta  dall'  urna  delle  opere 
dimenticate,  per  far  la  nuovamente  comparir  sul  teatro.  So  chi  mi  ha  fatto  si  bel 
regalo;  non  ho  potuto  impedirlo,  ma  non  vuo  nemmeno  dissimulare  la  dispiacenza, 
che  ne  risento.  Ora  quell'  uomo,  incognito  nel  1741,  h  conosciuto  un  po  troppo  per 
6U0  malanno,  e  se  in  allora  quest'  operetta  ebbe  la  fortuna  che  di  lei  si  parlasse  poco, 
ora  chi  sa,  che  di  lei  non  si  parli  troppo?  ...  II  zelo  dunque  di  mia  reputazione,  il 
rispetto,  che  devo  al  pubblico  ...  mi  hanno  stimolato  a  rivederlo,  ad  accrescerlo,  a 
rifrormarlo,  cosicch^  poco  del  primo  scheletro  vi  h  rimasto  .  .  . 

"Aggiugnesi  alle  altre  imperfezioni  di  questo  dramma  quella  di  essere  in  cinque 
personaggi  soltanto,  per  accomodarsi  alia  orevit^  ricercata  dalla  stagione.  Ma  ci5 
sarebbe  il  minor  male,  se  fosse  poi  ben  tessuto,  e  dolcemente  scritto;  io  non  so  fare 
nell'  una,  n5  i'altra  di  queste  due.  Quando  scrivo  per  musica  I'ultimo,  a  cui  pensi, 
son'io  medesimo.  Penso  agli  attori,  penso  al  maestro  di  capella  moltissimo,  penso 
al  piacere  degli  uditori  in  teatro,  e  se  i  miei  dram  mi  si  vedeeeero  rappresentate  sol- 
tanto, e  non  venissero  letti,  spererei  migliore  destino  ..."  Schatz  9799 

La  Statira  principessa  di  Persia.     Drama  per  musica  impiego  di 

here  otiose  di  Gio.  Francesco  Busenello  .  .  . 

Venetixi,  Andrea  Givliani,  1655.     94  p-  {incl.  front.)     Ij^Y^- 

Three  acts  with  prologue.     Long  author's  dedication  dated  Venice,  January  18, 

1655,  with  name  of  rietro  Francesco  CavaUi  as  composer,  and  argument. 

First  performed  at  Venice,  Teatro  di  SS.  Giovanni  e  Paolo,  as  indicated,  carnival 

1655.  ScHATZ  1728 

—  La  Statira,  principessa  di  Persia.  Drama  per  musica  di  Gio. 
Francesco  Busenello. 

Venetia,  Andrea  Giuliani,  1656.     70  p.     15'^'^. 

Prologue  and  three  acts.  Argument.  The  composer,  Francesco  Cavalli,  is  not 
mentioned.  Schatz  11682 

La  statua  animata,  ballet.     See  Piccinni's  La  scaltra  letterata. 

La  statua  matematica.     O.  T.  of  Valentini's  Le  sorelle  rivali. 

La  statua  per  puntiglio.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  nobilissimo  Teatro  Giustimani  in  San  Moisd  il  carnovale 
deir  anno  1792. 

Venezia,  Modesto  Fenzo,  1791.     55  p.     17""^. 

Two  acts.  Cast,  scenario,  and  name  of  composer.  Bemardini  (Marcello  di  Capua), 
but  not  of  librettist,  who  is  unknown  to  Schatz.  Schatz  835 

Le  statue.  Dranuna  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  S.  Samuele  per  il  carnovale  1757. 

YenezHa,  Modesto  Fenzo,  1757.     60  p.     IS*""^. 

Three  acts.  Cast  and  scenario.  Wiel  mentions  neither  librettist  nor  composer. 
Schatz  attributes  text  and  music  to  Frahcesco  Brxisa. 

First  performed  December  27,  1757,  as  indicated.  Schatz  1378 

La  statue  animee.     A.  T.  of  Pannard's  text  Pigmalion. 


1036  LIBRARY   OF   CONGRESS 

La  statue  merveilleuse.  Pi^ce  en  trois  actes.  Tir^e  de  I'arabe  .  .  . 
Le  Theatre  de  lafoire,  Paris,  1724,  t.  iv,  pi,  94  p.  17''\ 
By  Le  Sage  and  D'Omeval.  Mostly  en  vaudevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Qillier,  the  "compositeur"  of  the  theatre,  are 
printed  at  the  end  of  the  volume  in  the  "Table  des  airs."  A  note  on  the  title  page 
reads: 

"Cette  pifece  avoit  6t^  compos^e  par  les  auteurs  du  Rappel  de  lafoire  h  la  vie,  pour 
dtre  donnee  avec  ce  prologue  a  rOp^ra-comique,  dont  ils  esp^roient  le  r^tablissement 
k  la  Foire  de  S.  Germain  1719.  Mais  ce  spectacle  demeurant  supprim^,  ils  la  firent 
repr&enter  en  prose  par  la  troupe  des  danseurs  de  corde  du  Sieur  Francisque,  qui,  ne 
ee  voyant  pae  inquitee  par  les  Com^diens,  la  joila  ^  Foire  de  S.  Laurent  1720." 

ML  48.L2IV 

Alien  und  gesaenge  aus  Dem  stein  der  weisen,  oder  Die  zauberinsel. 
Eine  heroisch-komische  oper  in  zwey  aufzuegen. 

FrankfuH  am  Main,  1796.     28  p.     W^"". 

Neither  the  author,  Johann  Emanuel  Schikaneder,  nor  the  composer,  Benedict 
Schack,  is  mentioned. 

First  performed  at  Frankfurt  a/M.  Nationaltheater,  1796;  at  Vienna,  Theater  auf 
der  Wieden,  September  11,  1790.  Schatz  9570 

Arien  und  gesaenge  aus  dem  singspiele  Die  steinerne  braut.     Ver- 
fasst  und  in  musik  gesetzt  vom  ireyherrn  von  Lichtenstein. 

Dessau,  n.  pull.,  1799.     Unpaged.     16^'^. 

Two  acts.    At  end,  "Gedruckt  bey  H.  G.  Heybruch." 

First  performed  at  Dessau,  Hoftheater,  April  25,  1799.  Schatz  5599 

Der  steinerne  gast.     A.  T.  of  Mozart's  Don  Juan. 

Das  steinerne  gastmahl  oder  Der  ruchlose.     Tr.  of  Righini's  II 
convitato  di  pietra  o  sia  II  dissoluto. 

Der   sterbende    Cato.     A.    T,    of   Reiser's    Die   liebe   gegen    das 
vaterland. 

Die  sterbende  Eurydice  oder  Orpheus.     L.  T.  of  Reiser's  Orpheus. 

Stoertebecker  und  Joedge  Michaels.     Erster  theil,  vorgestellet 
in  einem  singe-spiel  auff  dem  Hamburgischen  Schau-platz. 
Hamburg,  Nicolaus  Spieringlc,  1701.     Unpaged.     18Y^. 

Three  acts.  "Vorbericht,"  mentioning  neither  the' author,  Hotter,  nor  the  com- 
poser, Reinhard  Keiser. 

FvcBt  performed,  as  indicated,  1701.  Schatz  5111 

—  Stoertebecker  und  Joedge  Michaels.     Zweyter  theil,  vorge- 
stellet in  einem  singe-spiel  auf  dem  Hamburgischen  Schau-platz. 

Hamburg,  Nicolaus  Spieringlc,  1701.      Unpaged.     ISY'^. 

Three  acts.    Neither  Hotter  is  mentioned,  nor  Keiser. 

First  performed,  as  indicated,  1701.  Schatz  6112 

Den  store  Tamerlan.     Tr.  of  Sarti's  U  gran  Tamerlano. 

Der  strafplanet  der  erde.     A.  T.  of  Blumhofer's  Die  luftschiffer. 

Lo  strambo  in  berlina.     L.  T.  of  Paisiello's  La  locanda. 


OPERA  LIBRETTOS  1037 

The  strangers  at  home;  A  comic  opera,  in  three  acts.  As  per- 
formed at  the  Theatre  Royal  in  Drury  Lane  [vignette]. 

London,  Harrison  <&  co.,  1786.     80  p.     21'^'^. 

Cast,  dedication  by  the  author,  Jamea  Cobb,  dated  London,  February  22,  1786,  and 
Advertisement,  with  name  of  Thomas  linley  as  the  composer. 

First  performed  December  8,  1785,  as  indicated.  Longe  96 

Die  strassenraeuber,  eine  komische  oper  in  drey  aufzuegen.  (Zum 
behuf  des  Hamburgischen  Theaters.) 

Hamburg  und  Bremen,  JoTiann  Henrich  Cramer,  1770.  126  p. 
16^"^. 

By  E.  E.  Buschmann,  who  is  not  mentioned  and  who  on  p.  105-126  in  an  "An- 
hang"  calls  hia  play  "eine  kopie  der  beruehmten  Bettlers-oper, "  pointing  out  the 
differences  between  his  version  and  Gay's  original  and  the  reasons  therefor  and 
adding  a  few  historical  notes  on  the  "Beggar's  opera."  No  composer  or  performance 
recorded  by  Schatz.  ML  50.2.S746 

Les  stratagemes  de  I'amour,  ballet  represent  e  par  1' Academic 
royale  de  musique  I'an  1726.  Musique  de  M.  Destouches.  Paroles 
de  M.  Roy.     CVI.  opera.     Tome  XIV. 

n.  %.,  n.  d.  pi.,  p.  1-60.  (Recueil  general  des  operas,  Paris,  173^.) 
14<=^. 

Detached  copy.  Three  acts  and  prologue  with  " Avertisaement "  as  argument  with 
this  statement  (on  p.  7): 

"Le  prologue  a  ete  fait  pour  le  mariage  de  Leurs  Majestez.  On  a  place  Le  Roy  au 
milieu  de  ses  plus  c^lebres  prMecesseurs  qui  doivent  revivre  en  Luy." 

First  performed,  as  indicated,  March  28,  1726.  Schatz  2551 

Second  copy.    ML  48.R4 

Li  stratagem!  amorosi.     Dramma  per  mnsica  da  rappresentarsi 
nel  Teatro  Giustiniano  di  S.  Moise.     II  carnovale  deU'  anno  1730. 
Venezia,  Carlo  Buonarrigo,  1730.     1^8  p.     15'^'^. 

Three  acts.  Ai^ument,  cast,  scenario,  notice  to  the  reader  with  name  of  Tommaso 
Albinoni  as  composer  and  establishing  Francesco  Passarini  as  author.    Schatz  131 

Gli  stratagem!  di  Biante. 

By  conte  Nicola  Minato,  composed  by  Antonio  Draghi  for  the  birthday  of  the 
Empress,  January  6,  1682,  with  insertion  of  arias  by  Leopold  I. 
Not  in  L.  of  C. 

—  Kriegs-liste  dess  Bias.  An  dem  geburts-tag  Ihrer  Mayest.  der 
regierenden  roemischen  kaiserin  Eleonora  Magdalena  Theresia  .  ,  . 
Gesungener  vorgestellt.  In  die  music  gesezt  durch  herrn  Antoni 
Dragi,  der  verwittibten  Kayserl.  Mayest.  capellmeistern.  Mit  der 
music  zu  den  daenzen  herrn  Andre  Antoni  Schmelzer  von  Ehrenruef 
der  Roem.  Kayserl.  Mayest,  Cammer  musici. 

Wienn,  hey  JoTiann  Christoph  Cosmerovio,  1682.     80  p.     14^"^- 
Three  acts.     With  dedication,  dated  "Wienn,  den  6  jenner  1682"  and  signed 
Nicola  Minato.  "Inhalt,"  "Unterredente  persohnen,"  " Veraenderungen  der  Scnau- 
buehne"  (by  Lodovico  Bumacini)  and  "Daenze"  (arranged  by  the  imperial  ballet 
master,  Domenico  Ventura).     On  p.  10: 

"Zu  mercken 
Daes  die  Reden,  sozwischen  disen  zwey  zeichen  (     )  begriffen  seyn,  von  niemand 
andem  verstanden  werden,  als  nur  von  dem,  der'^e  selbst  saget." 

Schatz  2802 


1038  LIBRARY  OP  CONGRESS 

Stratira.  Tragedia  di  Silvestro  Branchi  da  Bologna,  detto  il  Cos- 
tante,  nell'  Accademia  de  'Ravvivati  .  .  .  Rappresentata  dalli 
Accademici,  con  gl'intermedii  dell'  istesso.  Fatti  in  musica  dal  Sig. 
Ottavio  Vemici,  organista  di  S.  Petronio. 

Bologna,  Gio.  Domenico  MoscateUi,  1617.     6  p.  h,  231,  [1]  p.     18^"^. 

The  last  page  contains  the  errata. 

Prologue  and  five  acts  with  five  intermedi.  Author's  dedication  dated  September 
2,  1617,  Bonnets  by  the  author  "alia  sua  tragedia,"  and  to  cardinal  Capponi,  to  whom 
the  text  is  dedicated,  by  Paolo  Forti  to  the  author,  by  the  latter  to  tne  "signori  pro- 
tettori  nel  recitarsi  la  sua  tragedia,"  argument  and  notice  to  the  reader  containing 
this  protesta,  certainly  one  of  the  earliest  on  record : 

"  E  dove  si  ritroveranno  in  queeto  mio  poema  le  voci  fate^  sorti,  Dei,  etemo,  Angelo, 
&  simili  ei  devranno  intendere  conforme  al'  uso  poetico;  imperoche  io  voglio  sotto- 
ponermi  sempre  ^  I'ubbidienza  de  la  santa  Romana  Chiesa  ..." 

It  is  remarkable  how  this  agrees  with  the  later  on  so  stereotyped  formulas  of 
protesta.  Schatz  10714 

Stratonica.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  San 
Bartolomeo  nella  primavera  del  corrente  anno  1727  .  .  . 

Napoli,  Angelo  Vocola,  n.  d.     48  p.     15\'^^. 

Three  acts.  Publisher's  dedication,  scenario,  cast,  and  notice  to  the  reader,  in 
which  we  read : 

"Se  diverso  dal  suo  primo  essere,  ti  yerr^  sotto  I'occhio,  il  presente  drama,  sappi, 
che  si  h  fatto  per  meglio  accomodarsi  agli  attori,  h.  liberta  de  quali  s'6  lasciato  il  poner 
I'arie  h.  loro  sodisfazione,  e  sono  tutte  quelle  contrasegnate  con  il  presente  asterisco  *, 
I'altre  si  sono  fatte  dipianta,  non  gi^  per  pregiudicare  il  suo  degnissimo  autore  [Anto- 
nio Salvi?];  vah,  solo  per  incontrare  il  genio  de'  rappresentanti,  e  questo  si  k  fatto  dal 
Sig.  Carlo  de  Palma  ..." 

Accordingly  the  arias  "T'inganna  il  tuo  pensier"  (II,  6),  "In  sen  piii  non  scin- 
tilla," (III,  4),  etc.,  were  selected  by  the  singers  for  this  pasticcio.  On  p.  19-23, 
35-39  the  text  of  two  intermezzi  with  the  characters  "  Valasco  e  Vespetta."  Author 
and  composer  of  these  also  imknown  to  me.  ML  50.2.S75 

Lo  stravagante.     O.  T.  of  Villano's  libretto  II  pazzo  glorioso. 

Lo    stravagante.     Commedia   per   musica   da   rappresentarsi   nel 
Teatro  de'  Fiorentini  nel  carnevale  di  quest'  anno  1764. 
Napoli,  Vincenzo  Mazzola- Vocola,  1764-     71  p.     15''^. 

Three  acts.  By  Liviano  Lantini  (recte  Antonio  Villano)  who  la  not  mentioned. 
Cast  and  name  of  Nicol6  Piccinni  as  the  composer. 

First  performed  at  Naples,  same  theatre,  fail  of  1761.  Schatz  8130 

Lo  stravagante  Inglese.  Dramma  gjocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Ducale  di  Bronsvic. 

Bronsvic,  n.  puhl,  1788.     72  p.     16^"^. 

Two  acts,  with  name  of  the  composer,  Francesco  Bianchi,  but  not  of  the  librettist, 
Giovanni  Greppi. 

First  performed  at  Venice,  Teatro  di  S.  Moisfe,  fall  of  1785.  Schatz  983 

Gli  stravaganti.     Farsetta  ;per  musica  a  quattro  voci  da  rappresen- 
tarsi nel  Real  Teatro  dell'  Ajuda  per  ^li  anni  felicissimi  di  S.  M.  F. 
Don  Giuseppe  Primo  nel  giorno  6.  di  giugno  del  1765. 
Lishona,  Michele  Maneschal  da  Costa,  n.  d.     4  p.  I.,  52  p.     15^^' 
Two  acts.    Cast,  scenario,  and  name  of  Niccol5  Piccinni  as  the  composer.    Author 
not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Rome,  Teatro  Valle,  January  1,  1764.  Schatz  8144 


OPEKA   LIBRETTOS  1039 

Gli  stravaganti — Continued. 

—  Gli  stravaganti.  Intermezzo  in  musica  con  fai-setta  in  prosa 
intitolata  La  falsa  gelosia.  Da  rappresentarsi  nel  Teatro  de'  Fioren- 
tini  nell'  esta  di  quest'  anno  -1772  ... 

NapoU,  Vincenzo  Flauto,  1772.     70  p.     ^5«™. 

Two  parts.  Impresario's  dedication  and  cast.  The  composer,  Niccol5  Piccinni, 
is  not  mentioned .  The  text  is  the  same  as  of  his  ' '  La  schiava  riconosciuta, ' '  of  course, 
with  the  usual  changes  in  the  arias.  Schatz  8112 

—  La  schiava.  Azione  comic  a  per  musica  da  rappresentarsi  nel 
Teatro  privilegiato  vicino  aUa  corte  I'anno  1765. 

Vienna,  Ghelen,  n.  d.     44  V-     16'^'^ - 
Two  acts.     Cast  and  name  of  Niccol6  Piccinni  as  the  composer.        Schatz  8151 

—  La  schiava.  Azzione  comica  in  musica,  da  rappresentarsi  nel 
Picolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  Vautunno  del  anno  1765,  n.  publ.     3  p.  I.,  94  p.     15'^'^. 

Two  acts.  Cast  and  name  of  Niccolo  Piccimii  as  the  composer.  German  title-page, 
"Die  gefangene,"  and  text  face  Italian. 

First  performed  October  15,  1765,  as  indicated.  Schatz  8110 

—  La  schiava,  a  comic  opera;  as  performed  at  the  King's-Theatre 
in  the  Hay-Market.  The  music  by  Signor  Piccini,  directed  by  Signor 
Tomaso  Giordani.  With  additions  and  alterations,  by  Giovan 
Gualberto  Bottarelli. 

Lcmdon,  W.  Griffin,  1772.     59,  [1]  p.     18<^^. 

Three  acts.     Cast.     English  translation  faces  Italian. 

First  performed  at  London,  Hay-Market,  under ^the  above  title,  on  November  5, 
1767;  under  the  original  title,  "Gli  stravaganti,"  but  with  much  interpolated  music 
by  other  composers,  October  21,  1766.  ML  50.2.S85P4 

—  La  schiava  riconosciuta.     Dramma  giocoso  per  musica  da  rap- 

Eresentarsi  nel  Teatro  dell'  illustrissimo  pubblico  di  Reggio  per  la 
era  dell'  anno  MDCCLXX  .  .  . 
Reggio,  Giuseppe  Davolio,  n.  d.     56  p.     14Y^- 

Three  acts.  Dedicatory  poem  by  the  impresario,  Francesco  Guatelli,  cast,  and 
name  of  Niccol6  Piccimii  as  the  composer. 

April  29,  1770,  is  given  as  the  date  of  first  performance  in  the  libretto,  which  is 
(with  the  customary  alterations)  the  same  as  "Gli  stravaganti."  Schatz  8109 

—  La  schiava  riconosciuta,  dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Teatro  di  Ratisbona  .  .  . 

[Regenshurg],  Gedruckt  rait  ZunJcelischen  schriften,  n.  d.  Ill  p. 
ISY"^. 

Two  acts.  Cast  and  name  of  Niccol6  Piccinni  as  the  composer.  German  title- 
page,  "Die  wieder  erkannte  sclavin,  and  text  face  Italian. 

First  performed,  as  indicated,  carnival,  1777.  Schatz  8111 

—  L'esclave,  ou  Le  marin  g6n6reux,  intermede  en  un  acte,  r^dig6 
de  I'italien,  at  represent 6  en  province.  La  musique  est  de  M.  N. 
Piccini  .  .  . 

Aux  Deux-Ponts,  et  se  trouve  d,  Paris,  cTiez  la  veuve  Duchesne,  1174' 
52  p.     18Y'^. 

The  "Notes"  on  p.  3-5  give  the  plot  of  "tout  ce  fatrae  qu'on  nommoit  les  Extrava- 
gans."  The  anonymous  translator  and  editor  waxes  very  sarcastic  over  this  kind  of 
Italian  dramas,  made  "on  dit  .  .  .  pour  la  pKipart,  par  des  pemiquiers,"  and  he 


1040  LIBRARY  OF   CONGRESS 

Gli  stravaganti — Continued. 

briefly  states  his  reasons  for  his  own  one-act  version.  He  begins  his  "Notes"  with 
these  remarks: 

"Ces  eepeces  de  traductions  devroient  ^tre  moins  rares:  outre  qu'elles  rendroient 
notre  scene  lyrique  plus  vari^e,  elles  empficheroient  les  larcins  continuels  d'une 
partie  de  nos  musiciens,  &  aiguil  loueroient  I'emulation  de  I'autre." 

On  p.  38-52,  the  airs:  "A  votre  Hge,  ce  langage"  (sc.  2),  "Loin  de  son  berger" 
(sc.  6),  "En  amour  un  tel  hommage"  (x  8). 

First  performed  at  Zweibriicken,  Theatre  de  Soci^t^,  1774.  Schatz  8114 

—  Die  ausschweifenden,  ein  komisches  singspiel,  welches  bei 
Gelegenheit  des  hoechstbeglueckten  namens  festes  der  durchlauch- 
tigsten  frauen  churfuerstin  an  dem  Churpfaelzischen  Hof  aufge- 
fuehret  worden. 

Mannheim,  Akademische  hucMntckerey,  1771.     54  p.     15*^. 

Two  acts.    Niccol6  Piccinni  is  mentioned  as  the  composer. 

First  performed  November  19,  1771,  as  indicated.  Schatz  8113 

—  Arien  aus  der  oper  Der  grossmuethige  seefahrer. 

71.  i.,  n.  d.     [8]  p.     16^"^. 

Eschenburg's  version  of  "Gli  stravaganti."  Schatz  8117 

—  Die  sclavin  und  der  grossmuethige  seefahrer.  Eine  operetta 
nach  dem  italiaenischen.     Die  musik  ist  von  hrn.  Piccini. 

Mannheim,  C.  F.  Schwan,  1773.     72,  U]  p.     1^^^. 

The  unnumb.  p.  contain  advertising  matter. 

One  act.  Translated  by  Johann  Joachim  Eschenbxii^,  who  is  not  mentioned. 
He  says  in  his  preface: 

"Die  italiaenische  operette  eelj^st  [Gli  Stravaganti,  perf.  there  1772]  hat  mit  gegen- 
waertiger  auseer  der  aulage,  die  ueberhaupt  nicht  viel  sagen  will,  sehr  wenig  aehn- 
liches.  Man  hat  nur  die  musik  nutzen  woUen  und  ist  also  von  dem  original  so  oft 
abgewichen,  als  es  der  deutsche  plan  zu  erfordem  schien.  Ein  hiesiger  geschickter 
theatraldichter  machte  zuerst  eine  franzoesische  nachahmung,  die  auch  mit  der 
musik  gestochen  worden;  diese  ist  gewissermassen,  besonders  was  die  arien  betrift, 
hier  zum  grunde  gelegt  worden.  Es  wird  immer  zum  voraus  gesetzt,  dass  man  den 
hrn.  Picdni  hoeren  will,  wenn  man  sich  bei  der  vorstellung  dieses  stueckes  einfindet 
imd  nicht  den  dichter,  auf  den  man,  wenn  er  noch  so  harmonisch  gereimt  haette 
kaum  acht  haben  wird. 

"Bey  originalstuecken  geht  der  dichter  voran  iind  der  componist  folgt  ihm.  Bey 
uebersetzungen  aber  und  nachahmungen  muss  sich  der  dicnter  nach  der  bereita 
vorhandenen  musik  bequemen  ..." 

First  performed  at  Mannheim,  Brettertheater  auf  dem  Fruchtmarkt,  by  Theod. 
Marchand's  company,  January,  1773.  Schatz  81 15 

—  Die  sklavinn  und  der  grossmuethige  seefahrer.  Ein  komi- 
sches singspiel,  nach  dem  italienischen  frey  bearbeitet.  Auf  die 
musik  vom  herrn  Piccini.  Von  herrn  Stephanie  dem  juengern.  Auf 
gefiihrt  auf  dem  k.  k.  Nazionalhoftheater. 

Wien,Logenmeister,  1781.     57  p.     16Y'^- 

Two  acts.    First  performed,  as  indicated,  August  1,  1781.  Schatz  8116 

Le  stravaganze  del  case.     Intermezzo  per  musica  a  quattro  voci  da 
rappresentarsi  nel  Teatro  di  S.  Angelo. 
Venezia,  Modesto  Fenzo,  1761. 

Two  parts.  Author  is  not  mentioned  and  is  unknown  to  Schatz.  Cast  and  name 
of  Antonio  [Maria]  Mazzoni  as  the  composer. 

First  performed  at  Bologna,  Teatro  Pubblico,  carnival,  1760.  Schatz  6228 


OPERA  LIBRETTOS  1041 

Le  stravaganze  del  conte.  Commedia  per  musica  di  P.  M.  da  rap- 
presentarsi  nel  Teatro  de'  Fiorentini  nel  camevale  del  coirente  anno 
1772. 

Napoli,  Vincenzo  Flauto,  1772.     71  f.     15'^'^. 

Three  acts.  By  Paaquale  Milillotti.  Scenario,  cast,  and  name  of  the  composer, 
Domenico  Cimaxosa.  Schatz  1986 

Der  streit  der  kindlichen  pflicht  und  der  liebe  oder  Die  flucht 
des  Aeneas  nach  Latien.  In  einer  opera  auf  dem  Hamburgischen 
Schau-platz  aufgefuehret. 

[Hamburg],  Gednickt  mit  Stromerschen  scJirifften,  1731.  Unpaged. 
19<^. 

Three  acts.  Ai^ument  and  names  of  Johann  Georg  Hamann  as  translator  (of 
Metastaeio's  "Didone  abbandonata"),  of  Georg  Philipp  Telemann  aa  composer  of  the 
recitatives,  and  of  Nicole  Antonio  Porpora  as  composer  of  the  "imvergleichliche 
music  der  arien."    These  are  printed  with  Italian  and  German  text. 

The  above  was  first  performed,  aa  indicated,  November  19,  1731;  the  original, 
"Didone  abbandonata,"  at  Reggio,  Teatro  Pubblico,  April  28,  1725.    Schatz  8365 

Die  streitig  gemachte  liebe.     A.  T.  of  Paisiello's  Die  mtillerin. 

Die  streitig  gemachte  liebschaft.  Tr.  of  Paisiello's  L'amor  con- 
trastato. 

Die  streitige  heurath.     Tr.  of  Valentini's  Le  nozze  in  contrasto. 

A  struggle  for  freedom.     A.  T.  of  Keinagle's  Slaves  in  Algiers. 

Lo  studente.  Commedia  per  musica  di  Saverio  Zini  da  rappresen- 
tarsi  nel  Teatro  Nuovo  per  second'  opera  di  quest'  anno  1783. 

Napoli,  n.  puhl,  1783.     J^7  p.     15^-^. 

Three  acta.    Cast  and  name  of  Graetano  Monti  as  the  composer.       Schatz  6604 

I  studenti.  Commedia  per  musica  di  Giuseppe  Palomba  da  rappre- 
sentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  prim'  opera  del 
corrente  anno  1796  .  .  . 

Napoli,  n.publ.,  1796.     52  p.     W"^. 

Two  acts.  Impresario's  dedication  dated  Naples,  May  12,  1796,  cast,  and  name 
of  Gabriele  Prota  as  the  composer.  On  p.  6-14  prefatory  note,  argument,  cast,  descrip- 
tion, and  name  of  Vittorio  Trento  aa  the  composer  of  the  "musica  tutta  nuova"  of 
Lauchelin  Duquesney's  "Ahtor  ed  Erma,  ballo  eroico  in  cinque  atti,"  on  p.  15-17 
argument  and  cast  without  name  of  the  composer  of  the  music  of  Duquesney's  "Er- 
nesto ed  Elisa,  ballo  pastorale."  Schatz  8472 

The  students  whim.     A.  T.  of  Don  Sancho. 
Gli  studi  interotti,  ballet.    See  Salieri's  La  cifra. 

The  sturdy  beggars.     A  new  ballad  opera.     Humbly  dedicated  to 
the  Right  Honourable,  and  Right  Worsnipful,  the  Lord  Mayor  .  .  . 
and  the  worthy  merchants  and  citizens  of  London  .  .  . 
London,  J.  Dormer,  1733.     xii,  [3],  I4-8O  p.     18^-^. 

Three  acts.  The  lengthy  dedication  of  this  political  piece  on  the  Excise  Bill  is 
aigned  Civicus.  The  airs  of  the  29  songs  are  indicated  by  title.  The  author  unknown 
to  Clarence.  Longe  200 

72251°— VOL  1—14 ^6 


1042  LIBRARY  OF  CONGRESS 

Der  stunu.  Eine  heroisch-komische  oper  in  zwey  aufzuegen,  nach 
Schakespear  fuer  die  Marinellische  schaubuehne  bearbeitet,  von 
Karl  Friedrich  Hensler.  Die  musik  ist  vom  herrn  Wenzel  Mueller, 
kapellmeister. 

Wien,  Matthias  Andreas  Schmidt,  1798.    86  p.     17 '^'^. 

Krone  givee  the  title  as  "Der  Sturm  oder  Die  zauberinsel." 

First  performed,  as  indicated,  November  8,  1798.  Schatz  6967 

Der  Sturm  oder  Die  bezauberte  insel.     Ein  sin^piel  in  zwey  aufzue- 

gen.  Nach  dem  Shakespearischen  schauspiel:  Der  Sturm  bearbeitet 
von  J.  W.  D. 

Cassel,  Grieshachsche  hofbuchhandlung,  1798.     100  p.     16'^'^. 

By  Johann  Wilhelm  Doering.    The  composer,  Peter  Bitter,  not  mentioned. 

First  performed  at  Aurich,  1799.  Schatz  8831 

Die  subordination.     A.  T,  of  Walter's  Graf  von  Waltron. 

II  suffi  e  lo  schiavo,  ballet.     See  Calegari's  Artemisia. 

Le  sufiS.sant,  par  M.  Vad6.  Representee  pour  la  premiere  fois  sur 
le  Theatre  de  1  Op6ra-comique,  le  12.  mars  1753. 

Paris,  Duchesne,  1753.     36  p.     18^"^. 

One  act,  en  vaudevilles.    The  arranger  of  the  music  is  unknonii  to  me. 

ML  50.2.S9 

—  Le  suffisant,  opera  comique,  par  Mr.  Vad6.  Represents  pour  la 
premiere  fois  sur  le  Theatre  de  I'Opera  comique  le  12  mars  1753. 

La  Haye,  Pierre  Gosse,  1768.  60  p.  16"'^.  (Vade,  Oeuvres,  La 
Eaye,  1760,  t.  i.) 

One  act,  en  vaudevilles.  ML  49.A2V2 

Les  suites  d'une  erreur.     A.  T.  of  Berton's  Le  deiire. 

La  suite  de  Julie.     See  L'erreur  d'un  moment. 

La  suite  des  Trois  fermiers.     See  Blaise  et  Babet. 

Suite  du  comte  d' Albert.     See  Gretry's  Le  comte  d'Albert. 

Sulpitia.  Drama  per  musica  nel  giomo  del  gloriosissimo  noma 
della  S.  C.  R.  M.*^  dell'  au^stissimo  imperatore  Leopoldo  .  .  . 
I'anno  MDCXCVII.  Posto  m  musica  dal  S'  Antonio  Draghi, 
maestro  di  cap.  di  S.  M.  C.  con  I'arie  per  li  balletti  del  S?  Gio.  Gioseffo 
Hoffer,  violinista  di  S.  M.  C. 

Vienna  d' Austria,  Susanna  Cristina,  vedova  di  Matteo  Cosmerovio, 
n.  d.     90' p.     UY"^. 

Three  acts.  By  conte  Nicola  Minato,  who  is  not  mentioned.  At  end  of  the  opera 
(p.  88-90),  "La  vittoria  d'Ercole  contro  Anteo.  Introduttione  ad  un  real  balletto, 
per  la  licenza."  With  ailment,  scenario  (designed  by  Lodovico  Bumacini).  The 
dances  were  arranged  by  the  imperial  ballet  master  SigT  Francesco  Torti.  The  em- 
peror Leopold  I  contributed  the  arias,  "Taci,  o  core,  "Amor  di  marito,"  and  "O 
Delia  costanza,"  all  three  published  by  Adler,  1892. 

Performed,  as  indicated,  November  15, 1697;  first  performed  at  Vienna,  Hoftheateij 
November  18, 1672.  Schatz  2803 


OPERA   LIBRETTOS  1043 

Sulpizia    fedele.     Dramma    per  musica:     Da   rappresentarsi    nel 

Theatre  Grimani  di  S.  Samuel.  Nella  fiera  dell'  Ascensione  dell' 
anno  1729  ... 

Venezia,  Carlo  Buonarrigo,  n.  d.  36  p.     15""'. 

Three  acta.  Argument,  cast,  scenario,  name  of  Antonio  Pollaroli  as  the  composer, 
and  dedication  signed  by  Domenico  Lalli,  who  says: 

"...  gia  che  per  ora  non  mi  vien  fatto  col  mio,  ardisco  almeno  col  merito  dell' 
altrui  virtuoso  operare.  In  quest'  opera  adunque  scritta  dal  Sig.  Giovanne  Boldini 
veneto  cittadino,  ed  illustre  poeta,  della  quale  (come  direttore  delli  Teatri  Grimani) 
a  me  ne  tocca  la  cura,  in  auesta  il  mio  tributo  le  porgo  ..." 

On  what  authority  Wiel  and  Schatz  attribute  the  text  jointly  to  Boldini  and  Lalli 
I  do  not  know.  Schatz  8261 

The  sultan,  or,  a  Peep  into  the  seraglio.  A  farce  in  two  acts.  By 
Isaac  Bickerstaffe  .  .  .  Acted  at  tne  Theatres  Royal  in  Drury- 
Lane  and  Covent-Garden.     The  second  edition. 

[London],  C.  Billy,  1787.    22,  [2]  p.     20^"^. 

The  [2]  p.  contain  the  Epilogue  spoken  at  the  Theatre-Royal,  Dublin,  1778. 

Casts  of  Drury  Lane,  1775  and  1787;  Covent  Garden,  1787,  and  Advertisement: 

"The  following  petite  piece,  which  is  taken  from  Marmontel,  waa  originally  acted 
at  Drury-Lane  Theatre  in  the  year  1775"  [December  12]. 

Here  entered  because,  on  account  of  the  less  than  half  dozen  eongs,  it  sometimes 
figures  as  a  musical  entertainment.  Longe  98 

—  The  sultan,  or  A  peep  into  the  seraglio.     In  two  acts. 
[310]--339  p.     lO*^^.     {Collection  of  the  most  esteemed  farces  and 

entertainments,  t.  i,  Edinburgh,  1792). 

Dublin  and  Edinburgh  (1782)  casts.  Schatz  11753A 

Sultan  Wampum,  oder  Die  wuensche.  Ein  orientalisches  scherz- 
spiel  mit  gesang,  in  drey  aufzuegen.     Von  August  von  Kotzebue. 

n.  i.,  1794.     88  p.-   W^^. 

Carl  David  Stegmann,  the  composer,  is  not  mentioned. 

First  performed  at  Mainz,  Nationaltheater,  March  7,  1791.  Schatz  10042 

—  Gesaenge  aus  Schach  Wampum,  oder  Die  wuensche,  ein  orien- 
talisches scherzspiel  mit  gesang,  in  drey  aufzuegen.  In  musik 
gesezt  von  Stegmann. 

Hamhurg,  J  oh.  Matthias  Michaelsen,  1792.     16  p.     16^<^^. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  December  1,  1792. 

Schatz  10043 

—  Sultan  Wampum  oder  Die  wuensche.  Ein  orientalisches  scherz- 
spiel mit  gesang  in  drey  aufzuegen.     (Erschien  1794.) 

n.  i.,  n.  d.     98  p.     14""^. 

Neither  the  author,  Kotzebue  (evidently  the  copy  is  detached  from  an  edition  (be- 
fore 1800?)  of  hie  collected  works),  nor  the  composer,  Carl  David  Stegmann,  is  men- 
tioned. Schatz  11749 

Le  sultane,  ballet.     See  G.  Giordani's  Atalanta. 

Songs,  trios,  duetts  and  chorusses,  in  the  comic  opera  of  Summer 
amusement;  or,  An  adventure  at  Margate.  As  it  is  performed  at 
the  Theatre  Royal  in  the  Hay-Market.     Third  edition. 

London,  T.CadeU,  1781.    23  p.    21^^. 

Three  acts.  Cast.  Neither  the  authors,  Peter  Andrews  and  William  Augustus 
Miles,  are  mentioned,  nor  Samuel  Arnold,  who  partly  composed,  partly  compiled 
the  music  from  Dr.  Arne,  Giordani,  and  Dibdin,  as  appears  from  Tnompson's  vocal 
score.    Arnold  also  utilized  a  few  ballad  airs. 

First  performed  July  1,  1779,  as  indicated.  Longe  91 


1044  LIBRARY  OF   CONGRESS 

The  suminer*s  tale.  A  musical  comedy  of  three  acts.  As  it,  is 
performed  at  the  Theatre  Royal  in  Covent-Garden  .  .  . 

London,  J.  Dodsley  [etc],  1765.     2  p.  I,  76  p.     iP"™. 

Three  acts.  Cast.  By  Richard  Cumberland,  who  is  not  mentioned.  A  pasticcio 
with  overture  (by  Abel)  and  36  airs,  music  by  the  following  composers  mentioned  in 
the  heading:  one  air  each  by  Lampugnani,  Boyce  Potenza,  Bertoni,  Russell, 
Lampe,  St.  Germain,  Granom,  Dunn  (Duni?),  Stanley,  Ciampi,  Piccinni, 
Giardini.  Vernon,  |lich.ter.  two  each  by  Howard,  Hasse,  three  anonymous, 
three  each  by  Bach  (Joh.  Chr.)  and  Cocchi,  four  by  Thomas  Aug.  Ame,  and  five  by 
Samuel  Arnold.  Composed  for  the  occasion  were  Ame's  "From  clime  to  clime 
(II,  8),  "In  vain  you  attempt  to  engage"  (II,  9),  and  "WTien  a  freak  has  got  in" 
jIII,  6);  Arnold's  ^'There  lies  your  road"  (1,  2),  "Look  back,  behold"  (II,  2),  and 
Give  me  back  my  heart"  (III,  7);  Bach's  "So  profound  an  impression"  (II,  3). 

First  performed  December  6,  1765,  as  indicated. 

For  a  two-act  condensation,  see  "Amelia,"  1771.  Lonoe  40 

The  sun's  darling:  A  moral  masque:  as  it  hath  been  often  pre- 
sented at  Whitehall,  by  Their  Majesties  servants;  and  after  at  the 
Cockpit  in  Drury-Lane,  with  great  applause.  Written  by  John 
Foard  and  Tho.  Decker,  Gent. 

London,  Printed  hy  J.  BeU,for  Andrew  Penney cuicke,  1656.  3  p.  I., 
43  p.     17'="'. 

First  performed  at  Drurj'  Lane,  1623-24.        '  Lonoe  242 

La  superba  corretta.     Commedia  per  musica  in  due  atti.     Da  rap- 
presentarsi  negl'  Imper.  Reg.  Teatri  di  corte,  V  anno  1795. 
Vienna,  Mattia  Andrea  Schmidt,  n.  d.     J^6  p.     17 Y'^. 

Author  unknown  to  Schatz.     Pierre  Dutillieu  is  mentioned  as  the  composer. 
First  performed,  as  indicated,  April  30,  1795.  Schatz  2876 

La  superba  innamorata,  ballet.     See  Nasolini's  Adriano  in  Siria. 

La  superbia  umiliata  ossia  L'egualitk  d'amore,  ballet.  See  Cima- 
rosa's  I  Traci  amanti. 

II  superbo  deluso.     L.  T.  of  Gassmann's  La  contessina. 

Les  surprises  de  ramour. 

Three  act  ballet-opera  by  Gentil-Bemard,  music  by  Bameau. 

First  performed  at  the  Academie  royale  de  musique,  Paris,  May  31,  1757. 

Not  in  L.  of  C. 

—  Les  ensorceles,  ou  Jeannot  et  Jeannette,  parodie  des  Surprises 
de  I'amour.  Par  Mde.  Favart  &  Mrs.  Guerin  &  H  *  *  *  Repre- 
sentee pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du 
roi,  le  jeudi  premier  septembre  1757. 

Paris,  la  veuve  Delormel  &  fits,  1758.     2  p.  I.,  52  p.     19'''^. 

The  initial  H.  above  stands  for  Hamy  de  Guerville  who,  at  least  according  to 
Schatz,  was  principally  responsible  for  the  selection  and  arrangement  of  the  music 
for  this  parody.    The  dedication  is  signed  by  Mad.  Favart  alone.  Schatz  4454 

—  Les  ensorceles  ou  Jeannot  et  Jeannette,  parodie ;  par  Madame 
Favart  &  Mrs.  Guerin  &  H  .  .  .  Representee  pour  la  premiere  fois 
par  les  Com6diens  italiens  ordinaires  du  roi,  le  jeudi  1  septembre 
1757.     Nouvelle  edition. 

Paris,  N.  B.  Duchesne,  1758.  75,  [5]  p.  19'"'^.  {Theatre  de  M. 
Favart,  Paris,  Duchesne,  1763-77,  t.  v.) 

The  [5]  p.  contain  catalogues  (partly  dated  1759)  of  plays  and  operas.  One  act. 
Dedication  signed  by  I'^avart  [!]  and  not  by  his  wife.  Cast.  Only  the  airs  of  the 
ariettas  are  printed  in  the  text,  not  of  the  vaudevilles.  ML  49.A2F1 


OPERA   LIBRETTOS  1045 

The  surrender  of  Calais.  A  play.  In  three  acts.  By  George 
Coleman,  Jun.  Esq.     As  performed  at  the  little  Theatre  Hay-Market. 

Dublin,  P.  Byrne,  1792.     59  p.     17 Y"^. 

Cast.     The  composer,  Samuel  Arnold,  is  not  mentioned. 

First  performed  at  London,  as  indicated,  July  30,  1791.  Longe  233 

Second  copy.     Schatz  336 

La  surveillance  inutile.     A.  T.  of  Gaveaux'  Lise  et  Colin. 

La  Svanvita. 

Apostolo  Zeno,  Poesie  dramrrwiiche,  Venezia,  1744)  *•  '^*>  P-  [93]-W0. 

Three  acts.  Argument.  No  composer  is  mentioned.  In  the  "Catalogo"  at  end 
of  t.  X,  date  and  place  of  first  ed.  are  given  as  Milan,  1707.  Schatz  and  Fenr  attribute 
the  libretto  to  Apoetolo  Zeno  and  Pietro  Pariati,  whereas  in  Zeno's  collected  works  it 
appears  as  written  by  Zeno  alone.  Campanini  attributes  the  text  to  Pariati  alone. 
{See  also  below.)  ML  49.A2Z3 

—  Svanvita.     Pubblicata  per  la  prima  volta  in  ^lilano  1707. 
Apostolo   Zeno,  Poesie  drammatiche,  Orleans,   1786-86,   t.   in,  p. 

177-276.     21"^. 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

La  Svanvita.  Drama  da  rappresentarsi  nel  Kegio  Ducal  Teatro  di 
Milano  I'anno  1708  .  .  .  Opera  del  dottore  Pietro  Pariati  da 
Reggio. 

Milano,  Eredi  Ghisolji,  n.  d.     5  p.  I.,  71,  [1]  p.     14^"^- 
Three  acts.     Impresario's  dedication,  dated  December  26, 1707,  argument,  scenariOj 
and  name  of  the  composer,  Stefano  Andrea  Fiord,  "maestro  di  Capella  di  S.  A.  R.  di 
Savoja."  Schatz  3195 

Gli  sventurati  amori  di  Cleide  ed  Almindo  o  sia  II  trionfo  de' 
Goti,  ballet.     See  Bianchi's  La  vendetta  di  Nino. 

Le  sventure  fortunate.     Farsa  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fiorentini  nel  carnevale  di  quest'  anno  1785. 
Napoli,  n.  pull.,  1785.     71  p.     15^^. 

One  act.  Author  not  mentioned,  and  unknown  to  Schatz.  CCst  and  name  of 
Pietro  Guglielmi  as  the  composer.  On  p.  [33J-71  is  printed,  with  cast  and  the  same 
composer's  name; 

—  La  finta  Zingara.  Farsa  per  musica  di  Giambattista  Lorenzij 
P.  A.  da  rappresentarsi  nel  Teatro  de'  Fiorentini  nel  carnevale  di 
quest'  anno  1785. 

First  performed,  aa  indicated,  January  10,  1785.  Schatz  4274 

II  Svizzero  ingannato,  ballet.  See  Zannetti's  Le  cognate  in 
contesa. 

Sylla.     Tr.  of  Graun's  Silla. 

Les  sylphes  ou  L' amour  leger.     Entree  in  Duval's  Les  g6nies. 

Les  sylphes  supposes.     A.  T.  of  Blaise's  Isabelle  et  Gertrude. 

Sylvain.     Tr.  of  Gr6try's  Silvain. 

Syphax.     Tr.  of  Porpora's  Siface. 


1046  LIBRABY   OF   CONGRESS 

The  syrens,  a  masque  in  two  acts,  as  performed  at  the  Theatre 
Royal,  Co  vent-Garden.     Written  by  captain  Thompson.     The  music 
composed  by  Mr.  Fisher  .  .  . 
London,  G.  Kearsly,  1776.     4  p.  I,  [1],  4-32  p.     18<^^. 

Two  acts.     Cast,  preface,  and  dedication,  dated  Kew,  April  28,  1776. 

First  performed  February  26,  1776  (Genest).  Lonoe  200 

Der  Tabaran.     Tr.  of  Hasse's  II  Tabarano. 

II  Tabarano.     L.  T.  of  Hasse's  Don  Tabarrano. 

Le  tableau  parlant,  com^die-parade,  en  un  acte  &  en  vers,  mdl^e 
d'ariettes;    representee  pour  la  premiere   fois  par  les  Com^diens 
italiens  ordinaires  du  roi,  le  mercredi  20  septemore  1769.     Par  Mr. 
Anseaume,  la  musique  est  de  Mr.  Gr6try. 
Paris,  la  veuve  Duchesne,  1769.     4^  V-     1^"'^-  Schatz4188 

—  Das  redende  gemaehlde,  eine  operette  in  einem  aufzug  aus  dem 
franzoesischen  des  hrn.  Anseaume  von  F.  W.  M.[eyer].  Die  musik 
ist  von  hn.  Gretry. 

Mannheim,  C.  F.  Schwan,  1771.     88  p.     14^"^. 

First  performed  at  Mannheim,  Theater  a.  d.  Fruchtmarkt,  1771.        Schatz  4189 

—  Gesaenge  und  arien  aus  der  komischen  oper:  Das  redende 
gemaehlde.     Die  musik  ist  vom  herrn  Gretry. 

Hamburg,  J.  M.  Michaelsen,  1780.     16  p.     16^"^- 
One  act.     German  version  by  Heinrich  August  Ottokar  Reichard,  who  i^not  men- 
tioned. 

First  performed  at  Hamburg,  Theater  am  Gansemarkt,  December  15,  1780;  at 
Berlin,  Theater  i.  d.  Behrenst.,  May  31,  1774.  Schatz  4190 

Tacere  ed  amare.  Drama  civile  musicale  rappresentato  nell' 
Accademia  de'  Signori  Infuocati. 

n.  i.,  n.  d.     p.  [405]-504  p.     15^"'. 

Three  acts.  Detached  from  the  third  vol.  (not  in  L.  of  C.)  of  the  "Poesie  dram- 
matiche"  (1689-1690)  by  Giov.  Andrea  Moniglia,  who  is  not  mentioned.  Argument, 
scenario,  and  preface,  in  which  Jacopo  Melani  is  mentioned  as  the  composer,  and 
the  "Teatro  di  via  del  Cocomero  da'  SS.  Accademici  Infuocati,"  at  Florence,  is  given 
as  the  place  of  first  performance,  which  probably  took  place,  not  in  1674  (Schatz), 
but  in  1673,  since  the  dedication  in  the  1674  libretto,  at  Brussels,  is  dated  P  lorence, 
January  7,  1673.  Schatz  6288 

Taddaedl,  der  dreyssigjaehrige  A.  B.  C.  schuetz.  Eine  posse 
mit  gesang  in  drey  aufzuegen,  nach  einer  burleske  fuer  die  Mari- 
nellische  schaubuehne  bearbeitet  von  Karl  Friedrich  Hensler.  Die 
musik  ist  vom  herrn  Wenzel  Mueller  kapellmeister. 

Wien,  Schmidt,  1799.     95  p.     16^"^. 

First  performed,  as  indicated,  May  22,  1799.  Schatz  6968 

Die  taeuschende  aehnlichkeit  oder  Die  buckeligen.  Tr.  of  Portu- 
gal's La  somiglianza  ossiano  I  gobbi. 

Der  tag  des  heyls  oder  Demetrius  in  Athen,  Tr.  of  Wilderer's  II 
giorno  di  salute  ovvero  Demetrio  in  Athene. 


OPERA  ■  LIBRETTOS  1047 

Taican  re  della  Cina.  Tragedia  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassano  I'anno  1707. 

Venezia,  Marino  Rossetti,  1707.    front.,  82  p.     jf^i"™. 

Five  acts.  By  Urbano  Rizzi,  who  is  not  mentioned.  Argument,  cast,  name  of 
Carlo  Francesco  Gasparini  as  the  composer,  scenario,  and  printer's  notice  to  the 
reader,  beginning: 

"Per  laecier  tempo  k  gl'intermezzi  ridicoli,  &  a*  balli,  ei  taceranno  nella  musica 
tutti  li  versi,  che  vedrai  a^nati  nel  margine."  Schatz  3584 

Les  talens  lyriques.     A.  T.  of  the  ballet  Les  f^tes  d'H6b6. 

Talestri.  Drama  per  musica  da  rappresentarsi  in  Roma  nel  Teatro 
delle  Dame  nel  corrente  carnevale  dell'  anno  MDCCLII  .  .  . 

Roma,  Fausto  Amidei,  n.  d.     71  p.     14Y^- 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  names  of  Gaetano  Rocca- 
forte  as  author,  of  Niccol6  Jommelli  as  composer. 

First  performed,  as  indicated,  December  28, 1751.  ML  50.2.T13J6 

Talestri,  regina  delle  Amazoni.  Opera  drammatica.  Di  E.[rme- 
linda]  T.[alea]  P.[astorella]  A.[rcada]. 

Monaco,  Giuseppe  Francesco  TTiuiUe,  1760.     6^  p.     W*^™-. 

Orignal  edition,  and  practically  the  same  text,  though  without  the  licenza,  as 
of  next  entry.  Schatz  5950 

—  Talestri,  regina  delle  Axnazzoni,  opera  drammatica  di  E.[rme- 
linda]  T.[alea]  P.[astorella]  A.[rcada]. 

Bresda,  C.  S.  WaUJier,  1770.     91,  [3]  p.    28^''. 

Three  acts  and  licenza.  Text  and  music  by  Maria  Antonla  Walpiirgis,  priaceaa 
of  Saxony,  whose  Arcadian  name  is  indicated  in  the  title. 

First  performed  at  Dresden  August  24,  1763;  at  Nymphenbuig,  Theater  des  churf. 
Schlosses  (near  Mimich),  February  6,  1760.  Schatz  5948 

Der  talisman.  Ein  singspiel  in  drey  aufzuegen.  Nach  dem 
italiaenischen  des  Goldoni.  Auf  die  musik  des  herm  Anton  Salieri 
.  .  .  fur  die  Marinellische  buehne  frei  uebersetzt  von  Ferdinand 
Eberl. 

Wien,  n.  publ,  1789.     72  p.     17^"^. 

Dedication  and  "Erinnenmg  fuer  die  kritick,"  which  reads,  in  part: 
"Die  ersten  zwey  arien  des  zweyten  aufzugs  befindon  sich  nur  in  der  original 
Spartitur,  xmd  sind  im  gedruckten  italiaenischen  buechel  ['  II  talismano  1  ganz  andren 
textea." 

First  performed  at  Vienna,  Theater  in  der  Leopoldstadt,  April  30,  1789.  The 
original  II  Talismano,"  Goldoni's  text  partly  rewritten  by  Da  ronte,  was  first  per- 
formed at  Vienna,  Burgtheater,  September  10,  1788.  Schatz  9322 

—  Arien  und  gesaenge  aus  dem  Talisman,  oder  Die  z^euner.  Ein 
singspiel  in  zwey  aufzuegen,  nach  dem  italienischen.  Die  musik  ist 
von  herm  Salieri. 

n.  L,  1790.     40  p.     16"^. 

Translation  by  Heinrich  Gottlieb  Schmieder,  who  is  not  mentioned. 

First  performed  at  Mayence,  Nationaltheater,  February  20, 1790.        Schatz  9323 

—  Arien  und  ^esaen^e  aus  dem  singspiel  in  drey  aufzuegen  Der 
Talisman.     Die  musik  ist  von  Salieri. 

Berlin,  n.  publ.,  1798.     56  p.     17'"^. 

Cast.  The  translator,  Adolph  Franz  Friedrich  Ludwig,  freiherr  von  Knigge,  is  not 
mentioned. 

First  performed  at  Berlin,  Nationaltheater,  May  20,  1796;  at  Hanovor,  Schlose- 
theater,  June  4, 1790.  Schatz  9324 


1048  UBRARY  OF   CONGRESS 

Der  talisman.     Tr.  of  Salieri's  II  talismano. 

11  talismano.     Dramjna  di  tre  atti  per  musica. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  S7, 
{5\-69  p.     ISY"^. 

For  first  composers  see  next  entry.  PQ 

H  Talismano.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  alia  Scala  Testate  dell'  anno  1785  .  .  . 

Milano,  Gio.  Batista  BiancM,  n.  d.  67  p.  16Y'^- 
Three  acts.  By  Carlo  Goldoni,  who  is  not  mentioned.  Dedication,  cast,  scenario, 
and  names  of  Antonio  Salieri  as  composer  of  the  first  act,  of  Giacomo  Rust  of  the 
second  and  third.  With  the  opera  were  performed  "altemativamente"  Sebastiano 
Gallet's  ballets,  "L'amor  vincitore,  ballo  anacreontico,"  "II  signore  benefico," 
"II  Bajram  de'  Turchi,"  the  composers  of  the  music  not  being  mentioned. 
First  performed  at  Milan,  Teatro  alia  Canobbiana,  September,  1779. 

ScHATZ  9336 

Tamar  e  Selimo  ossia  Padre  e  figlio  rival!  sconosciuti,  ballet.  See 
Isola's  Lisandro. 

Tamas  Konli-Kan  nell'  India.  Dramma  per  musica  da  rappre- 
sentarsi nel  Regie  Teatro  di  Torino  nel  camovale  del  1772  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  63,  [1]  p.     16^^. 

Last  page  incorrectly  numbered  93. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Vittorio  Amedeo  Cigna  Santi 
as  the  author,  of  Gaetano  Pugnani  as  the  composer  of  the  opera,  and  of  Paolo  Gebhard 
as  the  composer  of  the  music  for  Giovanni  Favier's  ballets,  "I  panduri  accampati," 
etc.,  briefly  described  on  p.  61-63.  Schatz  8506 

II  tamburo.  Commedia  per  musica  di  Giambatista  Lorenzi,  P.  A. 
da  rappresentarsi  nel  Teatro  Nuovo  nel  came  vale  di  quest'  anno  1784. 

Napoli,  n.  pull.,  1784.     58  p.     UY"^- 

Three  acts.     Cast  and  name  of  Paisiello  as  the  composer. 

First  performed  at  the  same  theatre,  spring  of  1773.  Schatz  7659 

—  II  tamburd  notturno.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Regio-Ducal  Teatro  di  Parma  il  carnovale  dell'  anno 
MDCCLXXVIII. 

Parma,  Stamperia  reale,  n.  d.     64  p.     20'^'^. 

Three  acts.  Lorenzi's  text  with  alterations  by  Giovanni  Bertati,  neither  author 
being  mentioned.  Cast  and  name  of  Paisiello  as  the  composer.  On  p.  [61}-64  cast 
and  program  of  Giuseppe  Traffieri's  "Amore  premiato,  ballo  pastorale."  The  com- 
poser of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  December  26,  1777;  at  Venice,  Teatro  di  San  Moisfe, 
fall  of  1773.  Schatz  7660 

—  II  tamburo  notturno.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi ne'  Teatri  privilegiati  di  Vienna  nell'  anno  1774. 

[Vienna],  Giuseppe  Kurzbok,  n.  d.     78  p.     17*^^. 

Three  acts.  Lorenzi's  poetry  "tradotta  dal  dialetto  napolitano  nel  idioma  Tos- 
cano  dal  Signor  Boccarini,  poeta  de'  Cesarei  Teatri  di  Vienna."  Paisiello  is  men- 
tioned as  the  composer. 

First  performed  May  17,  1774,  as  indicated.  Schatz  7661 

II  tamburo  notturno.     L.  T.  of  Paisiello 's  II  tamburo. 
Tamerlan.     Tr.  of  Handel's  Tamerlano. 


OPERA   LIBRETTOS  1049 

Tamerlane.     Tr.  of  Handel's  Tamerlano. 

Taxnerlano.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
San  Samuelle  il  carnevale  dell'  anno  MDCCLIV. 
Venezia,  Angiolo  Geremia,  n.  d.     4^  f.     16'^'^. 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Notice  to  the 
reader  as  argument,  scenario,  cast,  and  on  p.  6  the  statement: 

"II  primo  atto  ^  posto  in  musica  dal  Signor  Gioacchino  Cocchi,  il  secondo  dal 
Signer  Giambattista  Pescetti,  ilterzo  parte  da  uno,  e  parte  dall'  altro  di  essi  maestri." 

ScHATZ  2054 

Tamerlano.  Tragedia  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  San  Cassano  I'anno  1710. 

Venezia,  Marino  Rossetti,  n.  d.     65  p.     l^Y'^- 

Three  acta.  Neither  the  author,  conte  Agosttino  Piovene,  nor  the  composer,  Carlo 
Francesco  Gaspaxini  is  mentioned.    Notice  to  the  reader,  cast  and  scenario. 

ScHATZ  3585 

—  II  Bajazet.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
deU'  illustrissimo  pubblico  di  Reggio  in  occasions  della  fierai  I'anno 
MDCCXIX  .  .  . 

Reggio,  Ippolito  Vedrotti,  1719.     77  p.     WY"^- 

Three  acts.  Dedication  dated  Reggio,  April  29,  1719,  argument,  Protesta,  cast, 
scenario,  and  name  of  Carlo  Francesco  Gasparini  as  the  composer.  ("La  musica  h 
nuova.")  The  author,  conte  Agostino  Piovene,  is  not  mentioned,  a  considerably 
altered  adaptation  of  whose  "Tamerlano"  this  "Bajazet"  is  said  to  be  in  the  Protesta, 
"particolarmente  nell'  arie,  che  sempre  esigono  d'essere  accomodate  a'  nuovi  musici." 
For  instance,  Tamur  has  been  dropped  from  the  list  of  characters  and  that  of  Clearco 
has  been  added.  The  aria  ending  scene  IV,  act  I,  "Custodite  per  mia  figlia,"  has 
become  "Forte,  e  lieto  a  morte  andrei,"  the  third  scene  begins  "tin  lieto  annunzio" 
instead  of  "Prencipe,  or  orai  i  Greci,"  the  third  act  has  seventeen  scenes  instead  of 
fifteen,  etc.,  etc.  Though  the  music  is  said  to  be  new,  presumably  this  is  to  be  taken 
with  a  grain  of  salt.  Probably  "II  Bajazet"  was  not  Gasparini's  second  setting  of  the 
Tamerlano  text,  but  his  first  and  only  setting  of  the  text  with  other  music  where  the 
texts  differed.     Perhaps  "II  Bajazet"  was  in  reality  a  pasticcio.  Schatz  3562 

II  Tamerlano.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Vendramino  di  S.  Salvatore  la  fiera  dell'  Ascensione  dell'  anno  1765. 
Venezia,  Modesto  Fenzo,  1765.     56  p.     14^"^. 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Pietro  Guglielmi  as  the  composer.  On  p.  25-26  description 
without  name  of  the  composer  of  the  music  of  Jean  Baptiste  Martein'a  ballet  "La 
forza  deir  amore  e  dell'  amicizia."  Schatz  4306 

Tamerlano :  Drama.  Da  rappresentarsi  nel  Regio  Teatro  di  Hay- 
Market,  per  La  Reale  Accademia  di  musica. 

London,  Printed  and  sold  at  the  King's  Theatre  in  the  Eay-Marlcet, 
1724.     6  p.  l,  [3],  4-99  p.     18'^. 

Three  acts.  Cast,  argument,  text  both  in  Italian  and  in  English.  (Half-title  on 
1st  p.  1.  is  "Tamerlane,  an  opera.")  The  dedication  in  Italian  only.  In  it  Nicola 
[Francesco]  Haym  says: 

"  Avendo  io  per  ubbidire  agli  ordini  de'  miei  nobilissimi  padroni  i  signori  direttori 
della  Reale  Accademia  di  musica,  accomodato  per  il  loro  teatro  la  presente  opera  di 
Tamerlano  ..." 

Consequentlj^,  Haym  did  not  claim  to  have  been  the  author  of  the  text,  as  charged 
In  Grove  8  Dictionary  and  elsewhere.  He  does  not  mention  conte  Agostino  Piovene 
nor  the  composer,  Georg  Friedrich  HtUidel.     English  translation  faces  Italian  text. 

First  performed  at  London,  as  indicated,  October  31,  1724.  ML  60.2.T23 


1050  LIBBARY  OF   CONGRESS 

Tamerlano — Continued. 

—  Tamerlan,  in  einem  sing-spiele,  auf  dem  Hamburgischen  Schau- 

platze  voi^estellet.     Im  janr  1725. 

[Hamburg],  mil  Stromerischen  schrifften,  n.  d.      Unpaged.     IS^"^". 

Three  acts.  Cast,  prefatory  note,  and  names  of  Hendel  (Georg  Friedrich  Handel) 
ae  the  composer  of  the  opera,  of  Georc  Philipp  Telemann  as  the  composer  of  the 
"intermezzo,"  of  Nicola  Haym  as  author  of  the  "italiaenische  poesie"  and  Johann 
Philipp  Praetorius  as  author  of  the  translation,  to  which  the  Italian  text  of  the  arias 
has  been  added.  Praetorius  says,  after  mentioning  Haym  and  "die  ausbuendig 
Bchoene  musique "  Handel's: 

"Doch  hat  eine  illustre  persohn  durch  geschickte  composition  der  parthie  des 
Bajazeths  eine  abermahlige  probe  ihrer  vertu  ablegg  woUen.  Das  recitativ  hat  zwar 
der  music  nach  bey  der  ubersetzung  durch  eing  beruehmten  mann  geaendert  werden 
muessen,  doch  sind  in  dem  10t6  aurtritt  der  3ten  handlug  einige  zeilen  unveraendert 
in  italiaenis.  sprache  und  nach  der  Hendelischen  composition  beybehalten  "wordg, 
weil  worte  un  music  gar  zu  schoen  auch  dem  affect  ein  grosses  abgehen  duerffte,  im 
fall  die  ubersetzung  dem  original  nicht  gleich  kaeme  .  .  ."  Schatz  4492 

Tamerlane.  Drama  per  musica,  da  rappresentarsi  nel  Regie  Teatro 
di  Torino  nel  carnovale  del  1730  .  .  . 

Torino,  Gio.  Battista  Valetta,  n.  d.     3  p.  L,  58  p.     15'='^. 

Three  acts.  By  conte  Agostino  Piovene,  who  is  not  mentioned.  Argument, 
scenario,  cast,  and  name  of  Nicole  Antonio  Porpora  as  the  composer.    Schatz  8375 

Tamira.     Ein  drama.     Nebst  einer  abhandlung  ueber  das  melo- 
drama von  D.  Huber  .  .  .     [vignette]. 
TueUngen,  Cotta,  1791 .     136  p.     17<='". 

One  act.  Argument,  dedicatory  poem,  and  prefatory  note,  in  which  Huber  says: 
"Dieses  melodrama  war  vor  zehn  jahren  fertig,  nemlich  die  arbeit  des  dichters. 
Ich  las  es,  wie  meine  moisten  arbeiten  in  diesem  und  andem  faechem,  meinem  ehr- 
wuerdigen  freunde  vor,  dem  regierungs  praesidenten  von  Gemmingen.  Das  drama 
schien  ihm  zu  gefallen.  Er  machte  mir  sogar  die  hoffnxmg,  die  musik  dazu  zu  ver- 
fertigen.  Denn  er  war  auch  meister  in  dieser  kunst.  Er  componirte  wirklich  eine 
tragische  ouvertiire  in  dieser  absicht.  Ich  harrte  ein  paar  lahre  mit  geduldiger 
hoffnimg  auf  die  erfuellung  des  ganzen  verspruchs.  .  .  .  Da  natte  ich  die  freund- 
liche  bosheit,  ihm  mit  dem  druck  des  drama  und  einer  zueignung  zu  drohen,  die  ihn 
der  unerfuellten  zusage  beschuldigte  .  .  .  Es  hatte  die  wirkung,  dass  er  unsem 
hofmusikua  Zum  Steeg  [!]  bewog,  die  musikalische  composition  zu  uebemehmen. 
Er  that  es,  das  Btueck  wurde  zweymal  auf  hiesigem  theater  aufgefuehrt  ..." 

First  performed  June  13,  1788.  Huber's  essay,  "Etwas  ueber  das  melo-drama," 
on  p.  41-136.  Schatz  records  the  author  as  Ludwig  Ferdinand  Huber,  other  authori- 
ties as  Johann  Ludwig  Huber.  Schatz  11295 

Tamiri,  drama  per  musica  di  Bartolameo  Vitturi  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  nell'  autuno  delF  anno  MDCCXXXIV  .  .  . 

Venezia,  Marin  Rossetti,  n.  d.     60  p.     16^'^. 

Three  acts.  Impresario's  dedication,  argument,  author's  notice  to  the  reader,  cast, 
scenario,  and  name  of  Galuppi  as  composer. 

First  performed,  as  indicated,  November  17,  1734.  Schatz  3495 

Tancrede,  tragedie  representee  par  FAcademie  royale  de  musique 
Tan  1702.  Les  paroles  de  M.  Danchet  &  la  musique  de  M.  Campra. 
LVII.  Opera. 

n.  %.,  n.  d.  front.,  1-56  p.  14*^.  (Recueil  general  des  opera,  Paris, 
1706,  t.  mii.) 

Five  acts  with  prologue. 

First  performed,  as  indicated,  November  7,  1702.  Schatz  1560 

Second  copy,    ML  48. R4 


OPERA  LIBRETTOS  1051 

Tancrede — Continued. 

—  Tancrede,  tragedie,  representee,  par  PAcademie  royale  de  jnu- 
sique,  pour  la  premiere  fois  le  7  novembre  1702. 

[133]-192  p.     17 Y"^'     (Antoine  Danchet,  Theatre,  Paris,  1751,  t.  ii.) 
Prologue  and  five  acts.    Campra  is  not  mentioned.  PQ  1972. D2 

—  Arlequin  Tancrede.  Parodie  en  un  acte.  Par  les  Srs.  Domi- 
nique &  Romagnesi  .  .  .  Represent e  pour  la  premiere  fois  par  les 
Comediens  italiens  ordinaires  du  roi,  le  19  mars  1729. 

Les  parodies  du  Nouveau  theatre  italien,  Nouv.  ed.,  Paris,  1738,  t.  iv, 
[73]-120  p.     16^"^. 

One  act.  The  airs  and  vaudeville  used  are  printed  at  end  of  the  volume  in  the 
"Table  des  aire"  (92  p.)  ML  48.P3 

Tancredi  ossia  II  padre  crudele.  Ballo  tragico  in  tre  atti  composto 
e  diretto  da  M'  Domenico  Lefevre  da  rappresentarsi  nel  magnifico 
Teatro  dell'  Accademia  Filarmonica  di  Verona  nel  carnovale  dell' 
anno  1793. 

VeroTia,  Dionigi  Ramanzini,  n.  d.     20  p.     17"'^. 

Argument,  cast,  and  scene  by  scene  description  of  the  plot.  Composer  of  the 
music  not  mentioned  and  unknown  to  me.  ML  52.2.T22 

Tancredi.  Dramma  per  musica  da  rappresentarsi  ne\  Regio  Teatro 
di  Torino  nel  carnovale  del  1767.     Alia  presenza  di  S.  S.  R.  M. 

Torino,  Stamperia  reale,  n.  d.     viii,  64,  [1]  p-     16^^". 

Three  acts.  Argument,  cast,  scenario,  and  nameof  composer,  Ferdinando  Giuseppe 
Bertoni,  but  not  of  librettist,  Balbis.  Three  ballets  by  Vincenzo  Galeotti,  music 
by  Giuseppe  Antonio  Le  Messier,  went  with  the  opera,  the  first  two  being  called  "II 
convitato  di  pietra"  and  "Amore  e  Psiche." 

First  performed,  as  indicated,  December  26,  1766.  Schatz  930 

Tancredi.  Tragedia  per  musica  in  tre  atti  di  Alessandro  Pepoli  ad 
uso  del  medesimo  nel  suo  Teatro  privato. 

Venezia,  Tipograiia  Pepoliana,  1795.     40  P-     17 Y^. 

Francesco  Oardi  is  mentioned  as  the  composer.  In  his  curious  preface,  conte 
Pepoli  says: 

il  libro  (e  tutti  lo  crederanno)  fu  da  me  composto  a  piacer  mio,  la  musica  egual- 
mente  vi  f u  applicata  dal  valente  compositore  a  piacer.  mio,  ed  io  alfine  la  reciter5,  e  la 
canter5  a  piacer  mio."  Schatz  3542 

Tancredi.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Nuovo  di  Corte  per  comando  di  S.  A.  S.  E.  Carlo  Teodoro  conte  Pala- 
tino  del'  Reno  .  .  .  nel  carnovale  MDCCLXXXIII. 

n.  L,  n.  d.     135  p.     14^"^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Ai^ument,  cast, 
and  names  of  Ignaz  Holzbauer  as  composer,  of  Lorenz  Hiibner  as  translator.  German 
title  page,  "Tankred,"  and  text  face  Italian. 

First  performed,  as  indicated,  at  Munich,  Hoftheater,  Januiary,  1783. 

Schatz  4786 

II  Tancredi,  ballet.     See  Tritto's  La  vergine  del  sole. 

Tankred.     Tr.  of  Holzbauer's  Tancredi. 

The  tanner  of  York.     A.  T.  of  The  lucky  discovery. 

Tanto  va  la  gatta  al  lardo  che  si  lascia  lo  zampino.  A.  T.  of  II 
calzettaro,  ballet. 


1052  LIBRARY   OF   CONGRESS 

Tarar.     Tr.  of  Salieri's  Axur  r6  d'Ormus, 

Tarara  o  sia  La  virtti  premiata.  Dramma  per  musica  del  Sig.  abate 
Gaetano  Sertor  da  rappresentarsi  nel  nobilissimo  Teatro  La  Fenice 
nel  carnovale  dell'  anno  1793. 

Venezia,  n.  puhl.,  1792.     [v]-viii,  J,8  p.     IG""^. 

Three  acta.    Cast  and  name  of  composer,  Francesco  Bianchi. 

First  performed  at  Venice,  as  indicated,  December  26,  1792.  Schatz  984 

Tarare,  opera  en  cinq  actes,  avec  nn  prologue,  repr6sent6  pour  la 
premiere  rois  sur  le  Theatre  de  I'Acaaemie  royale  de  musique,  le 
vendredi  8  juin  1787. 

Amsterdam,  Cesar  Noel  Guerin,  1787.     88  p.     i5<^™. 

Dedication  and  names  of  [Pierre  Augustin]  Caron  de  Beaumarchais  as  the  author, 
of  Antonio  Salieri  as  the  composer.  Schatz  9325 

—  Tarare,  an  opera,  in  five  acts:  with  a  prologue.  As  it  was  per- 
formed for  the  first  time  at  the  Theatre  of  the  Royal  Academy  of 
music,  on  Friday  the  8th  June,  1787. 

London,  R.  Favlder,  1787.     96  p.     20^"^. 

Five  acts  and  prologue.  Cast,  translator's  advertisement,  names  of  Beaumarchais 
as  author,  and  of  Antonio  Salieri  as  composer,  and  Beaumarchais's  dedication  to 
Salieri.  Longe  299 

—  Axur  re  d'Ormus.  Dramma  tragicomico  in  cinque  atti.  Da 
rappresentarsi  nei  Teatri  di  Praga  I'anno  1788. 

\Praga],  Giuseppe  Emanuele  Dieshach,  n.  d.     82  p.     W^. 

Name  of  Lorenzo  da  Ponte  as  author,  of  Antonio  Salieri  as  the  composer.  This  is 
a  free  Italian  version  of  "Tarare,"  not  a  translation. 

First  performed  at  Vienna,  Burgtheater,  January  8,  1788.  Schatz  9326 

—  Axur,  re  d'Ormus.  Dramma  tragicomico  in  due  atti  da  rappre- 
sentarsi nel  Theatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  puhl,  1789.     131  p.     W"^. 

Two-act  version  of  Da  Ponte' s  text,  who  is  not  mentioned.  Antonio  Salieri  is 
mentioned  as  the  composer.  German  title-page,  "Axiir,  koenig  von  Ormus,"  and  text 
face  Italian. 

First  performed,  as  indicated,  November  21,  1789.  Schatz  9329 

—  Axur  re  d'Ormus.  Dramma  tragicomico  in  musica  da  rappre- 
sentarsi in  musica  da  rappresentarsi  nel  Teatro  alia  Scala  la  prima- 
vera  dell'  anno  1792  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     68  p.     16^*^™. 

Two  acts.  Cast,  scenario,  names  of  Da  Ponte  as  author,  and  of  Antonio  Salieri  as 
the  composer,  and  impresario's  dedication,  which  reads,  in  part: 

"...  Axur  re  d'Ormus,  lo  stesso  che  fu  rappresentato  nel  Teatro  della  R.  I.  Corte 
di  Vienna.  Bench6  sia  egli  state  originariamente  scritto  in  cinque  atti  separati,  si  b 
ora  diviso  in  due  sole  parti,  puramente  per  uniformarsi  all'  uso  dei  nostri  teatri  dell' 
Italia,  ed  accioch^  non  mancasse  del  solito  divertimento  dei  balli." 

The  first  of  these,  by  Urbano  Garzia  (composer  of  the  music  not  mentioned),  was 
called  "Federico  II  re  di  Prussia."  Schatz  9331 

—  Axur,  koenig  von  Ormus.  Ein  tragikomisches  singspiel  in 
fuenf  aufzuegen.  Uebersetzt  von  Sarker.  Aufzufuehren  im  K.  K. 
Hoftheater.  Bei  der  vermaehlung  S.  K.  H.  Franz,  erzherzogs  von 
Oesterreich  mit  J,  D.  H.  Elisabeth,  princessinn  von  Wuertemberg. 

Wien,  n.  jmhl,  1788.     58  p.     16^"^. 

Names  of  Lorenzo  da  Ponte  and  of  Antonio  Salieri.  This  is  Sarker's  transl.  of 
the  Italian  original  first  performed,  as  indicated,  January  8,  1788.      Schatz  9327 


OPERA  LIBRETTOS  "  1053 

Tai*are — Continued. 

—  Axur,  koenig  von  Ormus.  Eine  heroische  oper  in  fiinf  auf- 
ziigen,  nach  dem  italiaenischen  des  herrn  abbe  da  Ponte  uebersetzt 
und  fiir  das  graflich  Erdoedysche  opemtheater  eingerichtet  von  herrn 
Gir^iick.  Zum  drucke  befoerdert  von  herrn  Jon.  Nep.  Schueller. 
1788.     Die  musik  ist  von  herrn  Anton  Salieri. 

Presshurg,  Weber,  1788.     80  p.     W"^. 

On  p.  74-80:  "Anhang  das  gra^ich  Erdoedische  Opemtlieater  betreffend. 
Theater  Personale — Folgende  opem  eind  eeit  der  eroefiEnung  des  graeflichen  theatera 
aufgefuehrt  worden."    Dedication  and  cast.  Schatz  9328 

—  Axur,  koenig  von  Ormus,  ein  singspiel  in  vier  aufzuegen.  Nach 
dem  Tarar  des  Beaumarchais  von  D.  Sclimieder. 

Hamburg  und  Altona,  BucTihandlung  der  Neuen  VerlagsgeseUschaft, 
1799.     125  p.     WY"^. 

Cast  and  notice  to  the  reader  by  Schmieder,  which  reads: 

"Dieses  singspiel  ist  durch  seine  oefteren  darstellungen  auf  alien  grossen  buehnen 
Deutchlands  bekannt  genug.  Neulich  hat  sich  durch  seine  fleissige  und  prunkvoUe 
auffuehrung  dieser  oper,  das  Nationaltheater  zu  Altona,  ein  schoenes  blatt,  in  seinen 
noch  frisch  bluehenden  kranz  gewunden.  Sie  ward  hier  vom  May  bis  July  d.  J. 
eilfmal  mit  immer  gleichem  beyfall  gegeben.  Die  Namen  der  hiesigen  kuenstler 
Bind  dem  personenverzeichnisse,  als  ein  zeichen  der  achtung,  beygesetzt." 
*    First  performed  at  Frankfurt,  Nationaltheater,  August,  1790.  Schatz  9332 

—  Axur,  koenig  von  Ormus.  Grosse  oper  in  vier  aufzuegen.  Aus 
dem  italiaenischen,     Musik  von  Anton  Salieri. 

n.  i.,  n.  d.     64  p.     16^"^. 

Later  version  with  recitatives  of  Heinrich  Gottlieb  Schmieder's  translation,  who 
is  not  mentioned.    Possibly  published  after  1800.  Schatz  9334 

—  Gesaenge  aus  dem  singspiele :  Tarar,  in  vier  aufzuegen,  nach  dem 
franzoesischen  und  italienischen  des  Beaumarchais  und  abbate  Casti,  [ !] 
von  B.  Schmieder.     Die  musik  ist  von  Salieri. 

Hamburg,  Johann  Matthias  Michaelsen,  1791.     48  p.     16^'^'^. 

As  "Tarar"  first  performed  at  Hamburg,  Theater  beim  Gansemarkt,  December  28, 
1791;  as  "Axur,  koenig  von  Ormus"  at  Frankfurt  a/M,  Nationaltheater,  August  14, 
1790.  Schatz  9330 

H  Tarconte,  principe  de'  Volsci.     Drama  per  musica  da  rappre- 
sentarsi  nel  Teatro  Formagliari  I'autunno  dell'  anno  1716. 
Bologna,  Giulio  Rossi,  e  comp.,  n.  d.     48  p.     15'^^. 

Three  acts.  Argument,  notice  to  the  reader,  cast,  scenario.  Author  and  com- 
poser not  mentioned  and  unknown  to  Schatz. 

First  performed,  as  indicated,  November  7,  1716.  Schatz  11367 

The  tars  of  Old  England.     A.  T.  of  The  reprisal. 

Tarsis  et  Zelie,  tragedie  representee  par  I'Academie  royale  de 
musique,  I'an  1728.  Paroles  de  M.  de  la  Serre;  musique  de  M" 
Francoeur-Cadet,  &  Rebel  fils.     CXI  opera. 

n.  i.,  n.  d.  pi.,  p.  297-344  (Recudl  general  des  opera,  t.  xiv,  Paris, 
1734).    14<^. 

Detached  copy.    Five  acta  and  prologue. 

First  performed,  as  indicated,  October  19, 1728.  Schatz  3337 

Second  copy.    ML  48. R4 

I  Tartari  generosi,  ballet.    See  Bertoni's  Bajazette. 


1054  LIBRARY  OF  CONGRESS 

Das  tartarische  gesez.     Ein  schauspiel  mit  gesang  in  zwey  auf- 
ziigen.     [vignette] 
Leipzig,  Dykische  huchhandlung,  1779.     6 4  p.     16\'^. 

Two  acts.  By  Gotter,  based  according  to  his  "Nachricht, "  dated  "Gotha  im 
august  1778,"  on  Gozzi's  "Gltickliche  Bettler."  The  composer,  Johann  Andr6,  is 
not  mentioned. 

First  performed  at  Berlin,  Dobbelinsches  Theater,  May  31,  1779.       Schatz  190 

II  Tartaro  generoso,  ballet.     See  Zannetti's  Le  cognate  in  contesa. 

La  tasse  de  glaces.     A.  T.  of  Dalayrac's  La  le^n. 

Taste  &  la  mode.     A.  T.  of  Harlequin  restor'd. 

The  taste  of  the  age.     A.  T.  of  The  fool's  opera. 

T^agene  et  Cariclee,  tragedie  en  musique.     Repr^ent^e  par  I'Aca- 
d^mie  royale  de  musique.     Suivant  la  copie  imprim^e  k  Paris. 
Amsterdam,  Antoine  Schelie,  1695.     60  p.  {incl.front.)     13\'^'^. 

Prologue  and  five  acts.  Neither  the  author,  Duch^,  is  mentioned,  nor  the  com- 
poser, Desmarets. 

First  performed,  as  indicated,  February  3,  1695.  ML  50.2.T3D2 

—  Teagene  et  Cariclee,  tragedie  represent^  par  I'Academie  royale 
de  musique  Fan  1695.  Les  paroles  sont  de  M.  Duch6,  &  la  musique 
de  M.  Desmarets.     XXXIV.  opera. 

n.  %.,  n.  d.  front.,  p.  67-134-  {Recueil  general  des  opera,  t.  v,  Paris, 
1703.)     14^^^. 

Detached  copy.    Prologue  and  five  acts.  Schatz  2534 

Second  copy.    ML  48. R4 

II  teatro  italiano  alia  China,  ballet.  See  Martin  y  Soler's 
Andromaca. 

Tegene  e  Laodicea.     Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  via  della  Pergola  il  carnevale  del  1799  .  .  . 
Firenze,  Stamperia  Albizziniana,  1799.     28  p.     W^. 

Three  acts.  By  Giuseppe  Foppa,  who  is  not  mentioned.  Cast  and  name  of  Ferdi- 
nando  Per  (PaSr)  aer  the  composer.  With  the  opera  were  performed  Domenico  de 
Rossy's  ballets,  "Alfonso  di  Castiglia"  and  "L'equivoco  dei  due  mulinari."  The 
composers  of  the  music  are  not  mentioned. 

Originally  performed  at  Padua,  Teatro  Nuovo,  June,  1793,  as  "Laodicea." 

Schatz  7508 

Telegone,  tragedie,  representee  par  I'Academie  royale  de  musique, 
Tan  1725.  Musique  de  M.  la  Coste.  Paroles  de  M.  Pellegrin. 
CV.  opera. 

n.  i.,  n.  d.  14'^^-  pi-,  4^3-524  p.  (Recueil  general  des  opera, 
t.  xiii,  Paris,  1734-) 

Detached  copy.     Five  acts  and  prologue.    Cast. 

First  performed,  as  indicated,  November  6, 1725.  Schatz  5357 

Second  copy.    ML  48.R4 

Telemach.     Tr.  of  Grua's  Telemaco. 


,  OPERA   LIBRETTOS  1055 

Telemaco.  Opera  seria  da  rappresentarsi  nel  Teatro  Nuovo  di 
Corte  .  .  .  nel  carnevale  1780.  La  poesia  e  del  Signer  conte  Seri- 
mann.     La  jnusica  e  del  Signer  Paolo  Grua  .  .  . 

Monaco,  Francesco  Gitbseppe  TJiuiUe,  n.  d.     l/^S  p.     15'^^. 

Three  acts.  Argument,  cast,  and  name  of  Giuseppe  Toeschi  as  composer  of  the 
ballet  music.  German  title-page,  "Telemach,"  and  text  by  Anton,  graf  von  Toerring 
zu  Seefeld,  as  indicated  in  the  German  title,  face  Italian. 

First  performed,  as  indicated,  January  10,  1780.  Schatz  4222 

Telemaco.     Dramma  per  nausica  di  Carle  Sigismondo  Capeci  da 
rappresentarsi  nella  Sala  dell'  illustrissimo  Signer  Federico  Capranica 
nel  carnevale  dell'  anno  1718  .  .  . 
Roma,  Bemabo,  1718.     72  p.     IW^. 

Three  acts.  Impresario's  dedication,  ailment,  cast,  and  name  of  Alessandro 
Scarlatti  as  the  composer.  ("Questa  fe  la  centesima  nona  opera  teatrale  da  lui 
composta . " )  Schatz  9532 

Telemaco  ed  Eurice  nell'  isola  di  Calipso.  Dramma  per  musica 
da  rappresentarsi  nel  nobilissimo  Teatro  di  S.  Benedetto  nel  carnevale 
dell'  anno  1777. 

Venezia,  Modesto  Fenzo,  1777.     62  p.     17 If^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  composer,  Ferdinando 
Giuseppe  Bertoni,  and  the  author,  marchese  Giovanni  Piudemonte,  whose  Arcadian 
name  is  given:  "Echille  Acanzio,  P.  A.  della  colonia  Veronese."  Both  poetry  and 
music  are  called  "tutta  nuova."  On  p.  23-36,  description,  with  cast  and  argument,  of 
"I  tre  Orazj  e  i  tre  Cxiriazj.  Ballo  tragico,  composto  ed  eseguito  da  Monsieur  Carlo 
Le  Picq,"  and  on  p.  53-56,  description  of  "L  amante  generosa,  ballo  pantomimo 
d'invenzione  ed  esecuzione  del  Sig.  Giuseppe  Canciani."  The  composers  of  the 
music  are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1776.  Schatz  933 

Telem.aco  in  Sicilia.  Dramma  per  musica  del  Signer  Antouio 
Simon  Segrafi  avvocate  venete. 

{At  end)  Padova,  Penada,  1792.     55,  [1]  p.     19^*^. 

Four  acts.     Sografi's  dedication,  dated  Padova,  June  20,  1792,  begins: 

"Neir  idea  di  offerirvi  questa  nuova  mia  produzione  (la  quale  posso  cbiamar 
nuova,  perchfe  ad  onta  ch'io  abbia  trattato  questo  medesimo  soggetto  pel  teatro  d'una 
Real  corte  volli  in  questa  occasione  ridurlo  ad  uso  del  vostro  ..." 

Cast  and  name  of  Antonio  Calegari  as  composer.  Schatz  1508 

Telemaco  nell'  isola  di  Calipso,  ballet.     See  Bertoni's  II  Bajazette 

Telemaco  neU'  isola  di  Calipso,  ballet.  See  P.  Guglielmi's  Ales- 
sandro neir  Indie. 

Telemaco  nell'  isola  di  Calipso.     Dramma  per  musica  del  Signer. 
Segrafi,  peeta  del  nobilissimo  Teatro  La  Fenice  e  del  Teatro  comico 
Sant'  Angele.     Cempesta  per  il  teatro  sudette  per  il  carnevale  1797. 
Venezia,  Stamperia  Vdlvasense,  n,  d.     78  p.     17 i*^. 

Three  acts.  Cast  and  name  of  Joh.  Simon  Mayr  as  the  composer.  On  p.  [67]-78, 
prefatory  note,  argument,  cast,  and  description  of  Lorenzo  Panzieri's  "La  Lodoiska, 
ballo  eroico  pantomimo  in  tre  atti."    The  composer  of  the  music  is  not  mentioned. 

First  performed,  as  indicated,  January  16,  1797.  Schatz  6175 

Telemaco  nell'  isola  di  Calipso.  Dramma  per  musica  del  nebile 
Signere  Carle  Lanfranchi  Rossi,  patrizie  Pisane,  da  rappresentarsi 
in  Firenze  nel  Teatro  di  via  del  Cecemere  nell'  autunne  deU'  anno 
1773  .  .  . 

Firenze,  Anton  Giuseppe  Pagani,  1773.     vi,  3-56  p.     17*^. 


1056  LIBRABY   OF   CONGBESS  , 

Telemaco  nell'  isola  di  Calipso^Continued. 

Three  acts.  Argument,  cast,  and  scenario.  On  p.  v,  "La  musica  parte  e  propria, 
e  parte  sotto  la  direzione  del  Sig.  Gio.  Vincenzo  Meucci,  maestro  di  cappella  Fiorent. 
Tutte  quelle  arie,  che  saranno  notate  con  queeto  segno  *non  sono,  che  adattate  dall' 
autore  del  libro  a  comodo  della  musica." 

On  p.  3-6,  description  and  cast  of  Giuseppe  Banti's  "L'Olimpiade,  ballo  panto- 
mimo-eroico,"  music  by  Gennaro  Astaritta.  Schatz  6400 

Telemaco  nell'  isola  di  Calipso,  ballet.     See  Piccinni's  Tigrane. 

Telemaco  nella  isola  di  Calipso.  Dramxaa  per  musica  da  rap- 
presentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  terza  opera 
di  questo  anno  1785  .  .  . 

Napoli,  n.  puhl,  1785.     24  p.     15'='^. 

Two  parts.  Dedication  and  cast.  The  remark,  "La  musica  h  diretta  dal  Sig.  D. 
Francesco  Cipolla"  (p.  5),  does  not,  as  Schatz  would  have  it,  establish  him  as  the 
composer.    Tne  author  is  unknown  to  Schatz.  Schatz  2012 

Telemaque,  tragedie,  fragments  des  modernes.  Representee  pour 
la  premiere  fois  par  I'Academie  royale  de  musique,  I'onzieme  jour  de 
novembre  1704. 

Amsterdam,  Henri  Schelte,  1705.    J^S  p.     IS''^. 

A  pasticcio  in  five  acts  with  prologue.  The  compilers  Danchet  and  Campra  are 
not  mentioned.    Same  Avvertissement  as  below.  ML  50.2.T34r3 

—  Telemaque,  tragedie,  fragments  des  modernes.  Representee  par 
I'Academie  royale  de  musique  Fan  1704.  Cette  pifece  a  este  mise  au 
Theatre  par  les  soins  de  MM.  Danchet  &  Campra.     LXII.  opera. 

n.  %.,  n.  d.  front.,  291-332  p.  (Recueil  general  des  opSra,  Paris, 
1706,  t.  via.) 

Detached  copy.  A  pasticcio  in  five  acta  with  prologue.  In  the  Avertissement 
Danchet  says:  • 

"Aprfes  avoir  donne  les  Fragments  de  Monsieur  de  Lully,  qui  eurent  un  eucc^ 
favorable,  je  fus  charge  de  faire  les  Fragments  des  Opera  modernes  que  Ton  ne  veut 
pas  remettre  entiers  sur  le  theatre.     Pour  en  faire  quelque  chose  de  singulier,  j'entre- 

?ri8  de  les  rendre  interessants  en  y  mettant  une  action  .  .  .  J 'ay  choisi  le  sujet  de 
el^maque,  j'en  ai  fait  le  plan  d'une  tragedie,  que  j'ai  compos^e  des  plus  beaux 
morceaux  de  musique,  que  les  connoisseurs  m'ont  indiquez,  ou  que  j'ay  v(i  moy- 
mgme  aplaudir  au  theatre.  Get  ouvrage  peut  §tre  compart  k  un  cabinet  pare  de 
tableaux  choisis  de  differents  maitres  .  .  .  J'ay  marqu6  dans  ce  livre  le  nom  des 
auteurs  dont  je  me  suis  servy,  &  j'ay  marqu6  par  doubles  vij^ules  les  vers  de  liaison 
que  j'ay  faits,  &  que  Monsieur  Campra  a  mis  en  musique." 

Accordingly,  for  this  pasticcio  he  utilized  Fontenelle  and  Colasse's  "En6e  & 
Lavinie,"  his  own  and  Campra's  Arethuse,  La  Fontaine  and  Colasse's  Astree,  de 
La  Mothe  and  Colasse's  Canente,  Comeille  and  Charpentier's  Medee,  Bernard  and 
Cainpra''8  Camaval  du  Venise,  Saint  Jean  and  Marais'  Ariane,  M"*  Saintonge  and 
Desxuarets'  Circ6,  Guichard  and  Rebel's  Ulysse.  It  is  not  mentioned  that  Campra 
composed  the  "vers  de  liason." 

First  performed  at  Paris,  Acad^mie  royale  de  musique,  November  11,  1704. 

Schatz  1561 
Second  copy .    ML  48 .  R4 

—  Telem.aque,  tragedie.  Fragmens  des  modernes.  Representee 
par  I'Academie  royale  de  musique,  Tan  1704. 

[291]-333  p.     17 y^.     (Antoine  Danchet,  Theatre,  t.  ii,  Paris,  1751.) 
Prologue  and  five  acts.    Practically  the  same  avertissement.  PQ  1972. D2 


OPEEA   LIBRETTOS  1057 

Telemaque,  tragedie  representee  pour  la  premiere  fois,  par  I'Aca- 
demie  royale  de  music[ue,  le  jeudi  6.  decembre  1714.  Les  paroles  de 
M.  Pellegrin  &  la  musique  de  M.  Destouches.     LXXXVI.  opera. 

n.  i.,  n.  d.  pi.,  p.  233-300.  (Recueil  general  des  operas,  t.  xi, 
Paris,  1720.)     H^"^. 

Detached  copy.  Five  acts  and  prologue.  The  score,  published  1714  as  "Tele- 
maque et  Calypso,"  gives  November  15,  1714,  as  the  date  of  first  performance,  the 
"second  edition"  of  1715  gives  December  6,  1714,  and  Chouquet  and  Schatz  have 
November  29,  1714.  Schatz  2552 

Second  copy.     ML  48. R4 

—  Parodie  de  I'opera  de  Telemaque.  Piece  d'un  acte.  Par  Mon- 
sieur le  S    *     *.     Representee  \  la  Foire  de  S.  Germain  1715  avec 

Le  Theatre  de  la  foire,  Paris,  1737,  t.  i,  pi,  [3dl]-384  p.     17"^. 

By  Alain  Ren^  Le  Sage.  En  vaudevilles.  The  melodies  are  printed  in  the  "Table 
dea  airs"  at  the  end  of  the  volume.  They  were  selected  or  composed  and  arranged 
by  the  "compositeur"  of  the  theatre,  Jean  Claude  Gillier.  The  overture  and  the 
tempest  music  was  borrowed  from  Marais'  opera  "Alcione."  ML  48. L2 

Telemaque  dans  I'isle  de  Calipso,  ballet-heroique,  en  trois  actes, 

f)ar  M.  Gardel.     Represent e  pour  la  premiere  fois  sur  le  The&,tre  de 
'Academie  de  musique,  le  mardi  23  fevrier  1790. 
Paris,  a  la  Salle  de  VOpera,  1790.     28  p.     18^"^. 

Three  acts.  Cast.  Scene  by  scene  description  of  the  action.  The  composer, 
Miller  (according  to  Lajarte),  is  not  mentioned.  ML  48. B2 

Telem.aque  dans  I'isle  de  Calypso,  ou  Le  triomphe  de  la  sagesse, 
tragedie  lyrique  en  trois  actes.     Representee  sur  le  Th6§,tre  de  la  rue 
Feydeau,  le  [Uanlc]  floreal,  an  4.  [May  11,  1796]. 
Paris,  Laurens  aine,  an  IV de  la  Repuhlique  [1795-96].    56  p.    21'^'^. 

Cast  and  names  of  Alphonse  Francois  Dercy  as  author,  of  Le  Sueur  as  composer. 

ML  50.2.T35L3 

Telemaque  dans  I'isle  de  Calypso,  ballet.  See  Michl's  II  trionfo 
di  Clelia. 

Telephe,  tragedie  representee  pour  la  premiere  fdis,  par  TAcademie 
royale  de  musique,  le  jeudy  23,  novembre  1713.  Les  paroles  de  M. 
Danchet  &  la  musique  de  M.  Campra.     LXXXIV.  opera. 

n.  i.,  n.  d.  111-176  p.  14'^'^.  (Recueil  general  des  opera,  Paris, 
1720.     t.  xi.) 

Detached  copy.     Five  acts,  with  prologue.  Schatz  1562 

Second  copy.    ML  ^.R4 

—  Telephe,  tragedie. 

[217]-280  p.  17^"^.  (Antoine  Danchet,  Theatre,  Paris,  1751, 
t.  Hi.) 

Prologue  and  five  acts.     Campra  is  not  mentioned.  PQ  1972.D2 

Temira  e  Aristo.     Cantata  da  eseguirsi  nel  nobilissimo  Teatro  della 
Fenice  per  la  fiera  dell'  Ascensione  dell'  anno  1795. 
Venezia,  Stamperia  Valvasense,  1795.     51  p.     19^™. 

Nine  scenes.  Neither  the  author,  conte  de  Salvioli,  is  mentioned,  nor  the  com- 
poser, Joh.  Simon  Mayr.  On  p.  [17]-28,  prefatory  note,  argument,  cast,  and  descrip- 
tion of  Lauchlin  Duquesny's  "Obert  e  Melina,  ballo  eroico-tragico  in  cinque  atti," 
with  music  ("tutta  nuova")  by  Vittorio  Trento.  On  p.  [29-51|  the  argument,  caat, 
scenario,  and  Calsabigi's  (not  mentioned)  text  of  "Orfeo  ed  Eundice,"  with  name  oi 
Ferdinando  Bertoni  as  the  composer.    The  latter  was  first  performed  in  1776. 

Schatz  6203 
72251°— VOL  1—14 67 


1058  LIBRABY   OF  CONGRESS 

II  Temistocle.     See  M.  Curzio. 

II  Temistocle. 

68  p.  19^^.  (Pietro  Metastasio,  Opere  drammaticke,  Venezia,  GiiP- 
seppe  BeUineUi,  1733-37,  v.  4.) 

Three  acts  and  licenza.    Argument.    No  composer  mentioned.         ML  49.A2M4 

—  Temistocle. 

Metastasio;  Poesie,  Parigi,  vedova  QuiUau,  1756 ^  t,  iv,  [S01]-40S  p. 

Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Temistocle.  Rappresentato  con  jnusica  del  Caldara  la  prima 
volta  in  Vienna,  nell'  interne  gran  Teatro  della  Cesarea  corte  .  .  .  il 
di  4  novembre  1736,  per  festeggiare  il  nome  dell'  imperator  Carlo 
VI  .  .  . 

J)Z.,  [235]-340  p.     26'''^.     {Pietro   Metastasio,  Opere,  t.  v,  Parigi, 
ova  Herissant,  1780.) 
Three  acts  and  licenza.    Argument.  ML  49.A2M44 

Temistocle.     Azione  scenic  a. 

Apostolo  Zeno,  Poesie  drammaticke,  Venezia,  1744)  i'  h  P-  144^]- 
504  p.     19^"^. 

Three  acts.  Arcument.  No  composer  is  mentioned.  In  the  "Catalogo"  at  end 
of  t.  X,  date  and  place  of  first  ed.  are  given  as  Vienna,  1700.  (According  to  Schatz 
and  Fehr  first  performed  there  on  June  9,  1701,  with  music  by  M.  A.  Ziani.) 

ML  49.A2Z3 

—  Temistocle.  Azione  scenica,  pubblicata  per  la  prima  volta  in 
Vienna  1700. 

Apostolo  Zeno,  Poesie  drammaiiche,  Orleans,  1785-86,  t.  ii,  p.  58. 

Three  acts.    Argument.    No  composer  is  mentioned.  ML  49.A2Z4 

Temistocle.     Dramma   per   musica   da   rappresentarsi   nel   Regio 
Teatro  di  via  della  Pergola  il  carnevale  del  MDCXUXCIII  .  .  . 
Firenze,  Stamperia  Alhizziniana,  1793.     35  p.     16Y'^. 

Two  acts.  Argument,  cast,  and  note:  "La  musica  k  di  diversi  celebri  autori." 
The  author,  Metastasio,  is  not  mentioned.  ML  48.A5    v.  16 

Temistocle. 

Three  acts.    By  Metastasio.    Music  by  Johann  Christian  Bach. 
First  performed  at  Mannheim,  November  4,  1772. 
Not  in  L.  of  C. 

—  Themistocles,  eine  opera  aufgefuehret  bei  gelegenheit  des 
hoechstbeglueckten  namensfestes  Seiner  churfuerstl.  Durchlaucht  zu 
Pfalz. 

Mannheim,  Hoj  und  Alcademie  Buchdniclcerei,  1772.     95  p.     16^*^^. 

According  to  note  on  p.  [8],  this  is  an  adaptation  "mit  neuen  arien,  duetten  und 
finalen  bereichert,"  by  Mattia  Verazi,  of  Metastasio's  drama  as  composed  by  Johann 
Christian  Bach.  Argument,  cast,  scenario.  German  text  only.  On  p.  81-95,  detailed 
description,  with  cast,  of  the  ballets,  "Rogerius  auf  der  ineel  der  Alcine"  (music  by 
Joseph  Toeschi)  and  "Medea  und  Jason  (music  by  Christian  Cannabich).  Both 
were  written  by  Stephan  Lauchery.  Schatz  531 


OPERA    LIBRETTOS  1059 

Temistocle.     Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  Sn.  Gio.  Grisostomo  nel  carnevale  1744  .  .  . 
[Venezia],  n.  puhL,  n.  d.     57  p.     i5<"". 

Three  acts.  By  Metastasio.  Argument,  cast,  scenario,  and  name  of  compoeer, 
Andrea  Bemascozd,  but  not  of  librettist.  Schatz  861 

—  Temistocles.  Vorgestellt  [im]  gesungnen  schau-spiel  auf  dem 
neuen  Hof-Schau-Platze  ...  in  der  fassnacht  1754.  Die  poesie  ist 
vom  herrn  abbt,  Peter  Metastasio,  die  musik  ist  vom  herrn  Andre 
Bernaskoni  .  .  . 

Muenchen,  Johann  Jacob  Voetter,  n.  d.     191,  [&\  f.     14-^"'^- 
Three  acts.    Argument,  cast,  and  scenario.     Italian  text,   "Temistocle,"  faces 
German.    The  opera  was  followed  by  "Urtheil  des  Paris,  heroiflcher  echaefer-tanz," 
apparently  by  Du  Buisson  de  Charlandray. 

First  performed  at  Munich,  as  indicated.  Schatz  862 

II  Temistocle.  Dramma  per  musica,  da  rappresentarsi  nel  gran 
Teatro  dell'  imperial  Corte  per  il  nome  gloriosissmio  deUa  Sac.  Ces.  e 
Catt.  Real  Maesta  di  Carlo  VI  .  .  .  L'  anno  MDCCXXXVI.^  La 
poesia  e  del  Sig.  abbate  Pietro  Metastasio  .  .  .  La  musica  ^  del 
Sig.  Antonio  CaJdara  .  .  . 

Viennad'Austria,Gio.  Pietro  Van  Ghelen,n.d.     S  p.  I.,  72  p.     15''^. 

Three  acts  and  licenza.  Argument  and  Bcenario.  The  ballet  music  was  composed 
by  Niccola  Matteis. 

First  performed  at  Vienna,  Hoftheater,  November  4.  1736.  Schatz  1488 

Temistocle.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Obizzi 
di  Padova  nel  mese  di  giugno  1721  .  .  . 
Padova,  n.  puhl,  1721.     48  p.     15''"'. 

Three  acts.  By  Apostolo  Zeno.  Impresario's  dedication,  argument,  cast,  sce- 
nario, name  of  Fortimato  Chelleri  as  composer,  and  this  notice  to  the  reader,  which 
covers  a  current  practice  of  the  time: 

"II  presente  Temistocle  6  un'  azzione  scenica  fatta  in  Vienna  per  il  giomo  natalizio 
della  S.  C.  R.  M.  di  Leopoldo  Primo  Iniperatore  de  Eomani  I'anno  1701,  e  per  potere 
esprimere  la  suaperfezzione,  basta  il  dire,  che  sia  componimento  uscito  dallafamosa 
penna  del  Sig.  Apostolo  Zen  [!]  istorico  e  poeta  di  S.  M.  Imp.  [music  by  Ziani].  Questo 
adunque  essendosi  dovuto  accommodare  rappresentabile  nel  Teatro  Obizzi  di  Padova, 
h  stato  soggetto  alia  dura  necessity  di  aggiunta  di  nuove  scene,  cambiamenti  di  arie, 
ed  accrescimenti  di  mutazioni.  Destino  al  quale  ogni  drama  vien  sottoposto,  dopo 
la  sua  prima  comparsa  che  egU  ik  sii  i  Teatri.  Ma  acioche  questo  non  punto  resti 
defraudato  di  ci6,  che  di  venerazione  si  deve,  a  quello,  ch'  b  parto  d'un'  cosi  celebre, 
e  rinomato  autore,  tutto  quello  che  da  altro  poeta  vi  sar^  tramischiato  con  piccole 
virgolette  contrasegnato  vedrassi.    Vivi  felice. 

Accordingly,  for  instance,  were  added  Temistocles'  aria  (I,  7)  "Dell'  aurora  al 
primo  albore,"  Palmide's  entire  scene  (I,  10)  "0  dell'  anime  amanti"  and  the  final 
chorufl  "Chi  non  sk  che  sia  dolore"  and  many  more.    The  revisor  is  not  mentioned. 

Schatz  1815 

Temistocle  in  bando.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  San  Casciano  V  anno  MDCLXXXIII  .  .  . 
Venetia,  Francesco  Nicolini,  1683.     59  p.     i^''"*. 

Three  acts.  By  Adriano  Morselli  (not  mentioned)  with  indicated  interpolations 
' '  per  comodo  delle  mutationi,  e  per  sodisfare  k  cantanti . ' '  These  are  ' '  Quella  h  Sibari 
al  certo,"  etc.  (I,  14),  and  the  whole  III,  4,  "lo  vivo  ancora?  e  invendicato  io  vivo?" 
Dedication,  argument,  and  scenario.  The  composer,  Antonio  Zannettim,  is  not 
mentioned.  Schatz  11147 

Temistokles.     Tr.  of  Bernasconi's  Temistocle. 


1060  LIBRABY   OF   CONGRESS 

Der  tempel  der  wahrheit.  Ein  vorspiel  mit  gesang  und  tanz.  Auf- 
gefuehrt  zu  Berlin  am  gcburtsfeste  S.  K.  H.  des  Prinzen  von  Preussen 
(des  jetzt  regierenden  Koenigs  Majestat)  den  25'*"  September  1780. 

[l/^]-26  p.  (Annalen  des  theaters,  erstes  heft,  Berlin,  Friedrich 
Maurer,  1788.) 

According  to  a  foot-note  the  libretto  was  by  Prof.  [Friedrich  Ludwig  Wilhelm] 
Meyer  of  Gottingen  and  had  not  been  published.  The  composer,  Friedrich  Wilhelm 
Hemrich  Benda,  is  not  mentioned.  Schatz  767 

Der  tempel  des  gedaechtnisses.  Ein  scherzhaftes  singspiel,  aus 
dem  franzoesischcn  uebersezt.  Nebst  einem  historischen  vorbericht 
von  den  comischen  opern. 

Frankfurt  und  Leipzig,  n.  publ.,  1770.     103  p.     16^'=^. 

In  the  unsigned  "Historischer  vorbericht  von  dem  ursprung  der  echerzhaften 
singspiele,  welche  Opera  comique  genennet  werden,"  it  is  said: 

"Gegenwaertiges  stueck  ist  aus  dem  sechsten  theil  des  theaters  de  lafoire  genom- 
men,  welcher  die  herren  le  Sage,  Fuzelier  und  d'Omeval  zu  verfassem  hat;  es  hat 
daselbsten  die  zweyte  stelle,  und  heisset  Le  temple  de  memoire  oder  Gedaechtniss- 
tempel.  Hier  ist  es  theils  uebersetzt,  theils  nachgeahmt.  Von  den  couplets  sind 
viele  in  der  melodie  franzoesischer  vaudevilles;  einige  gehen  nach  teutschen  gassen- 
hauem;  einige  auch  nach  opem-arien  vomehmer  componiaten;  der  dritte  theil  der- 
selben  aber  ist,  von  herm  Johann  Conrad  Elmer,  wohlbestellten  organisten  zu  St. 
Martin  in  Memmingen,  in  die  musique  gesetzet  word  en."  Schatz  2917 

Der  tempel  des  schicksals.  Prolog  vom  herrn  stadtgerichts  sekre- 
tar  Schubert  in  Breslau;  vorgestellt  auf  dem  hiesigen  theater  am 
ersten  januar  dieses  jahres. 

p.  193-200.  18^"^.  (Litteratur  und  Theater  Zeitung,  Berlin,  1779, 
2^'^jahrg.,  1"^  th.) 

The  composer,  Franz  Andreas  Holly,  is  not  mentioned. 

First  performed  at  Breslau,  as  indicated.  Schatz  4772 

The  tem.pest.  An  opera.  Taken  from  Shakespear.  As  it  is  per- 
formed at  the  Theatre-Royal  in  Drury-Lane.  The  songs  from 
Shakespear,  Dryden,  etc.     The  music  composed  by  ^Mr.  Smith. 

London,  J.  and  R.  Tonson,  1756.     4p.l.,  47  p.     20^"^. 

Three  acts.  The  composer,  John  Christopher  Smith,  also  compiled,  resp.  selected 
the  text,  probably  aided  by  David  Garrick.    Argument  and  cast. 

First  performed  February  11, 1756,  as  indicated.  Longe  198 

Second  copy.    Office 

II  tempio  dell'  eternita. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  vi,  [391]-432  p. 

One  act.    Argument.  ML  49.A2M42 

—  II  tempio  dell'  eternita.  Festa  teatrale  scritta  dall'  autore  in 
Vienna  I'anno  1731  .  .  .  e  sontuosamente  rappresentata  la  prima 
volta  con  musica  del  Fux  nel  Giardino  dell'  Imperial  Favorita,  per 
festeggiare  il  di  28  agosto,  giorno  di  nascita  dell'  imperatrice 
Elisabetta. 

[357]-394  p.  26^.  (JPietro  Metastasio,  Opere,  t.  4,  Parigi,  vedova 
Herissant,  1780.) 

One  act.    Amiment.     Originally  composed,  performed  and  published,  according 
to  Kochel,  under  the  title   "  Enea  negli   Elisi  owero  II  tempio  dell'  eternity,' 
which  see.  ML  49.A2M44 


OPEBA  LIBEETTOS  1061 

II  tempio  della  gloria — O  templo  da  gloria. 
Lisboa,  Simdo  TJiaddeo  Ferreira,  1790.     39  p.     15"^. 

On  p.  [2],  "Da  rappresentarsi  nel  Teatro  della  rua  Dos  Condes  nel  17.  di  decembre 
1790.  Giomo  natalizio  di  Sua  Maest^  Fedeliseima  Dona  Maria  I."  Dedication,  cast, 
and  namee  of  Eustachio  Manfrede  as  author,  of  Carlo  Spontoni  as  composer.  Portu- 
guese text  faces  Italian.  Schatz  10017 

II  tempio  della  morte.  Ballo  eroico-pantomimo  da  rappresen- 
tarsi nel  magnifico  Teatro  delF  Accademia  Filarmonica  di  Verona  il 
carnovale  dell'  anno  1794.  Composto  e  diretto  dal  Signor  Filippo 
Beretti. 

Verona,  Dionigi  Ramanzini,  n.  d.     I4  V-     16^'^'^. 

Cast,  argument,  scene-by-scene  description .     Composer  of  the  music  not  mentioned . 

ML  52.2.T32 

II  tempio  della  paz^a,  ballet.     See  Insanguine's  Motezuma. 

Le  temple  de  rennuy.     Prologue.     Par  Messieurs  le  S    *     *     & 
F     *     *     *.     Represente    k    la    Foire    de    S.    Germain    1716. — Le 
tableau  du  m.ariage.     Piece  d'un  acte.     Par  Messieurs  le  S    *     * 
^  p    *     *     *      Representee  a  la  Foire  de  Saint  Germain  1716. 
Le  Theatre  de  la  foire,  Paris,  1737,  t  ii,  2  p.  I.,  [259]-315  p.     17'"^. 

By  Alain  Ren6  Le  Sage  and  Louis  Fuzelier.  The  airs,  selected  or  composed  and 
arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  01  the  volume  in  the  "Table 
des  airs."  ML  48.L2II 

Le  tem.ple  de  la  gloire,  feste  donn^e  k  Versailles,  le  27  novembre 
1745. 

[Paml,  Jean  Baptiste  CTiristoplie  BoMard,  174^.     viii,  4S  p.,  1  pi. 

Head  and  tail-pieces,  initials.  Five  acts.  Preface,  according  to  which  the  subject 
is  taken  from  Metastasio.  Neither  Voltaire,  the  author,  is  mentioned,  nor  the  com- 
poser, Jean  Philippe  Bameau. 

First  performed  at  Versailles,  November  27,  1745;  at  Paris,  Academic  royale  de 
musique,  December  7,  1745.  ML  50.2.T38R2 

Le  tem.ple  de  la  paix.  Ballet.  Dans^  devant  sa  Majesty  a  Fon- 
tainebleau,  le  15  d'Octobre  1685.  Suivant  la  copie  imprim^e  k 
Paris. 

[Amsterdam,  Antoine  Schelte],  1686.     36  p.  (inch  front.)     IS^*""*. 

Six  entries,  with  the  names  of  the  nobility  participating.  In  his  dedication  Lully 
says: 

"De  tous  les  ouvrages  que  j'ay  faits,  &  que  j'ay  eA  I'honneur  d'offrir  k  Vostre 
Majesty,  voicy  celui  qui  luy  appartient  le  plus  legitimement."  ML  49'.A2L9 

—  Le  temple  de  la  paix,  ballet  represents  par  I'Academie  royale  de 
musique  Pan  1685.  Les  paroles  de  M.  Qumault  &  la  musique  de 
M.  de  Lully.     XIX.  opera. 

n.  i.,  n.  d.  llf^^.  front.,  91-120  p.  {Recueil  general  des  opera, 
t.  Hi,  Paris,  1703.) 

Detached  copy.     Six  entries. 

First  performed,  as  indicated,  October,  1685;  at  Fontainebleau,  September  12,  1685 

Schatz  5772 
Second  copy.     ML  48. R4 

—  Le  tem.ple  de  la  paix.  Ballet  dans6  devant  le  roi  k  Fontaine- 
bleau le  15.  octobre  1685. 

Philippe  Quinavlt,  Theatre, Paris,  1 739,  t.  v.,  pi,  p.  [379]-41 1.     17'"^. 
Six  entries.    Lully  is  not  mentioned.  PQ  1881.A1    1739 


1062  LIBBABY   OF   CONGBESS 

Le  temple  de  memoire.  Piece  d'un  acte.  Representee  h  la  Foire 
de  Saint  Laurent  1725.  &  ensuite  sur  le  Theatre  du  Palais  Royal. 

Le  Theatre  de  la  foire,  Paris,  1728,  t  vi,  pi,  [l9]-69  y.     17'"^. 

Le  Sage,  Fuzelier,  and  d'Omeval  are  mentioned  as  the  authors.  Largely  en  vaude- 
villes. The  airs  selected  or  composed  and  arranged  by  Jean  Claude  Gillier,  the  "com- 
positeur" of  the  troupe,  are  printed  at  the  end  of  the  volume  in  the  "Table  dee  airs." 

First  performed  July  21,  1725.  ML  48.L2VI 

Le  temple  du  destin.  PiSce  d'un  acte.  Par  M.  le  S  *  *  *. 
Representee  h,  la  Foire  de  S.  Laurent  1715. 

Le  Thmtre  de  la  foire,  Paris,  1737,  t  i,  pi,  [385]-4£7  p.     17'"". 

By  Alain  Rene  Le  Sage.  En  vaudevilles.  The  melodies  are  printed  in  the  "Table 
des  airs  "  at  the  end  of  the  volume.  They  were  selected  or  composed  and  arranged  by 
the  "compositeur"  of  the  theatre,  Jean  Claude  Gillier. 

First  performed  July  25,  1715.  ML  48.L2  I 

The  temple  of  dullness.     With  the  humour  of  Signer  Capocchio, 
and  Signora  Dorinna.     A  comic  opera  of  two  acts.     As  it  is  perform'd 
at  the  Theatre-Royal  in  Drury-Lane.     The  music  by  Mr.  [Th.  Aug.l 
Arne. 
London,  J.  Watts,  1745.     16  p.    -^/J'^'". 

Two  acts.  The  author,  CoUey  Gibber,  is  not  mentioned.  Text  preceded  by  "a 
short  preface  by  way  of  argument." 

First  performed,  as  indicated,  January  17,  1745.  ML  50.2.T39A7 

The  temple  of  love :   a  pastoral  opera.     English'd  from  the  Italian. 
All  sung  to  the  same  musick.     By  Signior  J.  Saggione.     As  it  is  per- 
form'd at  the  Queen's  Theatre  in  the  Hay-Market.     By  Her  Majesty's 
sworn  servants.     Written  by  Mr.  Motteux. 
London,  Jacob  Tonson,  1706.     2  p.  I,  37,  [1]  p.     21""^. 

Three  acts,  prologue,  and  epilogue.  According  to  Bumey  (iv,  201),  the  music  was 
by  Giacomo  Qreber.  Not  only  does  the  title  page  contradict  this,  but  Walsh  pub- 
lished songs  from  the  opera,  as  composed  by  Giuseppe  Fedeli  Saggione. 

First  performed,  as  indicated,  March  7,  1706.  Longe  294 

O  temple  da  gloria.     Tr.  of  Spontoni's  II  tempio  della  gloria. 

II  tem.po  fa  g^ustizia  a  tutti.     Dramma  giocoso  per  music  a  da 
rappresentarsi  nel  Teatro  alia  Canobiana  il  carnevale  1797  .  .  . 
Milano,  Gio.  Batista  Bianchi,  n.  d.     63  p.     16^*^"^. 

Two  acts.  By  Antonio  Brambilla,  who  is  not  mentioned.  Cast  and  name  of  Ferdi- 
nando  Pher  (Paer)  as  the  composer. 

First  performed  at  Milan,  as  indicated,  January  26, 1797;  at  Parma,  Teatro  Ducale, 
MI  1792.  ScHATZ  7537 

Ten  thousand  pounds  for  a  pregnancy.  A.  T.  of  The  wanton 
countess. 

Teodelinda.     Dramma   per   musica   da   rappresentarsi   nel   Regio 
Teatro  di  Torino  nel  carnovale  del  1789  .  .  . 
Torino,  Onorato  Derossi,  viii,  64  P-     19^'^. 

Three  acts.  By  Giandomenico  Boggio.  Cast,  scenario,  argomento,  and  names  of 
librettist  and  composer,  Gaetano  Andreozzi.  The  ballets,  the  music  for  which  was 
composed  by  Vittorio  Amedeo  Canavasso,  are  entitled  "La  costanza  coniuKile," 
"La  fiera  di  Sinigaglia"  and  "II  Gastaldo  burlato."  They  were  by  Giuseppe  Banti, 
and  a  detailed  description  of  the  first  is  on  p.  57-64  of  the  libretto.         Schatz  211 


OPERA   LIBRETTOS  1063 

v/Teodora  Augusta.  Drama  per  musica  da  rappresentarsi  nel 
riformato  Teatro  Vendramino  di  S.  Salvatore  Tanno  1686.  Ristam- 
pato  con  nuova  aggiunta  .  .  . 

Venetia,  Francesco  Nicolini,  1686.     60  p.     14"^. 

Three  acts.  By  Adriano  Moreelli,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  scenario,  and  author's  notice  to  the  reader,  in  which  he  mentions  Domenico 
Gabriell  as  the  composer,  and  says: 

"  Fii  dall "  autore  adomato  di  nove  arie,  e  si  sono  alterate,  &  aggiunte  alcune scene; 
onde  benche  sia  lo  stesso,  sara  per6  in  qualche  parte  di  versa.  Schatz  3401 

Teodorico.  Dramjna  per  musica  da  rappresentarsi  nel  Teatro 
Formagliari  Fautunno  dell'  anno  MD(X)XX  Vll  .  .  . 

Bologna,  CostantinA)  Pisarri,  n.  d.     62,  [1]  p.     16^*^^. 

Three  acts.  By  Antonio  Salvi.  Impresario's  dedication,  dated  Bologna,  October 
26, 1728,  argument,  cast,  and  scenario,  but  without  name  of  the  composers  or  librettist, 
but  on  p.  7,  the  note:  "La  musica  sark  di  diversi  autori,"  and  Schatz  mentions  Giu- 
seppe Maria  Buixd  as  one  of  them.  In  the  dedication  the  term  "il  presente  libretto  " 
is  used.  Schatz  1383 

Teodorico.  Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Grimani  di  S.  Gio.  Grisostomo.  L'autunno  dell'  anno  1720.  Del 
dot.  Antonio  Salvi  Fior.  ... 

Venezia,  Marino  Rossetti,  1720.    60  p.     IS*^. 

Three  acts.  Publisher's  dedication,  argument,  cast,  name  of  Giovanni  Porta  as 
the  composer,  and  notice  to  the  reader,  who  is  informed  that  this  text  is  but  a  some- 
what altered  version  of  a  "drama,  che  uscito  pochi  anni  sono,  ben  fe  vero  con  altro 
nome,  dalla  penna  felice  del  Signor  dottor  Saha  Fiorentino."  Schatz  8393 

Teodosio.  Drama  per  musica  da  rappresentarsi  nel  Teatro  d'Ham- 
burgo  I'anno  1718. — Theodosius  ...  , 

Hamburg,  Caspar  JaJchel,  n.  d.     Unpaged.     19*^. 

Three  acts.  By  Vincenzo  Grimani,  who  is  not  mentioned.  The  "  Innhalt "  is  in 
German  only,  but  list  of  characters  and  the  text  are  both  in  Italian  and  German. 
Schatz  mentions  as  composers  Johann  Joseph  Fux,  Carlo  Francesco  Gasparini,  and 
Antonio  Caldara. 

First  performed,  as  indicated,  November  14,  1718;  at  Brunswick  on  September  12, 
1716,  as  "Teodosio  ed  Eudossa."  Schatz  3392 

II  Teodosio.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Cassiano  in  Venezia  Fanno  1699. 

Venezia,  Nicolini,  1699.  59  p.  l^'^- 
Three  acts.  Argument,  scenario,  and  publisher's  prefatory  note: 
"  Eccoti  un  drama  abozzato  molto  tempo  tk  da  una  penna  nobile  [Vincenzo  GrimaniJ, 
che  per  esser  volata  al  cielo  non  hh,  potuto  compirlo.  Hora  te  lo  presento  aggiustato  in 
modo  tale,  che  haverei  speranza  potesse  esser  compatito.  Chi  hk  havuto  la  prima 
intentione  di  perfettionarlo,  non  h^  havuto  mai  la  seconda  di  mettertelo  sotto  I'occhio, 
m^  la  conguintura  h^  portato  cosi  ..." 

The  composer.  Marc'  Antonio  Ziam,  is  not  mentioned. 

First  performed,  as  indicated,  carnival,  1699.  Schatz  11194 

Teodosio  ed  Eudossa.  O.  T.  of  Fux,  Gasparini  and  Caldara's 
Teodosio. 

Teodosio  il  giovane.     Dramma  posto  in  musica  dal  Signor  Filippo 
Amadei,  e  rappresentato  in  Roma  Fanno  1711. 
Roma,  Antonio  de'  Rossi,  n.  d.     80  p.     W^. 

Three  acts.    Argument  and  scenario.    Librettist  unknown  to  Schatz. 

First  performed  at  the  Teatro  di  Tor  di  Nona,  as  indicated.  Schatz  167 


1064  LIBRARY   OF   CONGRESS 

Teofane.  Drainina  per  musica  rappresentato  nel  Reffio  Elettoral 
Teatro  di  Dresda  in  occasione  delle  felicissime  nozze  de  Serenissimi 
principi  Federigo  Augusto  .  .  .  e  Maria  Gioseffa,  arciduchessa 
d'Aiistria. 

Dresda,  Gio.  Corrado  Stossel,  1719.    front,  unpaged.     19^. 

Three  acts.  By  Stefano  Benedetto  Pallavicini.  who  is  not  mentioned.  Argument, 
cast,  and  names  of  Antonio  Lotti  as  composer  oi  the  opera,  of  "Giambattista  Woul- 
myer,  mastro  di  concerto"  as  composer  of  the  ballet  music.  Frerfch  title  page, 
"Theophane,"  and  text  face  Italian.  At  end,  a  congratulatory  scene  (licenza),  with 
chorus. 

First  performed,  as  indicated,  September  13,  1719.  Schatz  5723. 

Teramene.     See  M.  Curzio. 

Teraminta:  an  opera.  Set  to  musick  by  Mr,  John  Christopher 
Smith. 

U7}-88  f.     22^.     {Henry  Carey,  Dramaticlc  works,  London,  1743.) 

Three  acts.    Ai^ument  with  foot-note: 

"The  recitative  of  this  opera  was  written  originally  in  prose  for  expedition  sake; 
ednce  which  time  the  author  has  alter'd  it  into  blank  verse,  and  made  great  improve- 
ment in  the  drama,  as  will  appear  by  comparing  it  with  the  edition  printed  m  the 
year  1732."  ♦ 

First  performed  at  London,  Lincoln's  Inn  Fields,  November  20,  1732. 

ML  49.A2C2 
Second  copy,  detached.    Long e  127 

Tereo,  tiranno  di  Nasora.     A.  T.  of  the  ballet  Progne  e  Filomene. 

Der  ternengewinnst  oder  der  gedemuthigte  stolz.  O.  T.  of  Ditters- 
•dorf's  Terno  secco. 

Terno  secco,  oder  Der  gedemuethigte  stolz.  Ein  komisches  sing- 
spiel  in  2  aufzuegen,  nach  dem  italiaenischen  frey  bearbeitet  zu  einer 
musik  vom  herrn  von  Dittersdorf. 

Oels,  Ludwig,  n.  d.     100  p.     17'"^. 

Text  by  the  composer. 

First  performed  at  Oels,  Hoftheater,  F'ebruary  11,  1797,  as  "Der  ternengewinnst 
oder  Der  gedemuthigte  stolz."  Schatz  2609 

H  Teseo.  Festa  teatrale  per  le  reali  nozze  de  i  serenissimi  sposi  Gio. 
Giorgio  III,  principe  elettorale  di  Sassonia  .  .  .  ed'  Anna  Sofia, 
principessa  reale  ereditaria  di  Danimarca,  e  Norwegia,  de'  Vandali, 
e  Goti,  etc. 

G.  A.  Moniglia,  Poesie  drammatiche,  seconda  parte,  Firenze,  Cesare 
e  Francesco  Bindi,  1690,  p.  [355\-J,38.    24'^'^. 

Prologue  and  five  acts.  Scenario  and  argument.  No  composer  mentioned  and 
not  recorded  by  Schatz  or  Fiirstenau.  Possibly  composed  by  Giovanni  Andrea 
Angelini  Bontempi,  who  was  court  composer  at  Dresden,  where  "II  Teseo  "  was  first 
performed  on  January  27,  1667.  ML  49.A2M7 

Teseo.  Dramma  per  musica  da  cantarsi  nella  Real  villa  di  Queluz 
per  celebrare  il  felicissimo  giorno  natalizio  del  Serenissimo  Signore  D. 
Giuseppe,  principe  del  BrasOe  li  21.  agosto  1783. 

[Lishona],  Stamperia  reale,  n.  d.    32  p.     15^'^. 

One  act  with  licenza.  Argument,  cast,  and  names  of  Gaetano  Martinelli  as  author, 
of  Jeronymo  Francisco  de  Lima  as  composer.  Schatz  5619 


OPERA   LIBRETTOS  1065 

Teseo  a  Stige.  Dramma  tragico  per  musica  da  rappresentarsi  nelP 
Imperial  Teatro  di  via  della  Pergola  il  carnevale  delMDCCXCI  .  .  . 

Firenze,  Stamp.  AlMzziniana,  1791.    front.,  59  p.     17'^™'. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast,  and 
name  of  Sebaetiano  Nasolini  as  the  composer  T'La  musica  fe  tutta  nuova").  On 
p.  7-14  cast  and  description  of  Gaspero  Ronzi's  Lauso  e  Lidia  o  eia  II  trionfo  dell' 
amicizia,  ballo  eroico  pantomime  in  cinque  atti."  The  composer  of  the  music  ia 
not  mentioned.  Schatz  7021 

Teseo  e  Medea,  ballet.     See  II  riconoscimento  di  Teseo. 

Teseo  in  Sicilia.  Poetico  componimento  ad  uso  di  serenata  del  Sig. 
abate  Gio.  Domenico  Co.  di  Cataneo.  Posto  in  musica  dal  N.  H. 
Marc'  Antonio  Tiepolo  per  piacevole  trattenimento  delle  figlie  del 
Pio  Ospitale  degl'  Incurabili.     L'anno  MDCCLIV. 

Veneda,  Modesto  Fenzo,  1754.     32  p.     17"^. 
Two  parts.     Cast.  Schatz  10352 

vTeseo  tra  le  rivali.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  a  S.  Angelo.     Di  Aurelio  Aureli.     Opera  XX  V  .  .  . 
Venetia,  Francesco  Nicolini,  1685.     56  p.     ISY'^. 

Three  acts.  Author's  dedication  dated  Venice,  February  7,  1685,  argument,  sce- 
nario, and  author's  notice  to  the  reader,  mentioning  Giovanni  Domenico  Freschi  as 
composer.  ^  Schatz  3348 

A  test  of  good  fellowship.     A.  T.  of  Dibdin's  Liberty-hall. 

La  testa  riscaldata.     Farsa  giocosa  per  musica  originale  di  Giu- 
seppe Foppa  da  rappresentarsi  nel  nobilissimo  Teatro  V  enier  in  San 
Benedetto  il  carnovale  dell'  anno  1800. 
Venezia,  Fenzo,  1799.     48  p.     18'="'. 

One  act.  Cast  and  name  of  Ferdinando  Per  (Paer)  as  the  composer.  On  p.  45-48 
argument  of  Giovanni  Monticini's  "La  vendetta  d'amore,  ballo  all^orico,  music 
("tutta  nuova")  by  Vittorio  Trento. 

First  performed  January  20,  1800,  as  indicated.  Schatz  7540 

Das  testament,  eine  komische  operette  in  einem  aufzuge. 

[185]-246  p.  W^.  (Zwo  Jcomische  operetten  von  G  *  *,  CTiem^ 
nitz,  1773.) 

Not  recorded  by  Schatz.  For  author's  name,  quotation  from  the  preface,  etc., 
see  "Das  vomehme  Suschen."  Schatz  li655 

Testoride  Argonauta.     Dramma  per  musica  da  rappresentarsi  nel 
Teatro  della  real  villa  di  Queluz  per  festeggiare  il  felicissimo  giomo 
natalizio  di  sua  maesta  .  .  .  D.  Pietro  III  .  .  .  li  5  luglio  1780. 
[Lishoa],  NeUa  stamperia  reale,  n.  d.     55  p.     15'^^. 

Two  acts.  By  Gaetano  Martinelli.  Scenario,  cast,  and  names  of  the  author  and 
the  composer,  Joao  de  Sousa  Carvalho.  Schatz  1669 

La  tete-noire.     See  La  fausse-foire. 

Tetide.  Serenata  da  cantarsi  per  le  felicissime  nozze  delle  LL.  AA. 
RR.  I'arciduca  Giuseppe  d'Austria  e  la  Principessa  Isabella  di  Bor- 
bone  per  comando  degli  Augustissimi  Regnanti. 

Vienna,  Ghelen,  1760.     Unpaged.     21'=™. 

Embellished  with  exquisitely  engraved  vignettes,  etc.  The  preliminary  title 
reads:  "Tetide  del  Sig.  Giannambrogio  Migliavacca  .  .  ."  Argument,  cast,  and 
name  of  Qluck  as  the  composer. 

First  performed  at  Vienna,  Redouten  Saal  of  the  palace,  October  8,  1760. 

Schatz  3937 


1066  LIBRARY   OF   CONGRESS 

Tetide  in  Scire.  Drama  per  jnusica  da  rappresentarsi  nel  Teatro 
delle  Grazie  il  maggio  1715  .  .  . 

Vicenza,  Tomaso  Lavezari,  1715.     52  p.     W^"*. 

Three  acts.  By  Carlo  Sigismondo  Capece,  who  is  not  mentioned.  Dedication, 
argument,  cast,  and  vkxne  of  Carlo  Francesco  Pollaroli  as  the  composer. 

SCHATZ  8319 

Der  teufel  ist  los.     A.  T.  of  Killer's  Die  verwandelten  weiber. 

Der  teufel  ist  los  oder  Die  verwandelten  weiber.  O.  T.  of  Stand- 
fuss-Hiller's  Die  verwandelten  weiber  oder  Der  teufel  ist  los. 

Teuzzone. 

Apostolo  Zeno,  Poesie  drammatiche,  Venezia,  1744i  ^-  *v>  P-  [355]- 
444-     19^"^' 

Three  acts.    Argument.    No  composer  is  mentioned.  In  the  "Catalogo"  at  end 

of  t.  X,  date  and  place  of  first  ed.  are  given  as,  "in  Milano.  1706.     [Music  of  act  I  bv 

Paolo  ifagni,  of  acts  II-III  by  Clemente  Monari.]     E  in  Ven.  1707.  ma  tronco 

{see  below).  ML  49.A2Z3 

—  Teuzzone.     Pubblicato  per  la  prima  volta  in  Milano  1706. 
Apostolo  ZeriOf  Poesie  drammatiche,  Orleans,  1785-86,  t.  Hi,  p.  89- 

176.    21'^'^. 

Three  acts.     Argumen*!    No  composer  is  mentioned.  ML  49.A2Z4 

Teuzzone.  Drama  per  musica,  da  rappresentarsi  nel  Teatro  di 
S.  A.  S.  di  Carignano  .  .  . 

Torino,  Pietro  Giuseppe  Zappata,  1716.     4  P-  ^v  ^^>  U]  P-     14"^. 

Three  acts.  Altered  from  Apostolo  Zeno,  as  indicated  on  3d  p.  1.  Dedication, 
argument,  cast,  scenario,  and  names  of  Girolamo  Casanova  as  composer  of  first  and 
second  acts,  of  Stefano  Andrea  Fiord  of  the  third. 

First  performed,  as  indicated,  in  September,  1716.  Schatz  1682 

Teuzzone.  Drama  da  rappresentarsi  per  musica  nel  Teatro  Tron 
di  S.  Cassano,  il  carnovale  deH'  anno  MDCCVII.     Di  A.  Z. 

Venezia,  Marino  Rossetti,  n.  d.     60  p.     14¥^' 

Three  acts.  By  Apostolo  Zeno.  Argument,  cast,  scenario,  and  name  of  Antonio 
Lotti  as  composer.  The  text  is  the  one  called  above  "tronco,"  but,  as  a  matter  of 
fact,  it  is  exactly  the  same  as  in  the  Orleans  edition.  Schatz  5709 

—  L'inganno  vinto  dalla  ragione.  Drama  per  musica  del  Sig. 
A.  Z.  Da  rappresentarsi  nel  nuovo  Teatro  detto  di  S.  Gio.  de' 
Fiorentini  nel  giorno  19.  di  novembre,  che  si  festeggia  il  nome  della 
nostra  regina  .  .  . 

Napoli,  MicheleLuigi  Mutio,  1708.     50  p.     ISY^. 

Three  acts.  Impresario's  dedication,  argument,  scenario,  cast,  and  notice  to  the 
reader,  with  name  of  Apostolo  Zeno  as  author,  but  stating: 

"la  necessity,  impostami  da  varie  circostanze  del  tempo,  del  luogo,  de'  rappresen- 
tanti,  e  dal  genio  de  gl'aecoltanti,  mi  ha  costretto  farci  non  picciola  alterazione,  cosi 
nel  troncare  dello  stil  recitativo,  come  nello  aggiungervi  anette,  e  scene  burlesche. 
II  tutto  per6  si  h  fatto  colla  maggior  discrezione  possibile,  senza  alterare  il  principal 
tessuto  del  drama  ..." 

which  is  an  altered  version  of  "Teuzzone."  A  further  note  then  gives  the  names  of 
Giuseppe  Vignola  as  the  composer  of  the  alterations  and  additional  burlesque  scenes, 
and  that  of  Antonio  Lotti  of  the  opera  proper.  In  this  rifacimento  the  character  of 
"Troncone,  imperadore  della  Cina"  has  been  dropped.  Bepjins  "  Dunque  I'invitto 
rege"  instead  or  "  Nostro,  amici,  ^'1  trionfo"  and  has  in  this  I,  1  the  aria  "  Occhi 
non  giova"  which  originally  was  in  I,  3  has  in  II,  9  in  addition  to  aria  "Soffri 
costante"  the  aria  "  Fugge  e  vola"  which  is  not  in  the  original  version,  etc.,  etc. 

Schatz  5727 


OPERA  LIBRETTOS  1067 

Thalie  au  nouveau  theatre,  prologue  en  prose,  en  vers,  ariettes  & 
vaudevilles.     La  musique  est  de  M.  Gr^try. 

Paris,  Brunei,  1783.     30,  [2]  p.     21^^. 

On  the  [2]  p.  a  list  of  plays  published  by  Brunet. 

Cast.    The  author,  Sedaine,  is  not  mentioned. 

First  performed  at  Paris,  Comedie  italienne,  rue  Favart,  April  28,  1783. 

ML  50.2.T395G7 

The  theatrical  candidates.     See  also  May-day. 

—  The  theatrical  candidates,  a  musical  prelude,  upon  the  opening 
and  alterations  of  the  theatre,  Drury-Lane,  1775.  By  David  Gar- 
rick,  Esq. 

[159\-164  p.  W^.  {Collection  of  the  most  esteemed  farces  and 
entertainment,  t.  vi,  Edinburgh,  1792.) 

Cast.     Music  by  William  Bates,  who  is  not  mentioned. 

First  performed,  as  indicated,  September  23,  1775.  Schatz  11753F 

—  The  theatrical  candidates :  a  musical  prelude,  upon  the  opening 
and  alterations  of  the  theatre. 

n.i.,n.d.     [31]-40  p.     21^'='^. 

Detached  copy.     Cast.     Neither  author  nor  composer  mentioned.       Longe  239 

Themire,  pastorale  en  un  acte  .  .  .  par  M.  Sedaine.  La  musique 
de  M.  Duny.  Representee  pour  la  premiere  fois,  devant  Sa  Majesty  k 
Fontainebleau,  le  samedi  20  octobre  1770.  Et  h,  Paris,  pour  la  pre- 
miere fois,  par  les  Comediens  ordinaires  du  roi,  le  lundi  26  octobre 
1770. 

Paris,  Claude  Herissant,  1771.     24  p.     18^'^'^. 

With  cast.  Schatz  2856 

Themistocle,  tragedie  lyrique,  en  trois  actes;  representee,  pour  la 
premiere  fois,  devant  Leurs  Majest^s,  h,  Fontaineoleau,  le  jeudi  13 
octobre  1785. 

[Paris],  P.  R.  C.  Ballard,  1785:    4  p.  I.,  55  p.    20^'^ . 

Cast  and  names  of  Morel  [de  Chefde.villel  as  author,  of  Fran9ois  Andr6  Danican 
Philidor  as  composer. 

First  performed,  as  indicated;  at  Paris,  Acad^mie  royale  de  musique,  May  23, 1786. 

ML  50.2.T4P3 

Themistocles.     Tr.  of  Bach's  Temistocle. 

Theodor  in  Venedig.     Tr.  of  Paisiello's  II  re  Teodoro  in  Venezia. 

Theodore  &  Paulin.  Original  title  of  Gretry's  L'^preuve  vil- 
lageoise. 

Theodosius.     Tr.  of  Fux,  Gasparini,  and  Caldara's  Teodosio. 

Theonoe,  tragedie  representee  pour  la  premiere  fois  par  I'Academie 
royale  de  musique  le  [oZa/i^]  jour  du  mois  de  novembre  1715. 

Paris,  Pierre  Rihou,  1715.     xx,  58,  [2],  4  p.     23'='^. 

Prologue  and  five  acts.  Argument  and  cast.  For  author,  composer  and  date  of 
first  performance  see  next  entry.  On  the  [2]  p.  Ribou's  privilege,  on  the  4  p.  his 
"Catalogue  dee  livrea  nouveaux."  ML  50.2.T43S2 


1068  LIBRARY   OF   CONGRESS 

Theonoe — Continued. 

—  Theonoe,  tragedie  representee  pour  la  premiere  fois,  par  I'Aca- 
d^mie  royale  do  musique,  le  3*  decembre  1715.  Les  paroles  de  M.  de 
la  JRocque  &  la  musique  de  M.  Salomon.     LXXXVIII.  opera. 

n.  %.,  n.  d.  pi.,  [355]-4iS  p.  11^'^'^.  (Recueil  general  des  opera, 
t.  xi,  Paris,  1720.) 

Prologue  and  five  acts.  Avertiseement  as  argument.  Schatz  (following  Parfaiet) 
gives  Simon  Joseph  de  Pellegrin  as  author,  but  the  Anecdotes  dramatiques  give 
Antoine  de  la  Roque,  and  there  seems  to  be  no  reason  for  not  accepting  his  authorship. 

Schatz  9344 
Second  copy.    ML  48. R4 

Theophane.     Tr.  of  Lotti's  Teofane. 

Thereby  hangs  a  tale.     A.  T.  of  Apollo  turn'd  stroller. 

Thesee.     Opera  en  trois  actes. 

Venard  de  La  Jonchere,  Theatre  lyrique,  Paris,  1772,  t.  ii,  p.  [213]- 
273.     18^'^'^. 

"  Avant-propos "  (p.  215-232).  No  composer  mentioned,  nor  is  any  recorded  by 
Clement  &  Larousse.  ML  49.A2L2 

Th6s6e,  trag6die-lyrique  en  quatre  actes,  representee  pour  la  pre- 
miere fois,  par  rAcademie-royale  de  musique  le  11  Janvier  1675. 
En  Novembre  1707,  en  Janvier  1721,  en  novembre  1729,  en  decem- 
bre 1744,  en  decembre  1754,  en  decembre  1765,  en  fevrier  1779. 
Remise  en  musique  par  M.  Gossec.  Et  au  the§,tre,  le  mardi  26 
fevrier  1782. 

Paris,  P.  de  Lormel,  1782.     62  p.     23'"^. 

Cast.  Quinault  is  mentioned  as  author,  but  his  text  was  retouched  by  Etienne 
Morel  de  Chefdeville,  who  is  not  mentioned. 

The  correct  date  of  the  revival,  according  to  Schatz,  is  March  1,  1782. 

Schatz  4012 

Thesee.  Tragedie  en  musique  ornee  d'entrees  de  ballets,  de  ma- 
chines, &  de  changements  de  theatre.  Representee  devant  Sa  Majeste 
k  Fontainebleau,  le  [blank]  jour  de  Janvier  1678. 

Imprimee  a  Paris,  &  on  les  vend  a  Anvers,  Henry  van  Dunwaldt, 
1687.     72  p.     13'"^. 

Prologue  and  five  acts.  Cast.  Neither  the  author,  Quinault,  is  mentionecJ,  nor 
the  composer,  Jean  Baptiste  Lully. 

First  performed  April,  1675,  at  Paris,  Acad^mie  royale  de  musique;  before  the 
king  at  Saint-Germain  en  Laye,  January  11,  1675  (Schatz),  January  10  (Pruniferes). 

Schatz  11722 
♦ 

—  Thesee.  Tragedie  en  musique.  Ornee  d'entrees  de  ballet,  de 
machines,  &  de  changemens  de  theatre.  Representee  devant  Sa 
Majeste  k  Fontainebleau.     Suivant  la  copie  imprimee,  k  Paris. 

[Amsterdam,  Antoine  Schelte],  1688.     81  p.  {incl.  front.)     13^'^. 

Prologue  and  five  acts.     Cast.     Neither  Quinault  is  mentioned,  nor  LtiUy. 

ML  50.2.T45L92 

—  Thesee,  tragedie  representee  par  I'Academie  royale  de  musique 
Tan  1675.  Les  paroles  sont  de  M.  Quinault,  &  la  musique  de  M.  de 
Lully.     VI.  opera. 

n.  i.,  n.  d.  14"^.  pi.,  273-3^6  p.  {Recueil  general  des  opera,  t.  i, 
Pans,  1703.) 

Detached  copy.     Prologue  and  five  acta.  Schatz  5773 

Second  copy.     ML  48.R4 


OPERA   LIBRETTOS  1069 

Thesee — Continued. 

—  Thesee,  tragedie.  En  musique.  Ornee  d'entrees  de  ballet,  de 
machines  &  de  chan^emens  de  theatre.  Represente  devant  Sa 
Majeste  a  Saint  Germain  en  Laye,  le  3.  fevrier  [!]  1675. 

QuinauU,  Theatre,  Paris,  1739,  t  iv,  pi,  p.[191]~265.     17'="', 

Prologue  and  five  acts.     Lully  is  not  mentioned.  PQ  1881.A1     1739 

—  Thesee,  parodie  nouvelle  de  Thes6e;  representee  pour  la  premiere 
fois  sur  le  Theatre  de  I'Opera  comique,  le  17  fevrier  1745.  Nouvelle 
Edition,  avec  la  musique. 

n.  i.,  n.  d.  56  p.  19'="'.  (Theatre  de  M.  Favart,  Paris,  Duchesne, 
1763-77,  t.  vii.) 

One  act.  En  vaudevilles,  quite  a  few  of  the  airs  being  printed  in  the  text,  which 
was  partly  by  Laujon  and  Parvi.     Font  does  not  mention  the  musical  collaborator. 

ML  49.A2F1 

Thesee,  tragedie  en  cina  actes;  repr^sent^  pour  la  premiere  fois 
devant  Leurs  Majestes,  h,  Fontainebleau,  le  7  novembre  1765. 

[Paris],  Christophe  Ballard,  1765.  72  p.  20^"".  {Journal  des 
spectacles,  t.  ii,  Paris,  1766.) 

Five  acts.  Cast,  names  of  Quinault  as  author,  of  Mondonville  as  composer,  who 
penned  the  following  dignified  and  sensible  Avertissement,  as  if  he  foresaw  the  unfair 
attacks  on  him  ever  since  the  first  public  performance  of  his  work  at  the  Academic 
royale  de  musique,  Januarj^  13,  1767: 

"On  syait  qu'en  Italic,  lea  Musiciens  sbnt  en  possession  de  mettre  en  musique  le 
mSme  poeme.  On  ne  les  soup^onne  pas  de  travailler  dans  la  vue  de  d^primer  ceux 
qui  les  ont  devanc&i. 

"Nous  avons  la  m§me  liberty  en  France  pour  les  motets.  Si  nous  pensons  comme 
eux  dans  le  genre  Latin,  pourquoi  n'aurions  nous  pas  le  meme  pri\'ilege  pour  les 
poemes  frangois?  Cet  usage  encourageroit  les  talens,  exciteroit  I'emulation,  &  con- 
tribueroit  peut-etre  ^  I'amusement  du  Public.  Ces  motifs  que  j'ai  crii  raisonnables, 
m'ont  determine  ^  choisir  le  poeme  de  Thesee,  non  comme  un  t^m^raire  qui  veut 
attaquer  Lully,  mais  comme  un  enthousiaste  des  operas  de  Quinault.  II  est  vrai 
que  pour  me  conformer  au  goOit  pr&ent  du  Theatre,  j'ai  6t6  contraint  d'abr^ger  les 
scenes,  &  d'acroltre  les  divertissemens,  ce  qui  m'a  oblige  pour  les  liaisons  d'ajoAter 
quelques  vers  qu'on  reconnoitra  siirement  pour  n'etre  pas  de  Quinault. 

"A  regard  de  la  musique  de  Lully,  ma  delicatesse  &  mon  admiration  pour  ce 
c^l^bre  auteur,  m'ont  d^fendu  de  I'employer.  J'ai  crti  que  n'en  pas  faire  usage 
c'^toit  la  respecter. 

"C'est  dans  ce  sentiment  que  j'ai  os^  ouvrir  une  carriere  nouvelle  &  avantageuse 
h.  tous  les  compositeurs.  Heureux  si  I'on  veut  bien  pardonner  mon  entreprise  en 
faveur  du  motif."  ML  48.J7 

II  Thesee.     A.  T.  of  P.  A.  Ziani's  L'incostanza  trionfante. 

Theti.  Favola  dramatica,  e  Niobe,  introduttione  alia  Barriera. 
Rappresentate  in  musica  nel  gran  Teatro  Ducale  di  Mantoua,  per  la 
venuta  de'  Ser.°"  arciduchi  d'Austria  Ferdinando  Carlo,  Anna 
Medici  sua  consorte,  e  Sigismondo  Francesco.  Componimenti  del 
senator  Diamante  Gabrielli  .  .  . 

Mantova,  Osanna,  1652.     79  p.     17""^. 

"Theti"  (p.  3-54)  has  argument,  prologue,  and  five  acts;  "Niobe"  (Schatz  873). 
three  acts.     The  composer,  Antonio  Bertali,  is  not  mentioned.        Schatz  872-873 


Thetis  et  Pelee,  tragedie.  En  musique,  representee  par  I'Academie 
royalle  de  musique. 

Paris,  Christophe  BaUard,  1699[!].    front,  56  p.     22'^. 

Prologue  and  five  acts.  Neither  the  author,  Bernard  Le  Bovier  de  Fontenelle,  is 
mentioned,  nor  the  composer,  Pascal  Colasse. 

First  performed,  as  indicated,  January  11,  1689,  not  1699.  ML  50.2.T48C6 


1070  LIBBABY  OF   CONGBESS 

Thetis  et  Pel6e — Continued. 

—  Thetis  et  Pelee,  tragedie  en  musique,  representee  par  I'Academie 
royalle  de  musique.     Suivant  la  copie  imprim^e  k  Paris. 

[Amsterdam,  Antoine  Schelte],  1689.     60  p.  (inch  front).     75§«="». 
Prologue  and  five  acts.     Neither  de  Fontenelle  is  mentioned,  nor  Colasse. 

ML  50.2.T48C62 

—  Thetis  et  Pel6e;  tragedie  representee  par  I'Academie  royale  de 
musique  I'an  1689.  Les  paroles  de  M.  de  Fontenelle  &  La  musique 
de  M.  Colasse.     XXIV.  opera. 

n.  i.,  n.  d.  front,  331-394  p.  14"^.  (Recueil  general  des  opera, 
Paris,  1703,  t  lii.) 

Detached  copy.     PM.ve  acts,  with  prologue. 

First  performed  January  11,  1689.  Schatz  2103 

Second  copy.    ML  48. R4 

—  Les  amans  inquiets,  parodie  de  Thetis  et  Pel6e.     Representee 

{)Our  la  premiere  fois  par  les  Comediens  italiens,  ordinaires  du  roi, 
e  9  mars  1751. 
Paris,  La  veuve  DeUmnel  &jils  [etc.],  1751.     59,  [1],  4  p.     18^"^. 
One  act.    Cast.    The  4  p.  contain  eight  airs  notis.    The  piece,  loute  en  vaudevilles, 
was  written  by  Charles  Simon  Favart,  who  is  not  mentioned.  ML  48. P2 

—  Les  amants  inquiets,  parodie  de  Thetis  et  Pelee.     Representee 

J)our  la  premiere  fois,  par  les  Comediens  italiens  ordinaire[!]  du  roi, 
e  mardi  1751.     Seconde  edition. 

Paris,  PrauU,  1751.  59,  [1],  2  p.  19^"^.  {Theatre  de  M.  Favart, 
Paris,  Duchesne,  1763-77,  t  i.) 

One  act.  En  vaudevilles.  Cast.  The  2  p.  contain  six  engraved  airs.  The  ar- 
ranger of  the  music  is  not  mentioned  by  Font.  ML  49.A2F1 

—  Les  noces  d'Arlequin  et  de  Silvia,  ou  Thetis  et  Pelee  deguises. 
Parodie  de  I'Opera  de  Thetis  &  Pelee.  Par  M.  Dominique  .  .  . 
Representee  pour  la  premiere  fois,  par  les  Comediens  italiens  ordi- 
nau'es  du  roi,  le  18  Janvier  1724. 

Les  parodies  du  Nouveau  TMdtre  italien,  Nouv.  ed.,  Paris,  1738, 
t.  a,  [251]-278  p. 

One  act.  The  airs  and  vaudeville  used  are  printed  at  the  end  of  the  volume  in  the 
"Table  des  airs"  (60  p.).  ML  48.P3 

Thetis  et  Pelee,  tragedie  en  cinq  actes.  Representee  devant  Leurs 
Majestes  k  Fontainebleau,  le  10  octobre  1765. 

[Paris],  CTiristophe  BaUard,  1765.  68  p.  20^'^'".  (Journal  des 
spectacles,  t.  i,  Paris,  1766.) 

Cast  and  name  of  de  Fontenelle  as  author.  Colasse  was  not  the  composer,  since 
we  read,  on  p.  13  of  the  Journal:  "la  musique  de  M.  *  *  *  substitute  k  celle  de 
Colasse."    Jean  Benjamin  de  La  Borde  is  known  to  have  been  the  composer. 

ML  48  .J7 

Thetis  et  Pelee  deguises.  A.  T.  of  Les  noces  d'Arlequin  et  de 
Silvia. 


OPERA    LIBRETTOS  1071 

Thetis  och  Pelee.     Opera  i  fem  acter,   upfoerd  p&  den  Kongl. 
Svenska  Theatren  fdrsta  gangen,  den  18  januarii,  1773. 
Stockholm,  Henr.  Fmigt,  1773.     8  p.  I,  67  p.     19^"^. 

Johan  Wellander  is  mentioned  as  the  author,  Francesco  Antonio  Baldassare  Uttini 
as  the  composer.  Dedicatory  poem  to  the  king  by  the  author,  argument,  cast,  and 
noteworthy  preface,  with  this  footnote: 

"Herr  Uttini  ^ade  f6rut  componerat  Kongl.  Begrafnings-och  Kr6ning8-musiken, 
efter  de,  pS,  nSdigste  befaUning,  af  F6rfattaren,  dertil  upgifiae  Skalde-stycken." 

SCHATZ  10550 

Thomas  and  Sally  or  the  Sailor's  return.     A  musical  entertain- 
ment as  performed  at  the  Theatres  Royal.     A  new  edition,  [vignette.] 
London,  W.  Griffin,  T.  Lownds  [etc.],  n.  d.     1  p.  I.,  vii,  [1],  19  p. 
19^"^. 

Two  acts.  Cast  and  preface  by  the  author,  Isaac  Bickerstaffe  (not  mentioned),  in 
which  he  says,  among  other  things: 

"He  wrote  it  merely  to  comply  with  the  request  of  a  theatrical  person,  whom  he  had 
an  inclination  to  oblige;  it  was  designed  and  finished  in  somewhat  less  than  a  fort- 
night; and  his  excuse  for  now  suffering  it  to  appear  in  print  (and  he  really  thinks  such 
excuse  necessary)  must  be  the  .nature  of  a  musical  entertainment,  which  requires, 
that  the  words  should  be  put  into  the  hands  of  the  audience,  who  would  otherwise 
find  it  impossible  to  accompany  the  performers  in  what  they  sing  upon  the  stage  ..." 

The  composer,  Thomas  Aug.  Ame,  is  not  mentioned. 

First  performed  at  London,  Covent  Garden,  November  28,  1760.  Longe  37 

—  Thomas  and  Sally:    or,  The  sailor's  return.     A  musical  enter- 
tainment.    As  performed  at  the  Theatres  Royal.     A  new  edition. 

Dublin,  James  Williams,  1773.     mi,[8]-23p.     17'^. 

Two  acts.    Cast  and  preface.    Without  name  of  Bickerstaffe  or  Ame. 

AC  901  .T5 

—  Thomas  and  Sally.     In  two  acts  by  Mr.  Isaac  Bickerstaff . 

A  collection  of  the  most  esteemed  farces  .  .  .  Edinburgh,  1792,  v.  2, 

p.  [235\-2U-     ^^'"• 

Covent  Garden,  Drury-Lane,  and  Edinburgh  (1782)  casts.  Schatz  11753B 

Thomyris,  queen  of  Scythia.     An  op^ra.     As  it  is  perform'd  at 
the  Theatre  in  Lincolns-Inn-Fields.     Written  by  Mr.  Motteux.     The 
fourth  edition. 
London,  J.  Tonson,  1719.     3  p.  I,  [1],  10-46  p.     18'^'^. 

Three  acts.    Cast  and  preface: 

"The  delicacy  of  taste  in  musick  which  the  English  have  of  late  Years  arriv'd  to, 
makes  it  necessary  that  all  Entertainments  of  this  kind  ehou'd  be  as  exquisite  as  the 
Nature  of  the  Thing  will  bear.  For  this  Reason  it  is,  that  the  Persons  concem'd  in 
the  reviving  of  English  Opera's  lay  before  the  Town  the  Scheme  of  their  Undertaking; 
not  without  Hopes,  from  former  Encouragements,  that  the  World  will  come  into  so 
Agreeable  and  Innocent  a  Diversion. 

"Their  first  and  principal  Design  is  to  fix  these  Entertainments,  and  make  them 
more  lasting  in  England.  It  has  been  observ'd,  that  if  we  shou'd  have  the  Misfor- 
tune to  lose  the  best  of  the  Italian  Performers,  either  through  Age,  want  of  Health, 
or  their  Customary  Inclination  of  returning  to  their  Native  Country,  Opera's  must 
necessarily  fall.  But  it  wou'd  be  happy  if  we  had  yoimg  People  train'd  up  here  in 
England,  and  instructed  to  sing  after  the  Italian  Manner;  (and  sure  the  Town  will 
be  willing  to  encourage  such  a  Nursery,  who  may  emulate  those  Excellent  Performers:) 
This  wou'd  be  a  Means  not  only  to  establish  but  perpetuate  these  favourite  Enter- 
tainments. 

"To  those  who  may  perhaps  mention  the  Difficulty  of  finding  Native  Voices  for 
the  English  Theatre,  we  beg  leave  to  observe  that  England  has  already  supply'd  us 
with  Mrs.  Tofts,  Mrs.  Barbier  and  Mrs.  Robinson;  who  may  stand  in  (Competition 
with  the  most  Eminent  among  the  Italians:  There  have  formerly  been  Men,  who 
have  given  entire  Satisfaction  to  the  Publick  on  the  Stage,  and  there  is  no  Reason 


1072  LIBRABY   OF   CONGRESS 

Thomyris,  queen  of  Scythia — Continued. 

why  others  may  not  be  found  now,  who  will  be  glad  to  qualify  themselves  upon 
Encoiiragement.  We  cannot  but  remember  one  of  late  Years  whose  Voice,  dedicated 
to  more  solemn  Performances,  the  Italians  themselves  have  own'd  was  not  to  be 
parallel'd;  and  if  we  may  expect  to  be  supply 'd  with  the  like,  those  Artificial  Voices, 
which  are  the  peculiar  Product  of  Italy,  may  well  be  spared,  and  we  are  apt  to  believe 
the  English  will  never  regret  the  want  of  them  in  their  own  Country. 

"As  a  moderate  Price  demanded  will  help  to  convince  the  Towi  that  the  Prin- 
cipal Aim  is  to  divert  the  Publick  upon  the  most  easie  and  reasonable  Terms  the 
Nature  of  the  Affair  will  admit;  so  at  the  same  time  the  Persons  concem'd  confess 
they  flatter  themselves  that  this  very  Method  will  in  the  Event  be  serviceable  to 
them.  For  they  cannot  conceive  how  any  Diversion  can  be  lasting  that  is  so  Burden- 
some, as  are  those  Exorbitant  Prices,  Large  Subscriptions,  and  frequent  Benefit 
Days.  These  are  Grievances  that  have  been  justly  complain'd  of,  and  which  they 
are  resolv'd  shall  never  be  charg'd  upon  them.  They  are  determin'd  to  sit  do\sTi 
satisfied  with  a  moderate  Gain,  and  it  in  the  Prosecution  of  this  Design  they  shall 
hereafter  have  occasion  to  make  Application  to  the  Publick  for  some  additional 
Encouragement,  they  promise  that  it  snail  be  in  such  moderate  Terms  as  every  Body 
may  think  well  of. 

"Now  what  they  hope  they  may  promise  themselves  in  the  Success,  dep>end8  upon 
these  three  Particulars;  The  General  Encouragement  from  the  Town  to  what  nas 
been  propos'd;  The  Reasonableness  of  the  Performers  in  their  Demands;  and  The 
good  Oeconomy  and  sincere  Design  of  Pleasing  in  those  who  have  undertaken  it." 

^otteux  wrote  the  text  adapting  it  to  arias  by  Alessandro  Scarlatti,  Giovanni 
Battista  Bononcim,  as  Walsh's  score  informs  us  and  to  whom  Hawkins  adds  SteSani, 
Gaspaiim,  and  Albinoni.  Pepusch  furnished  the  recitative  (not  printed)  and 
arranged  the  music. 

First  performed,  as  indicated,  April  1,  1707.  Lonoe  200 

Der  thrazische  printz  Floridantes.     Tr.  of  Handel's  Floridante. 

The  three  dukes  of  Dunstable.  A.  T.  of  H.  Purcell's  A  fool's 
preferment. 

Songs,  etc.,  in  a  new  musical  farce,  called  Throw  physick  to  the 
dogs!  As  performed  at  the  Theatre-Royal,  Hay-Market.  The 
musick  by  Dr.  Arnold. 

London,  Cadell  and  Davies,  1798.     I4  p.     21^"^. 

Two  acts.  By  H.  Lee,  who  is  not  mentioned.  Also  known  as  "Caleb  Quotem 
and  his  wife." 

First  performed,  as  indicated,  July  6,  1798.  ML  50.2.T52 

Tiberio  imperadore  d'Oriente.  O.  T.  of  Pallavicino's  text  Le 
vicende  d'amor  e  di  fort  una. 

Tiberio  imperatore  d'Oriente.  Drama  per  musica  da  rappresen- 
tarsi  nel  Teatro  di  Santangelo  I'anno  1702. 

Venezia,  Marino  Rossetti,  n.  d.     4^  p.     14¥^- 

Three  acts.  By  Giovanni  Domenico  Pallavicino,  who  is  not  mentioned.  Argu- 
ment, printer's  notice  to  the  reader  with  the  name  of  Carlo  Francesco  Gasparini  as 
the  composer,  and  scenario.  Schatz  3586 

Tieteberga.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tiniano  di  San  Mois^  I'autunno  dell'  anno  MDCCXVII. 

Venezia,  Marino  Rossetti,  1717.     58  p.     14^"^. 

Three  acts.  By  Antonio  Maria  Lucchini,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  name  of  Antonio  Vivaldi  as  the  composer.  Schatz  10781 

Tigrane.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  via 
della  Pergola  il  carnevale  del  IVIDCCLXXI  .  . 
Firenze,  Gio.  Risaliti,  1771.     56  p.     16^'"^. 

Three  acts.  Cast,  argument,  scenario.  Author  and  composer  not  mentioned  and 
unknown  to  Schatz.  Schatz  11368 


OPERA  LIBRETTOS  1073 

II  Tigrane.     Dramma  per  music  a  Da  rappresentarsi  in  Crema  in 
occasione  della  Fiera  di  Settembre  dell'  anno  1743  .  .  . 

Brescia,  Gian  Maria  Rizzardi,  n.  d.     65  p.     12°. 

Three  acts.  Ailment,  cast,  scenario,  and  on  p.  7:  "La  musica  ear^  di  nuova 
composizione  del  Sig.  Cristoforo  Gluch"  [Gluck].  In  his  essay,  "Un  op^ra  inconnu 
de  Gluck"  (Sammelbande  d.  I.  M.  G.  1907/8,  p.  231-281),  Piovano  proves  that:  "Le 
texte  du  Tigrane  est  celui  que  I'abb^  Francesco  Silvani  ^crivit  en  1691  sous  le  titre 
La  virtil  trionfante  delV  amore  e  delV  odio,  et  qui  fut  successivement  refondu  en  1723 
probablement  i)ar  un  po^te  napoUtain,  et  remani6  en  1741  par  Goldoni."  The  copy 
described  by  Piovano  lacked  the  p.  35-36,  which  contain,  according  to  our  complete 
copy,  scene  I,  14,  beginning  "Den,  principessa,  almeno"  and  ending  with  the  aria 
"Priva  del  caro  bene,"  also  I,  15,  beginning  "Morire?  tolga  il  ciel  si  tristo  evento" 
with  the  aria  "Care  pupille  amate"  and  I,  16,  beginning  "Caro,  invitto  Tigrane." 

ML  50.2.T56G3 


Tigrane.  Drama  per  musica  da  rappresentarsi  nel  Real  Teatro  di 
S.  Carlo  nel  di  4.  novembre  di  quest  anno  1745,  Per  solennizare  il 
glorioso  nome  di  Sua  Maesta. 

Napoli,  Cristoforo  Ricdardi,  n.  d.     58  p.     14^"^. 

Three  acts.     Dedication,  argument,  cast,  scenario,  and  note: 

"La  musica  del  recitative  della  scena  xi  dell  atto  terzo,  e  tutte  I'arie  signate  colla 
lettera  S.  sono  del  celebre  maestro  Sig.  Gio.  Adolfo  Asse  detto  il  Sassone  [Hasse], 
quelle  di  tutti  I'altri  recitativi,  sinfonia,  edalcune  arie  sono  del  Sig.  Antonio  Falella, 
maestro  di  cappella  napoUtano,  direttore  dell'  opera." 

The  arias  not  by  Hasse,  accordingly,  were,  for  instance,  in  the  first  act:  "Coronate 
il  crin  d'alloro"  (I,  1),  "Scende  dal  monte  il  fonte"  (I,  7),  "Perfido  non  parlarmi" 
(1, 8).  The  text  is  a  modernized  version  (utilizing  perhaps  Goldoni's  final  alterations 
of  1741)  of  Francesco  Silvani's  "  La  virtti  trionfante  dell'  amore  e  dell' odio."  Com- 
parison with  the  Brescia,  1743,  edition  of  "Tigrane"  (as  set  by  Gluck  for  Crema,  1743) 
shows,  for  instance,  that  the  aria  for  I,  8,  in  this  "^on  mi  parlar  d'amore  "has  become 
"Perfido non  parlarmi."  The  scene  I,  9,  now  be^s  "L  odio  di  Cleopatra"  and  has 
the  aria  "Quando  I'amore  insegna"  instead  of  "Si  despera  il  mio  core"  resp.  "Vezzi, 
lusinghee  sguarde,'  'and  Scene  I,  10,  beginning  "Se  sia,  che  un  giomo  stringa"  haa 
the  aria  "Se  spunta  arnica  face"  instead  of  "Se  spimta  arnica  stella"  and  beginning 
"Non  im  ami  Cleopatra." 

First  performed,  as  indicated,  November  4,  1745,  but  previously  imder  the  same 
title  at  Naples,  Teatro  di  San  Bartolomeo  November  4, 1723,  and  presumably  without 
the  final  revisions  by  Goldoni,  but  with  many  alterations  in  Silvani's  tex-t  and  without 
Palella's  music.  Schatz  4584 

Tigrane.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo.     Nella  fiera  della  Ascensione  delV  anno  1747  .  .  . 

Venezia,  Modesto  Fenzo,  1747.     47  p.     15'''^. 

Three  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of 
Giovanni  Battista  Lampugnani  ("nuova  composizione")  as  composer.  The  author 
is  not  mentioned,  but  comparison  proved  that  this  is  substantially  Goldoni's  moderni- 
zation (1741)  under  the  title  "Tigrane"  of  Francesco  Silvani's  "La  virtti  trionfante 
deir  amore  e  dell'  odio." 

First  performed,  as  indicated.  May  10,  1747.  Schatz  5390 

Tigrane.  Dranuna  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  il  carnovale  dell'  anno  1733  .  .  . 

Vejiezia,  Aloise  Valvasense,  2  p.  I.,  47  p.     15^*^. 

Three  acts.  Dedication  signed  by  the  author,  Bartolo  Vitturi,  notice  of  the  sub- 
stitute aria  (I,  11)  "Agitata  da  piii  vanti,"  argument,  notice  to  the  reader,  cast,  and 
name  of  Giuseppe  Antonio  Paganelli  as  composer.  Vitturi  informs  the  reader  that 
the  drama  really  intended  for  this  season  had  to  be  reserved  for  the  next  and  that  he 
found  himself  obliged  to  write  "Tigrane"  in  five  days.  He  goes  on  to  say  that  this 
old  theme  has  been  treated  by  him  independently  of  others  and : 

72251°— VOL  1—14—68 


1074  LIBRARY   OF   CONGRESS 

Tigrane — Continu  ed . 

"II  mio  Bolitx)  non  6  di  servirmi  delle  scene  mieliori  di  cinque,  o  eei  drammi,  e 
poi  per  formame  uno,  con  una  massa  d'incompatibili  errori  unirle  assieme.    Tutto 

auelloj  che  finora  composi,  fu  parto  della  mia  mente,  ne  vi  BarJl  alcuno  capace  di 
ime  il  contrario.  Questa  volta  dovei  fare  diveraamente  .  .  .  Dunque,  qual  esso 
eia  cotesto  dramma  compatiscilo,  se  non  altro  ^  riguardo  de  virtuosi,  che  lo  rappre- 
eentano  .  .  ." 

First  p>erformed,  as  indicated,  February  10,  1733.  Schatz  7370 

T^rane.  Dramma  per  musica.  La  rappresentarsi  nel  Regie  Teatro 
di  Torino  nel  carnevaue  del  MDCCLXI  .  .  . 

Torino,  Giacomo  Giiiseppe  Avondo,  n.  d.     viii,  52  p.     ^5J"". 

Three  acts.  In  the  catalogue  of  his  libretto  collection  Schatz  gives  Vittorio  Ame- 
deo  Cigna-Santi  as  the  author,  but  in  his  Piccinni  "Chronologisches  Verzeichnis" 
he  says:  "Text  von  Francesco  Silvani,  urspriinglich  m.  d.  Titel.  La  virtil  trion- 
fante  dell'  amore,  e  dell'  odio  bearbeitet  von  Carlo  Goldoni."  Argument,  cast, 
scenario,  and  name  of  Niccol5  Piccinni  as  the  composer.  With  the  opera  were  per- 
formed Vincenzo  Saunier  ballets,  music  by  Giuseppe  Antonio  Le  Messier,  "Telemaco 
nell'  isola  di  Calipso,"  "Cadmo  ed  Ino,  and  Cittadini  di  Sinope  festeggianti  le 
nozze  di  Mitridate."  Of  the  last,  which  was  a  sequel  to  the  opera's  finale,  a  brief 
description  is  given  on  p.  52.  Schatz  8118 

Tigrane.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  nella  fiera  delr  Ascensione  dell'  anno  1762. 

Venezia,  Modesto  Fenzo,  1762.     48  p.     17^'"^. 

Three  acts.  Argument,  cast,  scenario,  and  name  of  Antonio  Tozzi  as  composer 
("La  musica  sarik,  tutta  nuova").  The  text  is  Francesco  Silvani's  "La  virtu  trion- 
lante  dell'  amore  e  dell'  odio"  as  rewritten  under  the  above  title  by  Carlo  Goldoni, 
1741. 

First  performed,  as  indicated,  May  19,  1762.  Schatz  10387 

H  Tigrane  re  d'Armenia.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  San  Cassiano.  L'anno  1697.  Di  Giulio  Cesare  Cor- 
radi  .  .  . 

Venezia,  Per  il  Nicolino,  1697.     71  p.     14"'^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
with  name  of  Tommaso  Albinoni  as  composer. 

First  performed  during  carnival  of  1697.  Schatz  126 

Time  turned  oculist.     A.  T.  of  Albion  restored. 

The  times ;  or,  A  fig  for  invasion :  a  musical  entertainment  in  two 
acts.     Dedicated  to  .  .  .  William  Pitt  ...  by  a  British  officer  .  .  . 

London,  T.  Becket,  1797.     6  p.  (incl  front.) ,  48  p.     21'='^. 

Dedication  dated  January,  1797,  and  note  to  the  public.  Neither  author,  com- 
poser, nor  performance  recorded  by  Clarence.  Longe  244 

Timocrate.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
S.  Angelo  nel  camevale  dell'  anno  1723  .  .  . 
Venezia,  Francesco  Storti;  1723.     57  p.     141""^. 

Three  acts.  Dedication  signed  by  Domenico  Lalli  as  author,  argiunent,  caat, 
scenario,  and  name  of  Leonardo  Leo  as  composer.  Schatz  5560 

Timoleone.  Dramma  serio  per  musica  da  rappresentarsi  per  la 
prima  volta  nel  Teatro  di  Reggio  la  fiera  dell'  anno  VI.  Repubblicano. 

Reggio,  Davolio,  n.  d.     34  p.     19^^. 

Two  acts.  "La  poesia  del  dramma  e  affatto  nuova  del  citt.  Simon  Antonio  Sografi. 
La  musica  tutta  nuova  h  espressamente  composta  in  Reggio  dal  rinomato  maestro  citt. 


OPERA  LIBEETTOS  1075 

Timoleone — Continu  ed . 

Sebaatiano  Nasolini."  Impresario's  prefatory  note,  dated  "Reggie  14  fiorile  anno 
VI."  (April  29,  1798),  cast,  and  scenario.  With  the  opera  was  performed  Giovanni 
Monticini's  ballet,  "Progne  e  Filomene,  oesia  Tereo,  tiranno  di  Nasora."  The  com- 
poser of  the  music  is  not  mentioned.  Schatz  7026 

Timugino,  gran  Kan  de'  Tartari,  ballet.  See  Bianchi's  Morte  di 
Cesare. 

I  Tintaridi,  dramina  per  musica  da  rappresentarsi  in  Firenze  nel 
Teatro  di  via  della  Pergola  nel  camevale  dell'  anno  1768  .  .  . 
n.  i.,  n.  d.      Unpaged.    21*^^. 

Same  general  appearance  as  the  1768  ' '  Enea  e  Lavinia  "  libretto.  Five  acts.  Dedi- 
cation, argument,  cast,  scenario,  and  name  of  Tommaso  Traietta  aa  composer,  and 
librettist,  Carlo  Innocente  Frugoni.     In  the  dedication  the  impresario  says: 

"Non  potevano  in  miglior  tempo  uscire  per  la  prima  volta  alia  pubblica  luce  del 
Teatro  fiorentino  i  Tintaridi,  opera  del  celebratissimo  abbate  Frugoni  ridotta  all' 
ultima  perfezione,  quanto  adesso  ..." 

First  performed,  as  indicated,  January  3,  1768;  at  Parma,  Teatro  Ducale,  April, 
1760.  Schatz  10400 

La  tirannide  abbattuta  dalla  virtu.     Festa  musicale. 

By  conte  Nicol6  Minato,  music  by  Antonio  Draghi,  Vienna,  1697,  with  some  arias 
by  the  emperor,  Leopold  I. 
Not  in  L.  of  C. 

—  Die  durch  die  tugend  gestuerzte  wueterey.  An  den  glor- 
wuerdigsten  namens-tag  der  Roem.  Kayserl.  Majestaet  Eleonora 
Magdalena  Theresia  .  .  .  gesungener  vorgestellt  in  dem  Lustgarten 
der  Kayserlichen  Favorita  im  jahr  1697.  Mit  der  music  zu  denen 
worten  herm  Antoni  Drahy[!],  der  Roem.  Kays.  Mayest.  capell- 
meisters.  Zu  den  daenzen,  nerrn  Johann  Joseph  HofFer,  der  Roem. 
Kays.  Mayest.  Canmier-musici. 

Wienn  in  Oesterreich,  Bey  Susanna  Christina  Cosmerovin,  n.  ^. 
[50]  p.     18^"^. 

One  act.    With  ailment  and  scenario  (designed  by  Lodovico  Bumacini). 

First  performed,  as  indicated,  July  22,  1697.  Schatz  2804 

La   tirannide    debellata.     Drama   da   rappresentarsi   nel   Regio- 
Ducal  Teatro  di  Milano  .  .  .  nel  camevale  aell'  anno  1736. 
Milanx),  Giuseppe  Richino  Malatesta,  1736.     56  p.     14¥"^- 
Three  acts.    Ailment,  scenario,  cast,  and  name  of  the  composer,  "Egidio  Duni, 
Napoletano,"  but  without  name  of  the  authors.    The  libretto  is  by  Apostolo  Zeno 
and  Pietro  Pariati,  and  originally  had  the  title,  "Flavio  Anicio  Olibrio." 

Schatz  2857 

La  tirannide  dell'  interesse.  Tragedia  politicomorale  di  Francesco 
Sbarra,  rappresentata  in  musica  in  Lucca  nel  Teatro  de  Borghi. 

Lucca,  Francesco  Marescandoli,  1653.     192  p.     13^'^. 

Prologue  and  five  acts.  Author's  dedication,  with  date  of  Lucca,  September  30, 
1653,  argument,  anagram,  and  sixteen  poems  addressed  to  the  author  (p.  13-25),  and 
his  lengthy  preface,  which  elucidates  his  reasons  for  writing  a  "tragedia  politico- 
morale.       He  starts  in  by  saying: 

"lo  non  compongo,  che  per  mio  gusto,  ed  il  mio  gusto  h  d'apportar  piu  giovamento, 
che  diletto,  onde  stimo  megliore  strada  di  caminar  sii  le  regole  de  Sacri  Oratori,  che 
detestano  i  vitii.  che  il  seguitar  gl'  esempi  de  profani  poeti,  che  gli  vanno  adu- 
lando  .  .  ." 
and  he  lays  stress  on  the  fact  that  he  deemed  it  fruitful 


1076  LIBRARY   OF   CONGRESS 

La  tiraunide  dell'  interesse — Continued. 

"contro  I'uso,  e  le  loggi  poetiche,  che  non  ammettoao  le  morti  in  scena  eh  noa  per 
racoon  to,  esporre  alia  vista  degl'  auditori  la  Virtil  per  sua  cagion  moribonda,  e  I'lntel- 
letto  di  Bua  man  trucidato  ..." 

The  allegorical  nature  of  the  work  may  be  inferred  from  the  scenic  indication : 

"La  Bcena  rappresenta  la  Reggia  delr  Intelletto  nell'  Isola  del  Libero  Arbitrio." 

The  composer,  Marco  Bigongiari,  is  not  mentioned. 

First  performed  at  Lucca,  February  5,  1653.  ML  50.2.T55 

—  La  tirannide'  dell'  interesse.  Tragedia  politico  morale  di 
Francesco  Sbarra  rappresentata  in  musica  in  Lucca  nel  Teatro  de' 
Borghi  .  .  . 

Venetia,  Nicolo  Pezzana,  1658.     168  'p.     13"^. 

Five  acts  and  prologue.  Publisher's  dedication  (dated  Venice,  January  12,  1657), 
author's  preface,  and  argument.  Marco  Bigongiari,  the  composer,  is  not  men- 
tioned. SCHATZ  1035 

La  tirannide  punita.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  Obizi  in  Paova  [!]  il  carnovale  dell'  anno  1721. 
Padova,  Gio.  Battista  Conzatti,  1721.     59  p.     15"'''. 

Three  acts.  Argument,  cast,  scenario,  and  prefatory  note,  according  to  which 
this  is  an  altered  version  of  a  text  previoulsy  performed  at  Venice  and,  indeed,  it  is 
Giacomo  Francesco  Bussani's  "Antonino  e  Pompejano." 

Composer  not  Mentioned  and  unknown  to  Scnatz.  Schatz  11369 

La  tirannide  repressa.     A.  T.  of  the  ballet  Raul,  signore  di  Crechi. 

II  tiranno  di  Colco.  Drama  musicale  rappresentato  nella  Villa  di 
Pratolino. 

Firenze,  Vincenzio  Vangelisti,  1688.     76  p.     15'^™^. 

Three  acts.  Argument.  Neither  the  author,  Giovanni  Andrea  Moniglia,  nor  the 
composer,  Giovanni  Maria  Pagliardi,  iis  mentioned  Schatz  7585 

fl  tiranno  di  Colco.  Drama  musicale  rappresentato  nella  villa  di 
Pratolino  [vignette] 

0.  A.  Moniglia,  Poesie  drarmnatiche,  parte  seconda,  Firenze,  Cesare 
e  Francesco  Bindi,  1690,  1  p.  I.,  78  p.     ^4<='». 

Three  acts.  Argument,  scenario  and  prefatory  note  (p.  3-6)  which  contains  details 
about  "una  non  maravigliosa  meno,  che  sontousissima  macchina"  used  for  a  some- 
what burlesque  kind  of  prologue  to  the  opera.  We  are  told  that  the  opera  was  per- 
formed eight  times  and : 

"*Fu  questo  drama  composto  nella  villa  di  Pratolino,  e  dopo  tre  anni,  nell'  istessa 
tatto  rappresentare  dal  serenissimo  principe  di  Toscana:  lo  messe  in  musica  con 
ammirabile  armonia  il  Sig.  Gio.  Mana  Palliardi  (Pagliardi)  ...  A  questo  drama 
fu  fatta  una  amorevole  censura,  alia  quale  soggiunse  I'autore  una  piccola  difesa,  che 
in  piede  dell'  opera  e  registrata." 

It  is  printed  as  "Lettera  apologetica  dell'  autore"  on  p.  69-78  and  is  dated  Prato- 
lino, September  15,  1688,  which  proves  that  the  opera  cannot  have  been  performed 
later  than  in  the  summer  of  1 688.  ML  49.  A2M7 

II  tiranno  eroe.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassano  I'anno  1710  ... 

Venezia,  Marino  Rossetti,  1710.     69  p.     11^^'^. 

Three  acts.  Dedication  signed  by  the  author,  Vincenzo  Cassani,  argument,  notice 
to  the  reader,  cast,  scenario,  and  name  of  Tommaso  Albinoni  as  composer. 

Schatz  127 


OPERA   LIBEETTOS  1077 

/H   tiranno   humiliato   d'Amore,    overo   il   Meraspe.     Drama   p. 
musica  nel  Teatro  Grimano  .  .  . 

Venetia,  Bortolo  Bruni,  1667.     1  f.  I.,  67,  [/]  f.     15'='^. 
Prologue  and  three  acts.     By  Giovanni  Faustini,  music  by  Carlo  Pallavicino, 
neither  of  whom  mentioned.     Imprimatur  dated  November  24,  1667. 
First  performed,  as  indicated,  December  12,  1667.  Schatz  7737 

Tircis  et  Doristee.     Parody  of  Lully's  Acis  et  Galatee. 

Tiresias,  opera-comique,  en  trois  actes.  Precede  d'un  prologue. 
Donne  a  la  Foire  Saint-Laurent  en  1722. 

Alexis  Piron,  Oeuvres  complettes,  Liege,  1776,  v.  4>  [S37]-468  p. 
17^'"^. 

On  p.  339-348  "  Avertissement  de  I'Miteur,  et  anecdote  eur  la  pi^e  de  Tiresias, 
&  eur  Le  mariage  de  Momus,  ou  La  gigantomachie,"  informing  the  reader  how  Piron 
came  to  write  "Tiresias"  for  Francisque,  manager  of  the  Op^ra-comique,  how  Fran- 
cisque  defied  the  authorities  by  using  spoken  language  in  his  theatre,  how  he  was 
promptly  arrested,  how  Piron  sought  to  gain  his  release  by  a  satirical  lettre  to  M.  d' 
Argenson,  which  is  reprinted,  etc.,  etc.  The  piece  is  partly  in  prose,  partly  en  vaiuk- 
viltes.    Composer  not  recorded  by  Parfaict,  etc.  PQ  2019. P6 

Tiridate.  Drama  per  musica  nel  Teatro  a  S.  Salvatore  per  Fanno 
1668  .  .  . 

Venetiu,  Francesco  Nicolini,  1668.     front.,  67  p.     11^'^'^. 

Three  acts.  Dedication  signed  by  Niccol5  Minato  and  dated  Venice,  February  4, 
1668,  argument,  and  notice  informing  the  reader: 

"La  composizione  \i.  e.  drama]  h  d'insegne  &  erudita  penna  ...  la  necessity  di 
brevity  Vhk  fatta  ridur  meno  ricca.  Qualche  cosa^  stata  aggiunta,  come  la  parte 
della  Bambina  Fidalma,  e  qualche  altra  pocha  novit4  per  acomodarsi  a'  personaggi, 
che  si  havevano,  e  per  tenersi  all'  uso  di  queste  scene.  Chi  v'ha  immischiatola 
penna  [Minato?],  I'ha  fatto  con  espressa  permissione  dell'  autore  [marchese  Ippolito 
Bentivoglio]  ..." 

The  composer,  Giovanni  Legreiizi,  is  not  mentioned.  Schatz  5539 

II  Tirinto.     A.  T.  of  La  sincerity  con  la  sinceritk. 

II  Tirinto.  Dramma  musicale  nuovamente  rappresentato  da'  Sig- 
nori  Accademici  Efimeri  in  Firenze  I'anno  1692  .  .  . 

Firenze,  Vincenzio  Vangelisti,  1692.     61  p.     14'^™. 

"Three  acts.  Dedication  signed  by  Domenico  Piazzini,  ailment,  and  "protesta" 
which  reads: 

"Per  accomodarsi  al  genio  del  presente  secolo,  che  ne  i  divertimenti  ancora  ama 
la  brevita,  b  stato  necessario  troncare  gran  |)arte  de'  versi  del  presente  dramma,  ed 
aggiungervi  delle  arie.  Non  s'6  preteso  in  cio  dar  regola  all'  autore,  il  quale  se  fosse 
etato  presente  da  per  se  stesso  avrebbe  ridotta  I'opera  sua  alia  moda." 

Author  and  composer  unknown  to  Schatz.  Schatz  11370 

Tirsi.  Drama  pastorale  da  rappresentarsi  in  musica  nel  Teatro 
Giustiniano  di  San  Mois^  il  carnovale  dell'  anno  MDCCXXXIV. 

Venezia,  Marin  Rossetti,  n.  d.     36  p.     14^"^- 

Three  acts.  Author  (Francesco  Lemene)  and  composer  (unknown  to  Schatz)  not 
mentioned.  Scenario  and  note  that  the  idea  and  disposition  of  the  text  is  wholly  the 
author's  own,  wherefore  no  argument.  Schatz  11371 

</ll  Tirsi.     Drama  pastorale  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Salvatore  I'autunno  dell'  anno  MDCXCVI  .  .  . 
Venezia,  n.  puhl.,  n.  d.     6  p.  I.,  48  p.     14^"^- 
Publisher's  name  and  date,  1696,  cut  off  in  binding? 

Five  acts.  Dedication  signed  with  the  initials  of  Apostolo  Zeno  as  author,  though 
no  such  text  appears  in  his  collected  works.  Argument,  scenario.  The  composers, 
Antonio  Lotti,  Antonio  Caldara,  and  Attilio  Ariosti  (Schatz),  are  not  mentioned. 

Schatz  5728 
Der  tischler.     Tr.  of  Cimarosa's  II  falegname. 


1078  LIBRARY   OF   CONGRESS 

Titania  oder  Liebe  durch  zauberei.     Ein  singspiel  in  zwey  aufzugen. 

Cassel,  Hampe,  1792.     2  p.  I.,  108  p.     ^7"". 

Prefatory  note  by  the  author,  Oberst  von  Weber,  who  is  not  mentioned,  with  infor- 
mation to  the  effect  that  the  text  was  composed  by  Georg  Christoph  Grossheim,  and 
that  the  opera  was  first  performed  at  Cassel,  Hof-Opemtheater,  1792.     Schatz  4215 

H  Tito.  Melodrama  da  recitarsi  nel  famoso  Teatro  Grimano  Tanno 
1666  .  .  . 

Venetia,  Steffano  CuHi,  1666.    front,  91,  [1]  p.     14^"^. 

Three  acts.  By  conte  NiccoI6  Beregani.  Publisher's  dedication,  dated  Venice, 
February  13,  1666,  author's  preface,  with  clear  allusions  to  his  identity,  name  of  Marc 
Antonio  Cesti  as  composer,  argument,  and  scenario.  Schatz  1784 

Tito  o  La  partenza  di  Berenice,  ballet.  See  Tarchi's  L'apoteosi 
d'Ercole. 

Tito  e  Berenice,  ballet.     See  Borghi's  Arbace. 

Tito  e  Berenice.  Dramma  per  musica  di  Giuseppe  Foppa  da  rap- 
presentarsi  nel  nuovo  e  nobilissimo  Teatro  detto  La  Femce  la  fiera 
deir  Ascensione  dell'  anno  1793. 

Venezia,  Modesto  Fenzo,  1793.     60  p.     27'='". 

Two  acts.  Argument,  cast,  scenario,  and  name  of  Sebastiano  Nasolini  as  the  com- 
poser. On  p.  25-28,  argument  of  Francesco  Clerico's  "La  conquista  del  vello  d'oro, 
ballo  eroico  pantomimo  in  cinque  atti,"  the  composer  of  the  music  not  being  men- 
tioned. Schatz  7017 

Tito  Manlio.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  da 
S.  Agostino  il  carnovale  dell'  anno  1784  .  .  . 

Genova,  Stamperia  GesiniaTW.,  n.  d.  72  p.  l^Y^' 
Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Argument,  scenario, 
cast,  and  name  of  Giuseppe  Giordani as  the  composer.  ("La  musica  h  di  nuova  com- 
posizione.")  On  p.  59-72,  description  of  "Enea  nel  Lazio  ballo  tragico-pantomimo 
d'invenzione  .  .  .  del  Signor  Michele  Fabiani  ..."  The  composer  of  the  music  is 
not  mentioned.  Schatz  3841 

Tito  Manlio.  Drama  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1743  ..." 

Torino,  Pietro  Giuseppe  Zappata  e  figliuolo,  n.  d.  Ji.  p.  I.,  71  p. 
19^"^. 

Three  acts.  By  Gaetano  Roccaforte,  who  is  not  mentioned.  Argument,  cast, 
scenario,  and  names  of  Niccol6  Jonunelli  as  composer  of  the  opera,  of  Alessio  liasetti 
as  composer  of  the  music  of  the  three  ballets,  "Sposalizio  rustico,"  etc.  On  p.  70-71, 
the  arias  "Mi  promette  al  cor  la  calma,"  substituted  for  "Confusi  i  miei  pensieri,"  in 
I,  10;  "Languire,  oh  Dio!  vi  sento,"  substituted  for  "Spezza  lo  stral  piagato,"  in 
1,12;  and  "Nel  morir  semi  vuoi  forte,  "substituted  for  "Che  leggetiranna,"  in  II,  12. 

Schatz  4881 

Tito  Manlio.  Drama  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  a  S.  Gio.  Grisostomo  Fautunno  delF  anno  1746. 


-,cm 


[Venezia],  n.  pull.,  n.  d.     1  p.  I.,  ^8  p.     15*^ 

Three  acts.  Argument,  cast,  scenario,  name  of  Niccol6  Joxmnelli  as  the  composer, 
and  notice  to  the  reader  to  the  effect  that 

"per  accomodarsi  poi  sempre  piiialmodemo  Teatro  ed  alia  nuova  musica,  compa- 
risce  questa  volta  il  presente  dramma,  in  qualche  parte  variato  si  nell'  ordine,  come 
nel  portamento  di  qualche  scena,  di  versi,  ed  ariete,  ed  accorciato  in  oltre,  per  oppor- 
tunemente  reatringerlo  alia  solita prescritta  brevity." 

Neither  Matteo  Noris  is  mentioned  as  author,  nor  conte  Jacopo  Sanvitale,  who, 
according  to  Schatz,  was  responsible  for  the  alterations.    Schatz  also  claims  that  this 


OPERA   LIBRETTOS  1079 

Tito  Manlio — Continued. 

was  Jommelli's  second  setting,  with  interpolation  of  pieces  by  Antonio  Zanetti,  but 
neither  the  libretto  itself  nor  Wiel  corroborate  this  claim.  The  text  is  so  absolutely 
different  from  that  of  Turin  (1743)  as  to  have  nothing  in  common  with  it  except  the 
scene  in  II,  3,  "  Ingiustiseimi  Numi,"  with  the  aria,  "Da  meche  vorresti,"  which  haa 
become  scene  11,4.  Under  the  circumstances,  it  is  clear  that  this  ' ' Tito  Manlio  "  was 
not  a  second  setting,  but  practically  a  new  opera.  Schatz  4900 

Tito  Manlio.  Drama  per  musica  rappresentato  nella  Villa  di 
Pratolino. 

Firenze,  Gio.  Filippo  CeccTii,  1696.     4p.l.,  72  p.     W"^. 

Three  acts.  Neither  the  author,  Matteo  Noris,  nor  the  composer,  Carlo  Francesco 
PoUaxoli,  is  mentioned.    Argument  and  scenario.  Schatz  8321 

Tito  Manlio.  Dranuna  per  musica  da  rappresentarsi  in  Firenze  il 
carnovale  delF  anno  1721  nel  Teatro  di  via  della  Pergola  .  .  . 

Firenze,  Stamperia  di  Domen.  Amhrogio  Verdi.  Ad  istanza  di  Gio. 
Angiolo  Targioni,  1720.     79  p.     15"^. 

Three  acts.  Dedication  by  Michele  Giusti,  argument,  cast,  scenario.  Neither 
the  author,  Matteo  Noris,  is  mentioned,  nor  the  composer,  Luca  Antonio  Predieri. 

ML48.A5    V.18 

Tito  nolle  Gallie.     Dramma  per  musica  da  rappresentarsi  nel  Teatro 
grande  alia  Scala  il  carnevale  dell'  anno  1787  .  .  . 
Milano,  Gio.  Batista  Bianclii,  n.  d.     16^'^. 

Imperfect,  stops  with  p.  44  (III,  5)  and  lacks  therefore  also  the  "programma"  of 
the  ballets. 

Three  acts.  Author  unknown  to  Schatz,  who  says  that  this  is  a  much  altered 
version  of  the  " Giulio  Sabino "  text.  Dedication,  argument,  cast,  scenario,  and 
name  of  Ambrogio  Minoja  as  the  composer.  With  the  opera  were  performed  Paolino 
Franchi's  ballets  "PadmanieMirda,"  "Ilprimonavigatore,"  and  "Fanfaramilitare." 
The  composers  of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1786.  Schatz  6519 

Tito  Vespasiano  owero  La  clemenza  di  Tito.  O.  T.  of  Basse's  La 
clemenza  di  Tito. 

Titon  et  L'Aurore,  pastorale-heroTque,  representee,  pour  la  premi- 
ere fois,  par  I'Academie-royale  de  musique  le  mardi  9  Janvier  1753. 
Remise  au  Theatre  le  mardi  22  fevrier  1763. 
Paris,  Aux  depens  de  VAcademie.     Ches  de  Lormel,  1763.     j^3  p. 

22^'=^. 

Prologue  and  three  acts.  Cast  and  name  of  Jean  Joseph  Cassanea  de  Mondon- 
ville  as  composer.    The  author,  Antoine  Houdart  de  La  Motte,  is  not  mentioned. 

ML  50.2.T59M7 

—  Titon  et  L'Aurore,  pastorale  h^roique,  mise  en  musique  par  Mr. 
Mondonville  .  .  , 

Marseille,  Jean  Mossy,  1775.     28  p.     21*^. 

Prologue  and  three  acts.     De  La  Motte  is  not  mentioned.  ML  50.2.T59M73 

—  Le  rien,  parodie  des  parodies  de  Titon  et  I'Aurore.  Represents 
sur  le  TheS,tre  de  I'Opera  comique  le  10  avril  1753. 

Paris,  Duchesne,  1753.     16  p.     18^"^. 

One  act,  en  vaudevilles.  Neither  the  author,  J.  J.  Vad6,  nor  the  arranger  of  the 
music  are  mentioned. 

See  also  Vad^'a  Oeuvres,  1760,  t.  ii.  ML  48.P2 


1080  UBRARY   OF   CONGRESS 

Titon  et  L'Aurore — Continued. 

—  Raton  et  Rosette,  ou  La  vengeance  inutile;  parodie  de  Titon  et 
I'Aurore;  representee  pour  la  premiere  tois  par  les  Comediens  italiens 
ordinaires  du  roi,  le  mercredi  28  mars  1753.     Troisi^me  edition. 

Paris,  N.  B.  Duchesne,  1759.  88 p.  19^.  {Theatre  de  M.  FavaH, 
Paris,  Duchesne,  1763-77,  t.  ii.) 

Cast.  One  act.  En  vaudevilles.  Many  of  the  aire  printed  in  the  text  and  at  the 
end  of  the  text  on  p.  [65]-88  ten  "Vaudevilles,  et  ariettes  italiennes,  parodi^  dans 
Raton  et  Rosette  ..." 

The  music  is  a  mixture  of  old  aire  and  such  from  Mondonville's  opera. 

ML  49.A2F1 

II  Titone.  Drama  per  musica  di  Giovanni  Faustini. 
Venetia,  Francesco  Valvasense,  1645.  66  p.  14'^'"\ 
Three  acts  with  prologue.    Author's  dedication.     Pietro  Francesco  Cavalli,  tha 

composer,  is  not  mentioned. 

Firet  performed  at  Venice,  Teatro  di  S.  Cassano,  carnival,  1645.        Schatz  1749 

Titus.     Tr.  of  Metastasio's  text  La  clemenza  di  Tito. 

Titus.     Tr.  of  Mozart's  La  clemenza  di  Tito. 

To  arms!  or,  The  British  recruit.     A  musical  interlude.     As  per- 
formed at  the  Theatre  Royal,  Covent  Garden.     By  Thomas  Hurl- 
stone  .  .  . 
London,  J.  Dehrett,  1793.     16  p.     20^"^. 

One  act.  Cast  and  prefatory  note  stating  that  thepiece  is  the  production  of  a  few 
houre  and  that  the  music  is  by  William  Shield  and  Tommaso  Giordani. 

Firet  performed.  May  3,  1793.  Longe  221 

Tobeme,  ou  Le  p^cheur  su^dois,  comedie  en  deux  actes,  m^l^e  de 
morceaux  de  musique;  paroles  du  C.  Patras,  musique  du  C.  Bruny, 
representee  sur  le  Theatre  de  la  rue  Feydeau,  en  vendemiaire,  4* 
annee  de  la  Republique  Fran^aise. 

Paris,  Maradan,  cinquieme  annee  de  la  Republique  [1796-97].  39  p. 
19^. 

Firet  performed,  as  indicated,  December  2,  1795.  Schatz  1370 

Der  tod  der  Dido. 

p.  497-510  18^'''».  (Litteratur  und  Theater  Zdtung,  Berlin,  1780, 
3^  jahrg.,  3^  th.). 

At  head  of  title:  "Auch  ein  melodram  mit  chdren  und  taenzen  untermischt." 

The  editor  of  the  magazine  says  in  a  footnote: 

"Von  dieser  kurzweiligen  satire,  die  vermuthlich  das  licht  der  welt  am  Rhein 
erblickt  hat,  ist  mir  ein  gedrucktes  exemplar  von  einem  unbekannten  zum  ein- 
ruecken  in  diese  zeitung  zugesandt  worden."  Schatz  4772 

Der  tod  des  Hercules.     Tr.  of  the  ballet,  La  morte  d'Ercole. 

Der  tod  des  Hercules,  ballet.     See  Salieri's  Die  messe  zu  Venedig, 

Der  tod  des  Orpheus.     Ein  singspiel  in  drey  aufzuegen. 

n.  i.,  n.  d.     162  p.     14\'''^. 

Neither  composer,  Gottlob  Bachmann,  nor  author  mentioned  in  this  copy, 
detached  from  J.  G.  Jacobi's  Theater  schriften,  Leipzig,  1792. 

Firet  performed,  according  to  Rismann,  at  Brunswick,  in  1798.  Schatz  537 

Toeffel  und  Dortchen.     See  Blaise  et  Babet. 


OPERA   LIBRETTOS  1081 

Der  topfer,  eine  komische  oper  in  einem  aufzuge.  Verfertiget  und 
in  mueick  gesetzt  von  Johann  Andr6.  Zweyte,  verbesserte  auflage. 
.   Frankfurt  und  Leipzig,  Johann  Georg  Esslinger,  1774-     96  p.     15^"^. 

Dedication.  In  his  prefatory  note,  dated  "Offenbach,  den  28.  Brachmonats  [June] 
1774,"  Andr6  says: 

"Der  musick  zu  gefallen,  weil  sie  in  partitur  gestochen  ist,  miisst  ich  die  arien 
ohnverandert  lassen.  Eine  neue  arie  ['Bis  eins  gewinnt']  ist  im  dritten  auftritt 
hinzugekommen,  davon  die  partitur  bey  dem  verleger  geschrieben  zu  haben  ist. 

"Bey  dieser  gelegenheit  finde  ich  dienlich  zu  erklaren,  dass  ich  nicht,  wie  im  dies- 
jahrigen  Almanach  der  deutschen  Musen  von  mir  geeagt  wird,  der  uebersetzer  der 
franzoeiechen  operetten  bin,  welche  seit  einigen  messen  bey  herm  Andrae  in  Frank- 
furth  erscheinen." 

First  performed  at  Frankfurt  a/M.,  Schauspielhaus  im  Junghof,  October  29,  1773; 
at  Hanau,  according  to  the  t.-p.  of  the  engraved  score,  January  22,  1773. 

SCHATZ  191 

Toinon  et  Toinette,  comedie,  en  deux  aetes  en  prose,  mesl^e 
d'ariettes.  Representee  pour  la  premiere  fois,  par  les  Com^diens 
italiens  ordinaires  du  Roi,  le  20  juin  1767. 

Paris,  la  veuve  Duchesne,  1768.     31  p.     19^. 

Cast.    By  Des  Boulmiers;   music  by  Gossec;  both  not  mentioned. 

SCHATZ  4013 

—  Toinon  et  Toinette,  comMie  en  deux  actes,  en  prose,  mM6e 
d'ariettes;  representee  pour  la  premiere  fois  par  les  Comediens 
italiens  ordinaires  du  roi,  le  20  juin  1767. 

Paris,  la  veuve  Duchesne,  1781.     Ifi  p.     19^. 

On  p.  35-36,  the  vaudeville  "La  plus  vive  reconnaissance,"  on  p.  37-40,  the  air 
of  "Avec  vme  epouse  ch^rie."     Neither  Desboulmiers  nor  Gossec  mentioned. 

ScHATZ  11703 

—  Anton  und  Antonette,  ein  singspiel  in  zween  aufzuegen  aus 
dem  franzoesischen  uebersetzt.  Au^efuehrt  auf  dem  churfuerstl. 
Theater  zu  Muenchen.     [Nov.l  1778. 

n.  i.,  n.  d.    Jfi  p.     16^^. 

Translated  by  Johann  Heinrich  Faber. 

First  performed  at  Francfort  o/M.,  Theater  im  Junghofe,  1774.  Schatz  4014 

La  toison  d'or.     A.  T.  of  Colasse's  Jason. 

La  toison  d'or,  tragedie  lyrique,  en  trois  actes,  representee,  pour  la 

f)remiere  fois  k  Paris,  sur  le  Theatre  de  I'Academie-royale  de  musique, 
e  mardi  29  aotit  1786. 
Paris,  P.  de  Lormel,  1786.     45  p.    24^. 
Cast  and  name  of  Johann  Christoph  Vogel  as  the  composer. 
The^ score  bears  as  date  of  first  performance  September  5,  1786,  and  Schatz  insists 
on  this  as  correct.     CI.  &  L.  have  the  date  of  the  libretto.    The  author,  Desriaux,  is 
not  mentioned.  ML  50.2.T67V7 

Der  tolle  tag.     A.  T.  of  Mozart's  Figaro's  hochzeit.  ^ 

Tom  Jones,  comedie  lyrique,  en  prose  et  en  trois  actes.  La  musique 
est  de  M.  Philidor,  et  les  paroles  ae  M.  Poinsinet. 

Paris,  Duchesne,  1766.     60  p.     19^.  Schatz  11742 

—  Tom  Jones,  comedie  lyrique,  en  trois  actes,  imitee  du  roman 
An^lois  de  M.  Fielding,  par  M.  roinsinet.  La  musique,  par  Mr.  A.  D. 
Philidor.     Representee  devant  Leurs  Majestes  k  Versailles  par  les 


1082  LIBRARY   OF   CONGRESS 

Tom  Jones — Continued. 

Com^diens  italieiis  ordinaires  du  roi,  le  30  mars;    h  Paris  pour  la 

premiere  fois  le  27  f6vrier  1765,  &  remise  au  Theatre  le  30  Janvier 

2766[!1. 

Paris,  la  veuve  Duchesne,  1769.     44,  [2]  p.     19^. 

It  should  de  noted  that  "Tom  Jones  et  Felkmar,  suite  de  Tom  Jones  a  Londres" 
Paris,  1787  ia  a  comedy,  not  an  opera.  ML  48.M2N 

—  Tom  Jones.  Comedie  lyrique  en  trois  actes  imit6e  du  roman 
an^lois  de  M.  Fielding  par  M.  Poinsinet.  La  musique  par  Mr.  A.  D. 
Philidor.  Representle  k  Florence  au  Th6«ttre  dans  la  rue  de  S. 
Marie. 

Florence,  L'imprimerie  Bonducdana,  1776.     J^7  p.     20^. 

ML  48.M2F 

—  Tom  Jones.  Comedie  lyrique  en  trois  actes,  imit6e  du  Roman 
anglais  de  M.  Fielding,  par  M.  roinsinet.  La  musique  par  M.  A.  D. 
Philidor.  Representle  devant  Leurs  Majestes  k  Versailles,  par  les 
Com^diens  italiens  ordinaires  du  roi,  le  30  mars;  "k  Paris,  pour  la 
premiere  fois,  le  27  fevrier  1765,  &  remise  au  Theatre  le  30  Janvier 
1776  [!  instead  of  17661.     Nouvelle  Edition. 

Paris,  la  veuve  Duchesne,  1778.     61  p.     17 Y"^. 

On  p.  5^-60,  the  air  of  the  vaudeville,  "Je  vous  obtiens."  Schatz  8029 

—  Tom  Jones,  ein  singspiel  in  drey  aufzuegen  aus  dem  franzoesi- 
schen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andrealischen  schriften  1773.  103  p.,  18 
p.  (folded  music).     W^'^. 

Cast.  Transl.  for  Theob.  Marchand's  company,  by  Johann  Heinrich  Faber. 
Neither  he  nor  Philidor  is  mentioned.  The  music  (voice  and  pf.)  consists  of:  "Achl 
ich  fieh  in  Ihren  armen"  (I,  8,  "Ah!  ma  tante,  je  vous  prie"),  "Wie  stark  ist  Deine 
macht"  (II,  4,  "La  pauvre  fillette  a  beau  faire'.'),  "Oft,  wenn  im  haus"  (11,5,  "Plua 
d'une  fois"),  "Vergonne,  dass  ich  weine"  (III,  2,  "Ami,  qu'en  mes  bras"),  "Dich 
hab  ich,  dich,  mir  theurer"  (III,  12,  "Je  vous  obtiene").  Schatz  8030 

—  Gesaenge  aus  der  oper:  Tom  Jones.  In  drey  aufzuegen.  Der 
inhalt  von  Poinsinet,  die  composition  von  Philidor. 

Eamhurg,  J.  M.  Michaelsen,  n.  d.     24  p.     17"^. 

The  translator,  Friedrich  Wilhelm  Gotter,  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  April  26, 1779. 

Schatz  8031 

—  Tom  Jones.  Ein  lustspiel  mit  gesang  in  drey  aufzuegen.  *  Aus 
dem  franzoesischen  des  hrn.  Poinsinet.  In  musik  gesetzt  von  A.  D. 
Philidor. 

Oels,  Samuel  Oottlieb  Ludwig,  n.  d.     72  p.     16*^^.  Schatz  8032 

Tom  Jones,  a  comic  opera:  as  it  is  performed  at  the  Theatre-Royal 
in  Co  vent-Garden.     By  Joseph  Reed. 

London,  BecJcet  and  De  Hondt,  1769.     4  p.  I.,  62  p.     20'^'^. 

Three  acts.    Cast  and  same  preface  as  in  next  entry,  which  also  see  for  composers. 

First  performed  as  indicated,  January  14,  1769.  ML  50.2.T71 


OPEBA  LIBRETTOS  1083 

Tom  Jones — Continued. 

—  Tom  Jones,  a  comic  opera:  as  it  is  performed  at  the  Theatre 

Royal  in  Covent-Garden.     By  Joseph  Reed.     The  second  edition. 

London,  Becket  and  De  Hondt,  1769.     4  p.  Z.,  59  f.     20'^. 

Three  acts.     Cast  and  preface,  in  which  the  author  says: 

"While  I  was  writing  the  last  act  of  this  opera  (which  was  in  June,  1765),  the  French 
Tom  Jones  fell  into  my  hands.  I  found  its  plan  so  very  confined,  and  so  materially 
different  from  mine,  that  I  could  reap  little  or  no  benefit  from  it.  The  onljr  particu- 
lars, of  which  I  have  availed  myself  from  Mons.  Poinsinet,  are  the  hint  of  legitimating 
Jones,  and  the  thought,  which  gave  rise  to  my  second  air." 

By  far  most  of  the  airs  are  headed  by  the  names  of  these  composers:  Arnold  (6), 
Holcombe  (1),  Granom  (1),  Ame  (11),  Van  Maldere  (1),  Joh.  Chr.  Bach  (3), 
Handel  (1),  Galuppi  (1),  Baildon  (1),  Boyce  (1),  Abel  (1),  Pergolesi  (1),  Hasse 
(1),  Corelli  (1),  but  some  were  to  be  sung  to  indicated  popular  tunes,  and  a  few  of  the 
airs  have  no  heading  at  all.  Longe  25 

La  tomba  di  Merlino.  Pramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  GiustLniani  di  S.  Moise  I'autunno  dell'  anno  1772  di 
Giovanni  Bertati. 

Venezia,  Antonio  Graziosi,  1772.     68  p.     17 Y"^. 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  the  composer, 
Giuseppe  Gazzaniga.  Schatz  3673 

Le  tombeau  de  Nostradamus.     See  Arlequin  Mahomet. 

Tomiri.  Dramma  per  musica  per  celebrare  il  felicissimo  giomo 
natalizio  di  Sua  Maest^  Fedelissima  I'augusta  Donna  Maria  I  .  .  .  li 
17.     Dec.  1783. 

\Lisbond\,  Nella  stamperia  reale,  n.  d.     S3  p.     15'^. 

One  act,  with  licenza.  By  Gaetano  Martinelli.  Argument,  cast,  and  names  of  the 
author  and  the  composer,  Joao  de  Sousa  Carvallio.  Schatz  1675 

Tomiri.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  Tautunno  dell'  anno  1795. 

Venezia,  Modesto  Fenzo,  1795.     49  p.     17 Y'^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Ailment,  cast 
scenario,  and  name  of  Pietro  Gu^lielmi  as  the  composer.  On  p.  25-32,  argument, 
cast,  and  synopsis  of  "Alcide  negh  orti  Esperidi,  ballo  favoloso  eroico  pantomimo." 

First  performed,  as  indicated,  December,  1795.  Schatz  4276 

t/ Tomiri.  Drama  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Casciano  I'anno  MDCLXXX  di  Antomo  Medolago  .  .  . 

Venetia,  Francesco  Nicolini,  1680.    front.,  60  p.     i^*^"*. 

Three  acts.  Argument,  scenario,  author's  dedication  dated  Venice,  January,  1679, 
and  his  notice  to  reader,  in  which  he  says: 

"Tutto  ci6,  che  troverai  di  lascivo  in  questo  drama  credilo  posto  solo  per  seguire 
I'uso  corrente,  e  non  per  genial  propensione.  L'angustia  della  scena  (in  cui  non 
ponno  farsi  apparenze  di  pompa)  &  altri  difetti  gli  remetto  tutti  alia  tua  gentilezza 
...  La  musica  h  del  S.  D.  Angelo  Vitali,  nelle  noti  del  cui  bizzaro  contrapunto 
conoscerai,  che  non  hk  degradato  da  gli  altri  suoi  spiritosi  talenti."      Schatz  10758 

Le  tonnelier.  Opera-comique  m^l^  d'ariettes.  Repr^ent^  par  ies 
Com6diens  italiens  ordinaires  du  roi,  le  16  mars  1765. 

Paris,  Duchesne,  1766.     56  p.     18^"^. 

Cast.  On  p.  52-56  the  airs  of  "C'est  cependant  le  coTirs"  and  ot  the  three  airs 
mentioned  in  next  entry,  which  compare  for  further  details.  On  p.  [3]  a  note  reads: 
"La  pi6ce  est  un  melange  de  I'ancien  &  du  nouveau  genre,"  meaning  that  it  is  partly 
en  vaudevilles  and  partly  not.    An  Avertissement  on  p.  [2]  reads: 


1084  LIBRARY   OF   CONGRESS 

Le  tonnelier — Continued. 

"On  a  repr(feent^,  k  rOpdra-Comique,  dans  la  demi^re  ann^e  de  la  Foire  Saint- 
Laurent,  une  pifece  intitul^e:  le  Tonnelier,  dont  le  bucc^s  ne  fut  pas  heureux.  Quel- 
ques  situations  th^&trales  &  de  bons  morceaux  de  musique  qui  e'y  trouvoient,  firent 
nattre  I'id^e  de  la  remettre  au  th<5.1.tre,  avec  dea  changemens.  Ceux  qu'on  y  a  faits, 
sont  devenus  si  consid^^rables,  qu'on  pourroit  la  donner  aujourd'hui  comme  tout-^- 
fait  nouvelle.  Cependant  pour  n'avoir  point  de  reproche  k  recevoir  ni  k  ee  faire  sur 
cet  article,  on  a  eu  soin  de  marquer  ici,  avec  des  guillemets,  tout  ce  qui  subsiste  de 
I'ancien  Tonnelier. 

C'est  d'aprfes  des  ^preuves  favorables  &  r^it^r^es  en  plusieurs  endroits,  qu'on  ose 
pr^enter  cette  pi^ce  au  public;  plus  appuy&  n^nmoins  eur  les  exemples  de  son 
indulgence,  que  sur  le  m^rite  de  1  ouvrage  ..." 

Accordingly  "C'est  pour  le  dieu  du  vin,"  "Climdne,  au  cabaret,"  "Dans  un 
verger,  Colinette,"  "Quand  je  vois  Fanchette,"  "Prfes  de  moi  dans  la  boutique," 
etc.,  had  been  retained  by  Quetant-Gossec  from  Audinot's  original  version.  Indeed, 
this  applies  to  most  of  the  ariettes,  etc.,  in  the  libretto.  As  to  the  "nouvelle  Edition 
augment^e"  of  the  next  entry,  the  1767  ed.  has  thirteen  scenes  only,  whereas  the 
1765  has  fourteen!  Furthermore,  while  the  dialogue  in  scene  7  is  somewhat  longer 
in  the  1767  ed.,  the  songs  "En  revenant  de  Clarenton  "  and  " Je  veux  bien  m'en  fier 
k  foi"  in  scenes  second  and  third  have  been  dropped.  The  final  scene  differs  very 
much  in  both  editions,  the  1767  ed.  having,  for  instance,  the  vaudeville  "Trop  occupy 
de  mon  ouvrage,"  the  1765  ed.  "Aupr^s  d'un  tendron."  The  score  published  by 
De  La  Chevardifere  coincides  with  the  1767  ed.  of  the  libretto,  not  with  the  1765  ed. 

ML  50.2.T68 

—  Le  tonnelier,  op^ra-comique,  m^le  d'ariettes.  Represents  par 
les  Com6diens  italiens  ordinaires  du  roi,  le  16  mars  1765,  &  k  Bruxelles 
le  20  avril  1767.     Nouvelle  Edition  augment  ee. 

Paris,  Veuve  Duchesne,  1767.     48  p.     IQ""^. 

Originally  written  and  composed  by  Nicolas  M6dard  Audinot  and  first  performed 
at  the  Op^ra-comique  on  September  28,  1761,  this  one-act  ojpera  was  revised  for  the 
performances  mentioned  above  by  Francois  Qu^tant  and  Francois  Joseph  Gossec. 
On  p.  44-48  the  music  of  the  vaudeville  "Aupr^  d'un  tendron"  and  the  three  airs 
"Dans  un  verger  Colinette,"  "Pr5s  de  moi,  dans  la  boutique,"  and  "Un  tonnelier 
vieux."  ScHATz487 

—  Le  tonnelier,  op6ra-bouffon,  en  un  acte,  mdl6  d'ariettes;  revu, 
coirigS,  &  tel  qu'il  a  6t6  represents  "k  Paris  par  les  Comediens  italiens 
ordinaires  du  roi. 

Paris,  par  led  Compagnie  des  libraires,  1768.     38  p.     W'^. 
Neither  Audinot  nor  Gossec  mentioned.  Schatz  11672 

—  Le  tonnelier,  opSra  bouffon,  en  un  acte,  mSle  d'ariettes;  revu, 
corrigS,  &  tel  qu'il  a  Ste  represents  k  Paris  par  les  ComSdiens  italiens 
ordinaires  du  Koi.     Nouvelle  Sdition. 

Paris,  par  la  Compagnie  des  libraires,  1768.     38  p.     18\'^'^. 
Neither  Audinot  nor  Gossec  mentioned.  Schatz  11674 

—  Le  tonnelier,  opera-comique,  mesle  d'ariettes,  represents  par  les 
ComSdiens  italiens  ordinaires  du  roi,  le  16  mars  1765,  &  k  Bruxelles 
le  20  avril  1767.     Nouvelle  Sdition,  augmentSe. 

Paris,  la  veuve  Duchesne,  1770.     44  V-     l^'^^- 

On  p.  39-44  the  vaudeville  "Auprfes  d'un  tendron,  k  votre  ^e,"  and  the  airs 
"Dans  un  verger  Colinette,"  "Pr^s  de  moi,  dans  la  boutique,"  and  "Un  tonnelier 
vieux."    The  text  seems  to  be  the  same  as  in  the  Paris,  1768,  ed.        Schatz  11673 

—  Arien  und  gesaenge  aus  der  komischen  oper:  Der  fassbinder,  in 
einem  akt. 

Berlin,  n.  publ.,  1796.     15  p.     W"^. 

First  performed  at  Berlin  in  1796  at  the  Nationaltheater,  but  previously  at  the 
Dobbelinsches  Theater,  November  2,  1781  (Schatz).  Schatz  489 


OPERA   LIBRETTOS  1085 

Le  tonnelier — Continued. 

—  Der  fassbinder,  ein  singspiel  in  einem  aufzuge  aus  dem  franzoe- 

sischen  uebersetzt  mit  musik. 

Frankfurt  am  Mayn,  Andreae,  1773.    '71  f,  10  {fold,  music).     17""". 

Cast.  The  music  (voice  and  bass)  consists  of  the  arias  "Einen  weinstock,  der 
voll  trauben,"  "Seiner  arbeit  abzuwarten,"  "Ein  biittner  alt,"  "Ein  alter  mann 
von  euren  jahren."    This  is  Johann  Heinrich  Faber's  translation  of  "Le  tonnelier." 

First  performed  at  Frankfort  o/M., Theater  au  d.  Junghofe,  1773.         Schatz  488 

Too  civil  by  half,  a  farce  in  two  acts,  as  performed  with  universal 
.  applause,  at  the  Theatre-Royal,  Drury-Lane.     By  John  Dent  .  .  . 

London,  J.  Stockdale,  1783.     4  p.  I,  39,  [1]  p.     21'=^. 

Cast,  dedication,  and  prefatory  note.  Interspersed  with  six  songs,  the  composer 
of  which  not  recorded  by  Clarence. 

First  performed  November  5,  1782.  Longe  92 


La  Torilda.  Drama  del  Rincorato,  Academico  Olympico. 
Venetia,  Francesco  Valvasense,  1648.  127,  {l'\  p.  l^h*^- 
Three  acts  with  prologue.     Long  historico-esthetic  preface  by  the  author,  Pietor 

Paolo  Biseari.    Argument  and  scenario.    The  composer,  Pietro  Francesco  Cavalli, 

is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Caseiano,  carnival,  1648.       Schatz  1733 

Die  totale  mondfinstemiss,  ein  komisch  singspiel  in  zwey  aufzue- 
gen,  von  Carl  Friedrich  Zimdar  ...  In  musik  gesezt  von  C.  G. 
Weber  .  .  . 

Stuttgart,  BucTidrucTcerei  der  Jierzoglwhen  Hdhen  Carls-ScJiule,  1786. 
92  p.     15^"^. 

First  performed  at  Stuttgart,  Herzogl.  Kleinee  Schauepielhaus  auf  der  Planie,  1786. 

Schatz  10915 

l/^otila.     Drama  per  musica  nel  famosissimo  Teatro  Grimano  di  SS. 
Gio.  e  Paolo.     L'anno  MDCLXXVII.     Di  Matteo  Noris  .  .  . 
Venetia,  Francesco  Nicolini,  1677,     79  p.     14^. 

Three  acts.  Author's  dedication,  argument,  scenario.  The  composer,  Giovanni 
Legrenzi,  is  not  mentioned.  Schatz  5547 

The  songs,  chorusses,  etc  in  The  touchstone,  or.  Harlequin  traveller. 
An  operatical  pantomime.  As  it  is  performed  at  the  Theatre-Royal 
in  Covent-Garden.     The  third  edition. 

London,  G.  Kearsley,  1779.     2  p.  I.,  15  p.    21"'^. 

Text  and  music  by  Charles  Dibdin,  who,  in  a  prefatory  note,  speaks  of  the  dialogue 
as  "considerably  improved,  by  the  advice  and  assistance  of  some  ingenious  friends." 

First  performed  January  4,  1779,  as  indicated.  Longe  102 

II  Trace  in  catena,  drama  per  musica  da  rappresentarsi  neUa  Sala 
de'  Signori  Capranica  I'anno  MDCCXVII. 

Roma,  Bemaho,  1717.     72  p.     W"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Allacci.  Prefatorv  note, 
scenario,  cast  and  note:  "La  musica  6  del  Sig.  Francesco  Gasparini,  e  di  dui  euoi 
allievi."  ML  50.2.T73G2 

I  Traci  amanti.  Dranmia  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  S,  A.  S.  il  Signor  principe  di  Carignano  nel  carnovale  dell* 
anno  1794. 

Torino,  Onorato  Derossi,  n.  d.     iv,  56  p.     14^*^- 

Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Cast,  scenario,  and 
name  of  Cimarosa  as  composer.    On  p.  44-56,  description,  with  argument  apd  cast. 


1086  UBBABY  OF  CONGRESS 

I  Traci  amanti — Continued. 

but  without  name  of  the  composer  of  the  music  of  Federico  Terrades  "Eechila  e 
Timoleone  oesia  La  caduta  di  Timofane,  tinmno  di  Corinto,  ballo  eroico-tragico  diviso 
in  tre  atti."  His  second  ballet  was  called  "La  superbia  iimiliata  oeeia  L'egualit^ 
d'amore." 

First  performed  at  Naples,  Teatro  Nuovo.  1793.  ML  60.2.T73C2 

—  Gli  Turchi  amanti,  dranuna  giocoso  per  musica  da  rappresen- 
tarsi  nel  Reggio  Teatro  di  S.  Carlo  della  Prmcipessa  il  camovale  dell' 
anno  1796. 

Lishona,  Simone  Taddeo  Ferreira,  1796.     135  p.     Ij^Y"^- 
Two  acts.    Cast  and  names  of  the  author,  Giuseppe  Palomba,  and  the  composer, 
Cixaarosa.    A  later  version  of  their  "I  Traci  amanti."  Schatz  1999 

Tracollo.  L.  T.  of  Pergolesi's  Livietta  e  Tracollo  o  sia  La  conta- 
dina  astuta. 

II  tradimento  premiato.  Favola  pastorale,  da  recitarsi  in  musica 
I'autunno  dell'  anno  1709.     Nel  Teatro  di  Sant'  Angelo  .  .  . 

Venetia,  Gio.  Battista  Zuccato,  1709.     56  p.     14*^^. 

Three  acts.  By  Giov.  Battista  Candi,  who  is  not  mentioned.  Publisher's  dedica- 
tion, argument,  and  scenario.    The  composer,  Girolamo  Polani,  is  not  mentioned. 

Schatz  8252 

H  tradimento  punito,  ballet.     See  Piccinni's  La  Griselda. 

H  tradimento  tradito.     Drama  per  musica.     Da  rappresentarsi 
nel  Teatro  di  S.  Angelo  I'anno  MDCCIX  .  .  . 
Venetia,  Zuccato,  1709.     4p.l.,  [5]-60  p.     15'^. 

Three  acts.  Dedication  signed  by  the  author,  Francesco  Silvani,  and  dated  Venice, 
December  29,  1708,  argument,  cast,  scenario.  The  composer,  Tommaso  Albinozu,  is 
not  mentioned.  Schatz  103 

II  tradimento  traditor  di  se  stesso.     Drama  per  musica  da  rap- 

f)resentarsi  nel  famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo 
'anno  MDCCXI  ...     Di  Francesco  Silvani. 
Venezia,  Marino  Rossetti,  1711.     72  p.     15""^. 

Three  acts.  Author's  dedication,  dated  Venice,  January  17,  1711,  argument, 
scenario,  cast.  The  composer,  Antonio  Lotti,  ia  not  mentioned.  A  contemporary 
ms.  note  on  p.  [2]  reads:  "h  lo  stesso  che  la  Statira  t?  A."  Schatz  5710 

—  Artaserse  re  di  Persia.  Drama  per  musica  da  rappresentarsi 
nel  Real  Palaggio,  nel  di  primo  ottobre  1713.  Giorno  festivo  per  gli 
anni,  che  compie  la  Maestk  Ces.  e  Catt.  del  nostro  invittissimo 
imperadore  Carlo  VI  .  .  . 

Napoli,  Michele  Luigi  Muzio,  1713.     6  p.  I.,  67  p.     14"^. 

Prologue  and  three  acts.  Dedication  signed  by  Serino  as  impresario,  argument, 
scenario,  cast,  and  notice  to  the  reader,  stating: 

"La  necessity  d'avervisi  adaggiungere  le  parti  di  Farfalletta,  e  di  Dragasso,  hk 
fatto,  che  piii  cose  vi  si  fuesero  tolte,  aggiunte,  e  variate,  non  meno  per  attendersi  alia 
brevity  che  uniformarsi  al  genio  de'  rappresentanti,  e  di  questa  citta. 

"Anche  la  musica  b  di  celebre  compositore  [Lotti],  m^  ti  awertisco,  che  tutte  le 
scene  buffe,  e  tutte  le  arie  che  vedrai  con  questo  segno  §,  sono  state  j>08te  in  musica 
dal  Signor  Francesco  Manciiii  ..." 

Accordingly,  he  composed,  for  instance,  the  arias, ' '  Superba;  vedrai "  (1, 3),  "Aure, 
fonti,  erbetti,  e  fieri"  (I,  4),  "Sai,  ch'un  ombra  6  la  bellezza"  (I,  6),  "Sowengati, 
spietata"  (I,  9),  and  many  others.  The  text,  with  the  indicated  alterations,  is 
Silvani's  "II  tradimento  traditor  di  se  stesso."  Schatz  5712 

La  tragedie.     Entree  in  Campra's  Les  Muses. 


OPEBA  LIBRETTOS  1087 

The  tragedy  of  Chronoiihotonthologos :  being  the  most  tragical 
tragedy  that  ever  was  tragediz'd  by  any  company  of  tragedians. 
Written  by  Benjamin  Bounce,  Esq;  .  .  . 

London,  J.  STiucJchurgh  and  L.  GiUiver  [etc],  n.  d.  30,  [1]  p.,  incl. 
front. 

Cast.  One  act,  prologue  and  epilogue.  By  Henry  Carey.  On  p.  [8]:  "The 
tunes  of  ye  songs."  (only  four-) 

First  performed  at  London,  "little  theatre"  in  the  Haymarket,  February  22,  1734. 

ML  50.2.C47 

—  Chrononhotonthologos :  The  most  tragical  tragedy  that  ever 
was  tragediz'd  by  any  company  of  tragedians. 

{151\-182  p.     22'^.     {Henry  Carey,  Dramatick  ivories,  London,  1743) 
Prologue  and  one  act.    Without  the  tunes.  ML  49.A2C2 

—  Chrononhotonthologos:  The  most  tragical  tragedy  that  ever 
was  tragedized  by  any  company  of  tragedians.     The  seventh  edition. 

London,  T.  Lowndes,  T.  Calson  [etc.],  1770.     32  p.     19^. 

One  act  and  prologue.    No  music  printed  in  this  ed.  LoNOE  54    • 

—  Chrononhotonthologos.     By  Mr.  Henry  Carey. 

[245'\-258  p.  19"^.  {Collection  of  the  most  esteemed  farces  and 
erdertainmenis,  t.  ii,  Edinburgh,  1792.) 

One  act.  Schatz  11753B 

•Traiano.  Drama  per  musica  da  rappresentarsi  nel  famoso  Teatro 
Grimano  di  SS.  Gio.  e  Paolo.  L'anno  MDCLXXXIV.  Di  Matteo 
Noris  .  .  . 

Venetia,  Francesco  Nicolini,  I684.     69  p.     14'^. 

Three  acts.  Author's  dedication  and  scenario.  Giuseppe  Felice  Tosi,  the  com- 
poser, ifl  not  mentioned.  Schatz  10380 

Le  traits  nul,  comedie  en  un  acte  et  en  prose,  mMee  d'ariettes, 
representee  le  5  messidor,  an  5,  sur  le  Theatre  Feydeau.  [June  23, 
1797]    Paroles  de  M.  MarsoUier,  musique  de  M.  Gavaux. 

Paris,  Euet,  an  V  (ou  1797).     64  p.    21"^. 

Cast.  ML  50.2.T77G2 

—  Le  traite  nul,  comedie  en  un  acte  et  en  prose,  mfilee  d'ariettes, 
representee  le  5  messidor,  an  V,  sur  le  Theatre  Feydeau.  Paroles 
de  M.  MarsoUier,  musique  de  M.  Gavaux. 

Paris,  Euet,  an  7//?     [1798-99]    48  p.    21"^. 

Same  cast  and  text.  ML  50.2.T77G22 

—  Het  vemietigd  verdrag,  zangspel.     Door  G.  Brender  k  Brandis. 
Amsteldam,  Abraham  Mars,  1799.     87,  [1]  p.     16^"^. 

Author's  preface  dated  "den  ll"**"  van  Lentemaand  1799"  with  names  of  the 
author  and  the  composer. 

First  performed  at  Amsterdam,  Stadt  Schouwburg,  March,  1799.       Schatz  3644 

Le  trame  deluse.  Drama  giocoso  in  due  atti  da  rappresentarsi  nel 
Teatro  di  Corte  l'anno  1787. 

Vienna,  Gioseppe  nob.  de  Kurzbek,  n.  d.     84  p.     16^"^. 

Two  acts.  With  name  of  the  composer,  Domenico  Cimaxosa,  but  not  of  the  author, 
Gius.  Maria  Diodati. 

First  performed  at  Vienna,  Nationalhoftheater  n.  d.  Burg,  May  7,  1787;  at  Naples, 
Teatro  Nuovo,  carnival,  1786.  Schatz  1972 


1088  LIBRARY   OF   CONGRESS 

Lo  traine  deluse — Continued. 

—  Le  traine  deluse.     Dramma  giocosa  per  music  a  da  rappresentarsi 

nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Bresda,  n.  puhl,  1788.     127  p.     15\'^. 

Two  acts,  with  name  of  the  composer,  Cimarosa.  German  title-page,  "Die  ver- 
eitelten  raenke,"  and  text  face  Italian. 

P'irst  performed  at  Dresden,  January  3,  1789.  Schatz  1973 

Le  trame  deluse.     O.  T.  of  text  of  Portugal's  A  Noiva  fingida. 

Le  trame  per  amore.  Commedia  per  musica  di  Francesco  Cerlone 
da  rappresentarsi  nel  Teatro  Nuovo  per  terza  opera  di  quest'  anno 
1783. 

Nafoli,  n.  puhl,  1783.     60  p.     15'^. 

Three  acts.  Cast,  name  of  Paisiello  as  the  composer  and  note  that  "per  brevity" 
the  third  act  had  to  be  shortened  and  would  end  with  the  terzetto  and  that  for  the 
same  reason  minor  arias  would  be  dropped . 

First  performed  at  Naples,  Teatro  Nuovo,  October,  1770.  Schatz  7681 

Le  trame  spiritose.  Dramma  giocoso  per  musica  da  rappresentarsi 
in  Genova  nel  Teatro  da  S.  Agostino  la  primavera  del  1793  .  .  . 

Genova,  Stamperia  Gesiniana,  n.  d.     65  p.     IJ^^"^. 

Two  acts.  By  Giuseppe  Palomba,  who  is  not  mentioned.  Cast,  name  of  Giacomo 
Tritta  (Tritto)  as  composer  and  impresario's  dedication,  in  which  he  says  that  the 
opera  was  heard  with  applause  in  the  previous  pear  at  Naples,  at  the  Teatro  Nuovo. 

Schatz  10475 

La  tranquillitfi.  disturbata,  ballet.     See  Borghi's  Creso  r^  di  Lidia. 

Gesaenge  aus  dem  singspiele  Der  transport  im  koffer,  in  drey  auf- 
zuegen.     In  musik  gesezt  von  Edmund  Weber. 

Hamburg,  Johann  Matthias  Michaelsen,  1791.     32  p.     16 Y^. 

Author  not  mentioned  and  unknown  to  Schatz. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  May  30,  1791. 

Schatz  10916 
Trapolin's  vagaries.     A.  T.  of  The  devil  of  a  duke. 

Trasibolo  Ateniese.     See  M.  Curzio. 

Trattenimento  musicale  diApoUo  con  il  Reno  nelle  nozze  sonttuose 
delli  111.  et  Ecc.  SS":*  il  Sig  Co.  Federico  Rossi  Co.  di  San  Secondo 
et  la  Sig™  Donna  Orsina  repoli:  la  coronatione  d' Apollo  per  Dafne 
conversa  in  lauro  Baletto:  Amore  guerriero  per  la  Bocca  incantata 
Bariera.  Pensieri  del  Sig.  Silvestro  Branchi  il  Costante  nell'  Acca- 
demia  di  Rawivati,  et  alcune  ottave  per  le  medesime  nozze  del  Sig- 
N.  S.  .  .  . 

Bologna,  Gio.  Paolo  Moscatelli,  1621.     [72]  p.     15'='^. 

Pictorial  title  pa»e.  Branchi's  dedication  is  dated  Bologna,  May  30,  1621.  The 
first  piece  is  divided  into  "XJscita"  1-2,  "Amore  guerriero"  is  one  long  scene  ("bar- 
riera")  followed  by  a  baletto  and  the  "Coronatione  d' Apollo  ".consists  of  Uscita  1-6 
with  the  baletto  in  the  last.  Ricci  attributes  all  these  texts  to  Silvestro  Branchi. 
He  does  not  mention  the  composer  or  composers.  That  Silvestra  Branchi  wrote  and 
Ottavio  Vemizzi  (probably)  composed  at  least  "La  coronatione  d 'Apollo  "is  clear 
since  in  1623  an  edition  of  the  text  was  published  by  the  same  publisher  for  per- 
formance in  the  Teatro  della  Sala  in  which  Branchi  is  called  the  author  and  Vemizzi 
the  composer.  In  1623  the  text  was  divided  into  foiu*  "intermezzi,"  for  Branchi's 
play  "Pamorosa  innocenza."     (See  "La  coronatione  d'ApoUo").  ML  52.2.T7 


OPEEA  LIBRETTOS  1089 

Der  traum  des  Scipio.     Tr.  of  Nichelmann's  II  sogno  di  Scipione. 

The  travellers  in  Switzerland.     A  comic  opera,  in  three  acts:    as 

Eerformed   at  the  Theatre  Royal,   Covent-Grarden.     By  Mr.  Bate 
►udley  .  .  . 

London,  J.  Dehrett,  1794.    80  p.    20^. 

Cast,  author's  dedication,  dated  Bradwell  Lodge,  March  20,  1794,  and  prefatory 
note,  with  name  of  William  Shield  as  composer  resp.  compiler,  and  statement  that 
"several  of  the  airs,  and  all  the  choruses"  were  "written  to  compiled  music." 
First  performed  February  22,  1794.  Longe  227 

Gtisaenge  zu  dem  schauspiele  Der  travestirte  Hamlet,  in  drey  akten. 
In  musik  gesetzt  von  Tuzeck. 

n.  i.,  1799.     U  p.     leY"". 

The  author,  Johann  Georg  Carl  Ludwig  Giesecke,  is  not  mentioned. 

First  performed  at  Vienna,  Theater  auf  der  Wieden,  July  10, 1794.    Schatz  10506 

I  tre  amanti.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  di  via  della  Pergola  neUa  pnmavera  del  MDCCLXXVII  .  .  . 

Firenze,  Gio.  Risaliti,  1777.     66^p.     16"^. 

Two  acts.    Cast  and  name  of  Cimarosa  as  the  composer.    The  author  is  unknown 
to  Schatz.  ^  On  p.  5-16,  cast  and  description  of  "Sansone,  ballo  tragico  di  invenzione, 
e  composizione  del  Sig.  Antonio  Pitrot,  posto  in  Bcena  per  la  prima  volta  .  .  .  1777. 
The  composer  of  the  music  is  not  mentioned.    Pitrot  remarks  (p.  16),  "si  sono  nobili- 
tati  i  personaggi  per  maggior  propriet^i,  del  soggetto!" 

First  performed  at  Rome,  Teatro  Valle  dei  Signori  Capranica,  carnival,  1777. 

Schatz  1975 

—  I  tre  amanti.  Intermezzo  in  musica  a  cinque  voci  da  rappre- 
sentarsi nel  Piccolo  Teatro  Elettorale. 

Dresda,  Stamperia  elettorale,  1781.     125  p.     15^"^. 

Two  acts,  with  name  of  the  composer,  Cimarosa.  German  title-page,  "Die  drey 
liebhaber,"  and  text  face  Italian. 

First  performed,  as  indicated,  March  10,  1781.  Schatz  1976 

Li  tre  amanti  ridicoli.  Dramma  per  musica  di  Ageo  Liteo  da  rap- 
presentarsi nel  Teatro  deUa  Fama  de'  Nobili  di  Gubbio  nel  corrente 
carnevale  dell'  anno  1765  ... 

Gubbio,  Giuseppe  Bartolini,  n.  d.     53  p.     15^*^. 

Three  acts.  By  Antonio  Galuppi  who  is  not  mentioned.  Cast,  dedication,  and 
name  of  Baldassare  Galuppi  as  composer. 

First  performed  at  Venice,  Teatro  di  S.  Mois^,  carnival,  1761.  Schatz  3471 

Le  tre  burle.     A.  T.  of  Salieri's  Falstaff. 

r 

Li  tre  cicisbei  ridicoli.  Dramma  giocoso  per  musica  da  recitarsi 
neUa  fiera  deU'  Ascensione  deU'  anno  1748.  Nel  Teatro  di  Sant' 
Angelo. 

Venezia,  Modesto  Fenzo,  17^8.     59  p.     15'^. 

Three  acts.  By  Carlo  Antonio  Vasini,  who  is  not  mentioned.  Cast  and  name  of 
Natale  Resta  as  the  composer.  Additional  or  substitute  arias,  "Arsa  d'intemo 
adore"  (p.  45)  and  "Basta  cosi,  t'intendo"  (p.  59),  are  inserted  on  slips. 

Schatz  8692 

72251°— VOL  1—14 69 


1090  LIBRARY  OF   CONGRESS 

I  tre  difensori  della  patria.     Dramma  per  musica  da  rappresen- 
tarsi  ncl  Teatro  di  Sant'  Angelo  Tautunno  dell'  anno  MDCCXXIX  .  .  . 
Venezia,  Marino  Rossetti,  1729.     Jfi  p.     15Y^. 

Three  acts.  By  Adriano  Moreelli,  who  is  not  mentioned,  and  whose  original  title 
was  "Tullo  Ostilio."  Dedication,  argument,  Bcenario,  cast,  and  name  of  Giovanni 
Battieta  Pescetti  as  the  composer.  Schatz  7961 

—  Tullo  Ostilio.  Dramma  per  musica  da  rappresentarsi  nel 
Teatro  di  San  Angelo  Fanno  1740  .  .  . 

Venezia,  Marino  Rossetti,  1740.     ^8  p.     15^^. 

Three  acts.  Neither  Adriano  Morselli,  the  author,  nor  Giovanni  Battieta  Pescetti, 
the  composer,  is  mentioned.  Impresario's  dedication,  argument,  and  cast.  Notice- 
ably different  from  the  earlier  "I  tre  difensori  della  patria."  For  instance,  the 
opening  chorus  in  the  latter,  "Queste  Bp(^lie,  o  invitta  Roma,"  is  absent  from  the 
1740  ed.  Schatz  7962 

Li  tre  Eugenj.  Commedia  per  musica  di  un  atto  di  G.  B.  L.,  P.  A. 
Da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nel  camovale  del 
corrente  anno  1778. 

Nayoli,  n.  puhl,  1778.     39  p.     15'^. 

Text  by  Giovanni  Battista  Lorenzi.  OSst  and  name  of  Francesco  Lenzi  as  com- 
poser. Schatz  5551 

Le  tre  fanatiche.  Commedia  per  musica  di  Giuseppe  Palomba  da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  nel  camo- 
vale di  quest'  anno  1785  .  .  . 

Napoli,  n.  puhl,  1785.     48  p.     15^"^. 

Two  acts.  Cast  and  name  of  composer,  Gaetano  Andreozzi.  The  impresario's 
dedication  is  dated  January  25,  1785.  Schatz  204 

I  tre  gobbi  rivali.  Intermezzo  a  quattro  voci  da  cantarsi  dalla 
compagnia  de'  Comici  Lombardi  nel  Teatro  de'  Fiorentini  nel  carno- 
vale  del  1783. 

Napoli,  n.  puhl,  1783.     21  p.     15^'^. 

Two  acts.  A  much  altered,  shorter  version  of  "La  favola  de'  tre  gobbi,"  by  Carlo 
Goldoni,  who  is  not  mentioned.  Dedicatory  poem,  cast,  and  remark:  "La  sinfonia 
e  la  musica  se^ata  col  segno  -|-  h  del  Sig.  D.  Vincenzo  Fabrizi  Romano."  This 
applies  to  "Mi  corrono  d'intomo,"  " Dice- bene-certo  ardore,"  "Per  servirvi,  e 
cortegiar,"  etc.  The  text  of  these  arias  does  not  appear  to  be  by  Goldoni.  In  the 
first  intermezzo  only  his  "Vezzosa  gradita"  was  retained.  In  the  second,  whereas 
the  arias  "Corpo  di  Bacco  /  Son  Parpagnacco,"  "Vi  prego  di  core"  and  "Se  vi 
guardo  ben"  are  in  the  original  version,  "Seu  tanto  benedetti"  and  "Che  bella  cosa 
ch'e"  are  not  by  Goldoni  at  all.  Schatz  2972 

I  tre  matrimoni.  Conmiedia  in  musica  da  rappresentarsi  nel 
Teatro  Grimani  di  S.  Samuele  I'autunno  dell'  anno  MDCCLVI.     • 

Yenezia,  Modesto  Fenzo,  1756.     52  p.     l^Y"^- 

Cast,  scenario,  and  name  of  the  composer,  Nicola  Calandra,  detto  Frascia.  Libret- 
tist imknown  to  Schatz.  Schatz  1474 

De  tre  0nsker.     A.  T.  of  Philidor's  Skovhuggeren. 

I  tre  Orazj  e  i  tre  Curiazj ,  baUet.    See  Bertoni's  Telemaco  ed  Eurice. 


OPERA   LIBRETTOS  1091 

Le  tre  orfanelle  o  sia  La  scola  di  musica.  Dramma  giocoso  di  un 
atto  solo  per  musica  del  Sig.  Giovanni  Bertati  ...  da  rappresentarsi 
nel  nobilissimo  Teatro  Venier  in  San  Benedetto  I'autunno  dell'  anno 
1798. 

Venezia,  Modesto  Fenzo,  1798.    32  p.     18'^'^. 

Caat  and  name  of  Bemaxdini,  (Marcello  di  Capua)  as  compoeer.        Schatz  847 

Li  tre  Orfei.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
nobile  Teatro  Tron  in  S.  Cassiano  nelF  autunno  dell'  anno  1787, 

Venezia,  n.  puM.,  n.  d.     60  p.     16'^^. 

Two  acts.  Cast.  Neither  the  composer,  Marcello  Bemardini  (Marcello  di 
Capua)  is  mentioned,  nor  the  author,  who  is  unknown  to  Schatz. 

First  performed  at  Rome,  Teatro  della  Palla  a  Corda,  carnival,  1784. 

Schatz  848 

Gli  tre  pretendenti.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi in  Bologna  nel  Teatro  Marsigli  Rossi  la  primavera  dell'  anno 
1777  .  .  . 

Bologna,  Sassi,  n.  d.     67  p.     15'^^. 

Three  acte.  Impresario's  dedication,  caat,  scenario,  and  name  of  the  composer, 
Giovanni  Battista  Borghi,  but  not  of  the  librettist.  The  imprimatur  is  dated  May 
21,  1777. 

Schatz  lists  this  as  being  the  same  as  Giovanni  Bertati's  text  of  "La  donna  ineta- 
bile."  The  two  texts,  indeed,  begin  "Don  Testaccio  mio  carissimo"  and  they  have 
now  and  then  other  matter  in  common,  as,  for  instance,  the  finale  of  the  second  act, 
"Non  si  faccia  piii  rumore."  It  is  therefore  clear,  that  the  "Gli  tre  pretendenti" 
text  is  somewhat  related  to  that  of  "La  donna  instabile,"  but  on  the  whole  the 
two  texts  have  very  little  in  common  and  are  practically  two  different  texts. 

Schatz  1230 

I  tre  rivali  in  amore.     Farsa  per  musica  a  5.  voci  da  rappresentarsi 
nel  Teatro  Valle  degl'  illmi  Sig,  Capranica.     II  carnevale  dell'  anno 
1789. 
Roma,  Gioacchino  Puccinelli,  n.  d.     4^  p.     16^*^. 

Two  acts.  The  author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Ferdinando  Bobuschi  as  the  composer.  Schatz  8845 

Li  tre  vagabondi.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  nobile  Teatro  Tron  di  San  Cassiano  nell'  autunno  dell'  anno 
1776  .  .  . 

Venezia,  Gio.  Battista  Casali,  1776.     63  p.     17"^.      • 
Three  acts.    Author  not  mentioned  and  unknown  to  Schatz.    Impresario's  dedi- 
cation, cast,  scenario,  and  name  of  Salvatore  Perillo  as  the  composer.    Schatz  7927 

Treu  in  der  untreue.     Tr.  of  Cimarosa's  L'infedeltk  fedele. 

Die  treuen  koehler,  eine  operette  in  zwey  aufzuegen,  von  herm 
Herrmann  in  Weimar.  Lq  musik  gesezt  von  herrn  musikdirektor 
Knecht  in  Biberach.  Wird  den  29  juni  auch  2ten  und  4ten  lulii 
1789  allhierzu  Kaufbeuren  auf  dem  gewoehnlichen  Theater  der  bur- 
gerlichen  Agenten  A.  C.  aufgefuehrt. 

Kaufbeuren,  Dom,  n.  d.     Unpaged.     16"™. 

Cast  and  "historischer  vorbericht,"  at  end  of  which  price  of  tickets,  rules  about 
admission,  etc. 

First  performed  at  Biberach,  Theater  der  evangelischen  Meister  Sanger  Gesell- 
Bchaft  im  Schlachthause,  February  2,  1786.  Schatz  5198 


1092  LIBRARY   OF   CONGRESS 

Die  treuen  koehler,  eine  operette  in  zween  aufzuegen  von  Heer- 
mann.  In  musik  gesezt  von  L.  Schubaur  der  medizin  doktor.  Auf- 
gefuehrt  auf  dem  chnrfuerstl.  Nationaltheater  in  Muenchen  1786. 
Muenchen,  Joseph  Lindauer,  n.  d.  1  p.  I.,  120  p.  IBY'^- 
Dedication  signed  by  the  composer,  Lukas  Schubauer,  and  his  "Vorrede"  in 
which  he  narrates  "die  geschichte  des  saechsischen  prinzenraubes,"  on  which  the 
operetta  is  based. 

First  performed,  as  indicated,  September  29,  1786.  Schatz  9712 

Die  treuen  koehler,  eine  operette  in  zween  aufzuegen. 

Weimar,  Carl  Ludolf  Hoffmann,  1773.  7  p.  I.  (incl.  front.) ,  182  p. 
14^^. 

By  Gottlob  Ephraim  Heermann,  who  is  not  mentioned.  Dedication,  argument, 
name  of  Ernst  Wilhelm  Wolf  as  the  composer,  and  note: 

"Auf  dem  herzoglichen  Hof theater  zu  Weimar,  von  der  zur  zeit  anwesenden 
koenigl.  Grosbritannischen  Seilerischen  Gesellschaft  aufgefuehret,  den  2ten  des 
Brachmonats." 

First  performed  at  Weimar,  Schlosstheater  in  der  Wilhelmsburg,  July  14,  1772. 

Schatz  11085 

Le  tribunal  de  la  chicane.  A.  T.  of  Philidor's  L'huitre  et  les 
plaideurs. 

H  tribute  campestre.  Componimento  pastorale  drammatico  da 
rappresentarsi  in  musica  nel  Regio  Ducale  Teatro  nuovo  di  Mantova 
in  occasione  del  felicissimo  passaggio  di  Sua  Maestk  Maria  Carolina 
.  .  .  sposa  di  Sua  Maestk  Ferdinando  IV.  di  Borbone,  r^  delle  Due 
Sicilie  [engraved  ports,  of  both] 

Mantova,  per  Verede  di  Alberto  Pazzoni,  1768.  6  p.  I.  {inch,  front.) , 
30  p.     23"^. 

One  act.  Numerous  vignettes,  cast,  and  names  of  Tommaso  Trajetta  as  com- 
poser and  of  librettist,  Giovanni  Battista  Buganza.  Schatz  10401 

Tribute  di  rispetto  e  d'amore.  Componimento  drammatico, 
scritto  dall'  autore  .  .  .  Fanno  1754,  ed  eseguito  con  musica  del 
Reutter  neU'  interno  deUa  Corte  imperiale  dalle  tre  AA.  RR.  .  .  . 
festeggiando  il  giorno  di  nascita  dell'  augusto  loro  genitore. 

[189]-196  p.  26'^^.  (Meta^tasio,  Opere,  t.  xi,  Parigi,  vedova  Eeris- 
sant,  1782.)  ML49.A2M44 

Trick  for  trick.     A  comedy  of  two  acts.     As  it  is  perform'd  at  the 
Theatre-Royal  in  Drury-Lane,  by  His  Majesty's  servants.     By  R. 
Fabian  .  .  . 
London,  J.  Watts,  1735.     4  p.  I.,  36  p.     19"^. 

Interspersed  with  ten  songs,  sung  to  popular  airs,  which  are  printed  in  the  text,  with 
their  titles.    Cast,  table  of  the  songs,  and  dedication. 

First  performed,  as  indicated.  May  10,  1735.  ML  50.5.T84 

Second  copy.    Longb  40 
Third  copy.     Longe  262 

A  trick  to  cheat  the  devil.     A.  T.  of  Imposture  defeated. 

Le  triomphe  d'Alcide.     A.  T.  of  LuUy's  Alceste. 

Le  triomphe  de  Flore.     See  Dauvergne's  Egle. 

Le  triomphe  de  ramitie.     A.  T.  of  Sacchini's  L'Olympiade. 


OPERA   LIBRETTOS  1093 

Le  triomphe  de  ramour.  Divertissement  en  musique  orn6  de 
ballets  pour  le  carnaval  de  l'ann6e  1725. 

Dresde,  Jean  Conrad  Stossel,  n.  d.     [56]  p.     19^. 

Prologue  and  five  entries.  Cast,  names  of  Poieson  as  author,  of  Louie  AndrS  as 
composer,  and  Avertissement,  which  reads,  in  part: 

"Ceci  n'est  point  ouvrage  dramatique,  qui  renferme  un  eujet  intrigu^,  suivi,  & 
denoii^;  ce  n'est  k  proprement  parler  que  ce  qu'on  nomme  un  ballet:  On  y  trouvera 
cependant  tons  les  spectacles,  &  tons  les  agr^mene  de  nos  grands  opera  franyois  ..." 

First  performed  at  Dresden,  Hoftheater,  February  12,  1725.  ML  50.2.T7 

Second  copy.     Schatz  193 

Le  triomphe  de  I'amour.  Ballet,  dans6  devant  Sa  Majesty  h,  S. 
Germain  en  Laye.     Suivant  la  copie  imprim^e  k  Paris. 

[Amsterdam,  Antoine  Schelte],  1686.     J^l  p.  {incl.  front,).     IS^*^^. 

Twenty  entries,  with  the  names  of  the  participants.  On  p.  [29}-47,  the  ' '  Vers  pour 
la  pereonne  et  le  personnage  de  ceux  qui  sont  du  ballet  du  Triomphe  de  1' Amour." 
Neither  authors  nor  composer  mentioned.    See  next  entry.  ML  49.A2L9 

—  Le  triomphe  de  I'amour,  ballet  represente  par  FAcademie 
royale  de  musique  I'an  1681.  Les  paroles  sont  de  M.  Quinault  &  la 
musique  de  M.  de  Lully,  XIII.  opera. 

n.  i.,  n.  d.  14"^.  front.,  269-298  p.  (Recueil  general  des  opera,  t. 
a,  Paris,  1703.) 

Detached  copy.  Twenty  entries.  Text  partly  by  Benserade.  {See  his  Oeuvres, 
t.  ii.) 

First  performed,  as  indicated,  April  15,  1681  (Schatz),  May  6  (Pruni^res);  at 
Saint-Germain  en  Laye,  before  the  court,  January  21, 1681.  On  September  11, 1705, 
the  ballet  was  revived,  but  reduced  to  four  entries  and  prologue  by  Danchet  and 
Campra.  Schatz  5774 

Second  copy.    ML  48. R4 

—  Le  triomphe  de  rAm.our,  ballet  dans^  devant  Sa  Majesty,  k 
Saint  Germain  en  Laye  le  .  .  .  Janvier  1681. 

Le  Theatre  de  Monsieur  Quinault,  Paris,  1739,  t.  v.,  pi.,  [69]-104  p. 

2'ycm 

Twenty  entries.  On  p.  [105J-126:  "Vers  pour  la  personne  et  le  personnage  de 
ceux  qui  sont  du  ballet  du  Triomphe  d©  I'Amour."  Those  participating  are  men- 
tioned by  name.    Lully,  the  composer,  is  not  mentioned.  PQ  1881. Al    1739 

Le  triomphe  de  TAmour  sur  Bacchus.  Entr6e  in  Duplessis' 
Les  festes  nouvelles. 

Le    triom.phe    de    Tharmonie,    ballet-heroique    repr6sent6    par 

I'Acad^mie  royale  de  musique,  Fan  1737.     Paroles  de  M*"  Le  Franc, 

musique  de  M'"  Grenet.     CXXVIII.  opera. 

n.  i.,  n.  d.     4^9-478  p.    14Y'^'     (Recueil  general  des  opera,  Paris, 

1746,  t.  xw.) 

Detached  copy.     Prologue  and  entries,  "Orph^e,"  "Hylaa,"  "Ajnphion." 
First  performed,  as  indicated.  May  9,  1737.  ML  48. R4 

Le  triomphe  de  la  raison  sur  Pamour,  pastorale  mise  en  musique 
par  Monsieur  de  Lully  .  .  .     Representee  h,  Fontainebleau. 

Amsterdam,  Henry  Schelte,  1699.     15  p.  {incl.  front.).     15'^. 

One  act.  Author  not  mentioned,  and  unknown  to  Schatz.  The  compoeer  was 
Jean  Baptiste  de  Lully,  the  younger. 

First  performed,  as  indicated,  October  25, 1696.  ML  50.2.T8L9 

Le  triomphe  de  Thalie.     See  Mouret's  Les  festes  de  Thalie. 


1094  LIBRAKy   OF   CONGRESS 

Le  triomphjB  de  Venus.     See  Campra's  Trois  nouvelles  entries. 

Le  triomphe  des  arts,  ballet  represents  par  TAcademie  rojale  de 
musique  I'an  1700.  Les  paroles  de  M.  de  la  Mothe,  &  la  musique  de 
M.  d    la  Bane.     XLIX.  opera. 

n.  i.,  n.  d.  front.,  48  p.  14*^.  {Itecueil  general  des  opera,  Paris, 
1703,  t.  vii.) 

Five  entries.    Dedicatory  poem  and  "avertissement,"  with  argument. 
First  performed  at  Paris,  Acad^mie  royale  de  mnaique,  May  16,  1700. 

ScHATZ  5344 
Second  copy.    ML  48.R4 

Le  triomphe  des  sens.    See  Mouret's  Le  ballet  des  sens. 
I  trionfi  del  fato.     O.  T.  of  Steffani's  II  trionfo  del  fato. 

I  trionfi  di  Goffredo  in  Gerusalemme.  Cantata  da  rappresen- 
tarsi  nel  Teatro  del  Pubblico  della  citta  di  Pisa  in  occasione  del  primo 
faustissimo  arrivo  in  detta  cittk  di  S.  A.  R.  Francesco  III  .  .  .  gran- 
duca  di  Toscana. 

Pisa,  Evangelista  Pugli,  1739.     35  p.    20^^^. 

Dedication,  argument,  "Annotazioni"  (p.  19-24,  34-35),  argument,  "Interlocu- 
tori,"  name  of  cavaliere  av\-ocato  Pio  dal  Borgo  as  author  and  Michele  Fini  as  com- 
poser. ScHATZ  3106 

II  trionfo  d'arnore.  Questa  festa  teatrale  fu,  sotto  il  titolo  di  Asilio 
d'Amore,  scritta  dall'  autore  in  Vienna,  e  rappresentata  la  prima 
volta  in  Lintz  I'anno  1732  .  .  .  L'anno  1765  poi  venne  in  gran  parte 
cambiata  dall'  autore  medesimo  per  adattarla  col  nuovo  titolo  di 
Trionfo  d'arnore  alia  circostanza  delle  reali  nozze  di  Giuseppe  II,  e 
Maria  Giuseppa  di  Baviera  .  .  .  e  fra  le  altre  festive  solennit^,  fu  da 
cantori,  e  cantatrici  con  musica  del  Gasman  eseguita  .  .  .  negli 
appartamenti  dell'  imperial  soggiorno  di  Schonbrunn. 

[267]-292  p.  26'^.  (Metastasio,  Opere,  t.  ix,  Parigi,  vedova  Heris- 
sant,  1781.) 

One  act.  ML  49.A2M44 

II  trionfo  d'arnore.  Azione  teatrale  rappresentata  in  musica  nella 
Imperial  Regia  Corte  in  occasione  delle  felicissime  nozze  delle  Sacre 
Reali  Maesta  di  Giuseppe  II.  d'Austria  e  di  Maria  Gioseffa  di  Baviera 
.  .  .  l'anno  MDCCLXV. 

Milano,  Giuseppe  Cairoli,  n.  d.     4^,  [1]  p.     17"^. 

One  act.  Neither  Metastasio,  the  author,  nor  Florian  Leopold  Oassmann,  the 
composer,  is  mentioned.    The  imprimatur  is  dated  February  27,  1765. 

First  performed  at  Schonbrunn,  Schlachtensaal  of  the  Imperial  palace,  January 
25,  1765.  ScHATZ  3628 

II  trionfo  d'arnore.  Azione  pastorale  in  un  solo  atto  da  rappresen- 
tarsi  nel  teatro  novamente  costrutto  a  questo  solo  fine  in  una  delle 
corti  del  Ducal  Palazzo  di  Luisburgo  all'  occasione,  ed  in  seguito  della 
superba  festa  ivi  data  li  16  febbraio  1763.  La  poesia  e  del  Signer  de 
Tagliazucchi  ...  La  musica  ^  di  nuova  composizione  del  Signor 
Jommel  i  .  .  .  I  balli  sono  del  Signor  Noverre  .  .  . 
[Stuttgardt],  Cotta,  n.  d.     53  p.     18'^. 

Oneact.  Argument,  cast.  German  title-page,  " Der  triumph  dee  Amors, "  and  text 
face  Italian.     !Not  to  be  confused  with  Jommelli  a  "L'Endimione."      Schatz  4872 


OPERA  LIBRETTOS  1095 

II  trionfo  d'amore.     A.  T.  of  Jommelli's  L'Endimione. 

II  trionfo  d'amore.  Favola  pastorale  da  rappresent^rsi  in  musica 
in  Mantova  I'anno  MDCCIV  .  .  . 

Mantova,  Alberto  Pazzoni,  n.  d.     72  p.     15"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz-  Dedication  dated 
Mantova,  December  19,  1703,  cast,  scenario,  and  (at  end)  note:  "La  musica  e  del 
Sig.  Antonio  Quintavalle,  organista  di  camera  del  Ser.  padrone."  On  p.  69-71  text 
of  eight  "Arie  mutate."  ML  50.2.T81Q3 

II  trionfo  d'amore.     See  Traetta's  Le  feste  d'Imeneo. 

II  trionfo  d'Arbace,  ballet.    See  Nasolini's  La  morte  di  Semiramide. 

II  trionfo  d'Arianna  con  baUi,  e  cori  analoghi  al  soggetto.  Dramma 
per  musica  del  nobile  Signore  Carlo  Lanfranchi  Rossi  .  .  .  fra  gli 
Arcadi  Egesippo  Argolide  da  rappresentarsi  nel  Teatro  Giustiniani  in 
San  Moise  per  la  fiera  dell'  Ascensione  dell'  anno  1781. 

Venezia,  Modesto  Fenzo,  n.  d.     44  V-     l^*^^. 

Two  acts.  Author's  dedicatory  sonnet,  argximent,  cast,  and  name  of  Pasquale 
Anfossi  as  composer.  Schatz  271 

II  trionfo  d'Arianna.  Dramma  con  cori  e  balli  analoghi  composto 
d'ordine  sovrano  da  Antonio  de'  Filistri  .  .  .  e  messo  in  musica  dal 
Signor  Vincenzo  Righini  ...  da  rappresentarsi  nel  gran  Teatro  Reale 
di  Berlino. 

Berlino,  Haude  e  Spener,  1796.     Ill  p.     16^'^. 

Three  acts.  Argument  and  cast.  German  title-page,  "Der  triumph  der  Ariadne," 
and  text  face  Italian. 

Performed  in  1796,  as  indicated;  first  performed  at  the  same  theatre,  December  28, 
1793.  Schatz  8788 

II  trionfo  d'Arianna  o  sia  Arianna  abbandonata  da  Teseo  e  soccorsa 
da  Bacco,  baUet.     See  Alessandri's  I  pimtigli  gelosi. 

II  trionfo  d'Armida.  Drama  per  musica  da'  rappresentarsi  nel 
Teatro  Giustiniano  A.  S.  Moise  I'anno  1726. 

Venezia,  Marino  Rossetti,  n.  d.     I^S  f.     15^^. 

Three  acts.  By  Girolamo  Colatelli,  who  is  not  mentioned.  Scenario  and  notice 
to  the  reader  with  name  of  Tommaso  Albinoni  as  composer. 

First  performed  in  the  fall  of  1726,  as  indicated.  Schatz  132 

II  trionfo  d'Augusto  in  Egitto.  Opera  in  musica.  Dedicata,  e 
cantata  all'  Ecc.™*  Sig.™  D.  Anna  Antonia  .  .  .  nelle  sue  nozze  coll' 
Ecc."""  Sig."^  D.  Gaspar  Teller  Girone,  Gomez  di  Sandovale,  duca 
d'Ossuna  .  .  .     Nel  Regio  Teatro  di  Milano  I'anno  1672. 

Milano,  Marc'  Antonio  Randolfo  Malatesta,  n.  d.  4.  p.  I.,  107  p. 
Id""". 

Prologue  and  three  acts.  Dedication  to  the  ladies  and  sonnett  to  D .  Anna  Antonia. 
Author  (Carlo  Maria  Maggi)  and  composer  (imknown  to  Schatz)  not  mentioned. 

Schatz  11372 

II  trionfo  d'Ercole  in  Troia  o  sia  Esione  liberata,  ballet.  See 
Martin  y  Soler's  Una  cosa  rara. 

II  trionfo  de'  Goti.  A.  T.  of  the  ballet  Gli  sventurati  amori  di 
Cleide  ed  Almindo. 


1096  LIBRARY   OF   CONGRESS 

II  trionfo  de'  pupilli  oppress!.  Commedia  per  musica  di  Pasquale 
Mililotti  da  rappresentarsi  nel  Nuovo  Teatro  de'  Fiorentini  per 
quart'  opera  di  questo  corrente  anno  1782. 

Napoli,  n.  puhl,  1782.    56  p.     15^"^. 

Three  acts.    Cast  and  name  of  Salvatore  Bispoli  ae  the  composer.     Schatz  8813 

II  trionfo  de'  Spagnoli  o  sia  Jja  disfatta  de'  Marrocchini,  ballet. 
See  Bernardini's  Amore  per  incanto. 

II  trionfo  del  bel  sesso.  Dramma  eiocoso  in  musica  da  rappresen- 
tarsi nel  Teatro  alia  Scala  di  Milano  1  autunno  del  1799. 

Milano,  Gio.  Batista  Bianchi,  n.  d.     76,  [2]  p.     16^*^. 

Two  acts.  By  Luigi  Romanelli,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  Giuseppe  Nicolini  as  composer.  On  p.  [69}-76,  argument,  cast,  and  description  of 
Gaspare  Konzi's  "Ottocaro,  ballo  eroico  pantomimo  in  cinque  atti."  Neither  of  this, 
nor  of  his  "ballo  comico  II  segreto,"  is  the  composer  of  the  music  mentioned. 

First  performed,  as  indicated,  August  20,  1799.  Schatz  7138 

II  trionfo  del  bel  sesso.     A.  T.  of  P.  v.  Winter's  Ogus. 

H  trionfo  del  ben  pubblico.     See  M.  Curzio. 

II  trionfo  del  valore;     A.  T.  of  the  ballet  Amor  pu6  tutto. 

II  trionfo  dell'  amicizia.     A.  T.  of  the  ballet  Lauso  e  Lidia. 

II  trionfo  dell'  amore  &  della  costanza.     Der  triumph  der  Hebe 
und  bestaendigkeit,  wurde  [vignette]  in  einem  sing-spiel  auf  dem 
Hamburgischen  Schau  Platz  fuergestellet  im  monath  Januarius,  1718. 
Hamburg,  Friedrich  Conrad  Grejlinger,  n.  d.     Unpaged.     19"^. 

German  version  by  Johann  Joachim  Hoe,  with  scenario  and  very  long  argument,  in 
which  we  read : 

"...  dieses  von  fuemehmer  hand  herstammende  schau-spiel  [ist]  auf  dem  Schau- 
platz  zu  Wien,  wiewohl  auf  eine  gantz  andere  art,  in  welscher  sprache  fuergestellet 
imd  von  dem  beruehmten  kayserl.  capellmeister  Mons.  Conty  [Francesco  Bartolomeo 
Conti]  in  die  music  gebracht  worden:  Selbige  ist  von  dem  verfasser  der  teutschen 
poesie,  anlangend  die  Arien  ausser  zwey  oder  drey  schertzhafftedurchgehendsbehalten 
worden,  um  den  versuch  zu  thun,  ob  man  nicht  einige  teutsche  dem  italiaenischen 
metro  gleichfoermige  arien,  verfertigen  koenne,  welche  der  schoenheit  der  music, 
dem  von  dem  musico  wohl  beobachteten  nachdrucke  der  woerter  und  der  reinlichkeit 
[!!]  der  teutschen  sprache  nicht  entgegen  stuenden  ..." 

The  libretto  contains  practically  only  German  text,  but  about  half  of  the  arias 
appear  also  in  Italian. 

The  Italian  original,  by  Francesco  Ballerini  (von  Weilen),  was  first  performed  at 
Vienna,  Hofth eater,  January  21,  1711.  Schatz  2199 

II  trionfo  deU'  Amore  fra  i  pastori,  ballet.  See  Sarti's  Giulio 
Sabino. 

II  trionfo  dell'  Arno.  Componimento  drammatico  fatto  rappre- 
sentare  nel  Teatro  del  Pubblico  della  cittk  di  Pisa  da  XII  cavalien  .  .  . 
per  feste^giare  il  primo  f austissimo  arrivo  in  detta  citth,  de  serenissimi 
sposi  Pietro  Leopoldo,  arciduca  d'Austria  .  .  .  e  Maria  Luisa, 
infanta  di  Spagna  ...  in  Pisa  I'anno  MDCCLXVI. 

[Pisa],  Pompeo  PoUoni,  n.  d.     xxvii  p.    25*^. 

Two  acts.  Dedication.  Cav.  Pio  dal  Borgo  is  mentioned  as  author,  Giovanni 
Gualberto  Brunetti  as  composer.  Schatz  1366 

II  trionfo  dell'  innocenza.     A.  T.  of  Gius.  Rossi's  Pietro  il  Grande. 


OPERA   LIBRETTOS  1097 

II  trionfo  della  continenza.  Drama  per  musica  da  rappresentarsi 
nel  famosissimo  Teatro  di  SS.  Gio.  e  raolo  I'anno  1691  di  Giulio 
Cesare  Corradi  ... 

Venetia,  Nicolini,  1691.     60  p.     14"^. 

Three  acts.    Argument,  scenario,  and  name  of  Francesco  Paris  Algisi  as  composer. 

Schatz  gives  the  fall  of  1690  as  time  of  first  performance,  which  would  seem  to  be 
contradicted  by  the  information  in  the  title  and  the  date  of  imprint.        Schatz  161 

II  trionfo  della  costanza.  Dramma  semi-serio  da  rappresentarsi 
in  musica  nel  Teatro  di  S.  A.  Serenissima  il  Signer  rrincipe  di 
Carignano  nella  primavera  dell'  anno  MDCCLXIX. 

Torino,  Onorato  Derossi,  n.  d.     52  p.     l^Y™^- 

Three  acts.  Cast,  scenario,  name  of  the  author,  G.  M.  d'Orengo,  and  of  the  com- 
poser, Carlo  Defranchi  (Franchi).  Schatz  3329 

II  trionfo  della  costanza.  Opera  tragicomica  per  musica,  com- 
posta  ...  da  Domenico  Poggi  per  solennizare  il  giorno  natalizio  di 
S.  A.  Reale  Filippina  Carlotta  ... 

Bronsvic,  n.  pull.,  1790.     76  p.     16"^. 

Two  acts.  Argument,  scenario,  and  name  of  Johann  Gottfried  Schwanberg  as 
the  composer. 

First  performed  at  Brunswick,  Hoftheater,  March  13,  1790.  Schatz  9767 

II  trionfo  della  costanza  in  Statira  vedova  d'Alessandro.  Drama 
per  musica  da  rappresentarsi  nel  Teatro  di  S.  Angelo.  II  camovale 
dell'  anno  1731. 

Venezia,  Carlo  Buonarrigo,  n.  d.     36  p.     14Y^- 

Three  acts.  By  Bartolomeo  Vitturi,  who  is  not  mentioned.  Cast,  name  of  Antonio 
Galeazzi  as  composer,  scenario,  and  argument,  in  which  we  read: 

"Della  Statira  di  Monsieur  Pradon  furono  tratti  i  caratteri,  e  I'argomento  del 

Jreeente  dramma,  ma  poi  diversamente  sceneggiato  per  accomodarlo  all'  uso  dell' 
taliano  Mueicale  Teatro."  Schatz  3418 

II  trionfo  della  fedelta.  Dramma  pastorale  per  musica  di  E.[rme- 
linda]  T.[alea]  P.[astorella]  A.[rcada] 

Dresda,  la  vedova  Stossel  e  Giovanni  Carlo  Krause,  17 5 If..  8  fold, 
pi.  {of  which  the  last  six  numbered  1-6  and  incl.  front.),  port.,  63 p.  22^'^. 

The  plates  were  engraved  by  L.  Zucchi  after  paintings  by  (1-5)  B.  MilUers  and 
(6-8)  J.  Roos.  The  portrait  was  designed  by  Steffano  Torelli  and  engraved  by  L. 
Zucchi.  It  represents  in  profile  "Ermelind.  Tal.  P.  A.,"  indicating  as  in  the  title- 
page  the  Arcadian  name  of  Maria  Antonia  Walpurgis,  princess  of  Saxony,  who  wrote 
both  text  and  music  of  this  opera,  though  neither  was  wholly  her  work.  It  is  known 
from  her  letters  that  she  submitted  her  text  to  Metastasio  for  corrections  and  that 
Hasse,  her  teacher,  composed  part  of  the  music,  though  his  name  appears  neither 
in  the  libretto  nor  in  the  published  score  of  the  opera. 

First  performed  at  Dresden ,  Regio  Elettoral  Teatro,  summer  of  1754 .    Schatz  5949 

II  trionfo  della  innocenza.     Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Angelo,  I'anno  1692.     Di  D.  Rinaldo  CiaJE  .  .  . 
Venetia,  Nicolini,  1692.     68  p.     15"^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader 
with  name  of  Antonio  Lotti  as  composer.  Schatz  5724 

II  trionfo  della  liberta.  Tragedia  per  musica.  Da  rappresentarsi 
nel  famosissimo  Teatro  Grimano  di  S.  Gio.  Grisostomo.     L'anno  1707. 

Venezia,  Marino  Rossetti,  1707.     84  p.     15"^. 

Five  acts.  By  conte  Girolamo  Frigimelica  Roberti,  who  is  not  mentioned  and 
who  filled  24  of  the  84  p.  with  lengthy  notices  to  the  reader,  notizia  istorica,  notizia 
poetica,  L'azione,  II  nodo,  etc.,  etc.  Scenario  and  name  of  Aleseandro  Scarlatti 
as  the  composer,  Schatz  9525 


1098  LIBRARY   OF   CONGRESS 

II  trlonfo  della  pace.  Festa  teatrale  per  musica  da  rappresentarsi 
nel  Regie  Teatro  di  Torino  nella  primavera  del  1782  alia  presenza 
delle  Maestk  Loro. 

Torino,  Onorato  Derossi,  n.  d.     viii,  Jfi  p.     15^^. 

Two  acts.  Areument,  cast,  scenario,  and  names  of  the  composer,  Francesco 
Bianchi,  and  the  librettLst,  Cesare  Oliveri.  On  p.  36-39  description,  argument,  and 
cast  of  "L'inaspettata  consolazione  nelle  sventure,  ballo  eroicomico."  The  second 
ballet  was  called  "Rinaldo  nel  eiardino  incantato  d'Armida."  Both  were  by 
Domenico  Ricciardi  and  composed  by  Vittorio  Amedeo  Canavasso.        Schatz  991 

H  trionfo  della  pace.  Dramma  per  musica  da  rappresentarsi  per 
raprimento  del  nuovo  Regio-Ducal  Teatro  in  Mantova  la  primavera 
defi'  anno  1783  .  .  . 

Mantova,  per  Verede  di  Alberto  Pazzoni,  n.  d.     70  p.     16*^. 

Two  acts.  Dedicatory  poem,  araument,  cast,  scenario,  and  names  of  Cesare  Oliveri 
as  author,  of  Giuseppe  Sarti  as  the  composer  ("La  musica  saril").  On  p.  [49J-70 
prefatory  note,  argument,  cast,  scenario,  and  description  of  Innocenzo  Gambuzzi's 
ballets  (music  by  Antonio  Bonazzi)  "Enea  nelLazio  ed  II  pellegrinaggio  o  sia  La 
vindemmia  fiamminga,  ballo  piacevole — pantomime." 

First  performed,  as  indicated.  May  10,  1783.  Schatz  9478 

II  trionfo  della  paz2da.  A.  T.  of  Bemardini's  II  fonte  d'acqua 
gialla. 

II  trionfo  della  virtu.  Dramma  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  San  Gio.  Grisostomo  I'autunno  dell' 
anno  MDCCXXIV  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     58  p.     W^. 

Three  acts.  As  appears  from  the  notice  to  the  reader,  altered  and  condensed  to 
six  characters  from  eight  by  unknown  author  from  original  text  by  Pietro  dAverara, 
who  is  not  mentioned.  Dedication,  argument,  cast,  scenario,  and  name  of  Giovanni 
Francesco  Brusa.  Schatz  1375 

II  trionfo  della  virtu.     A.  T.  of  von  Schacht's  La  festa  interotta. 

II  trionfo  di  Alessandro  o  sia  La  disfatto  di  Dario,  ballet.  See 
Cimarosa's  Oreste. 

II  trionfo  di  Alessandro  o  sia  La  disfatta  di  Dario,  ballet.  See 
Sarti's  Medonte. 

II  trionfo  di  Allesandro  ossia  La  prigionia  di  Dario,  ballet.  See 
Paisiello's  Elfrida. 

II  trionfo  di  Alessandro  o  sia  La  prigionia  di  Dario,  ballet.  See 
Piticchio's  II  militare  amante. 

II  trionfo  di  Alessandro  o  sia  La  prigionia  di  Dario,  ballet.  See 
Zanetti's  Didone  abbandonata. 

II  trionfo  di  Amore  e  di  Marte,  drama  da  rappresentarsi  nel  nobi- 
lissimo  Theatre  Zane  di  S.  Moise.     L'anne  1689.     Dell'  abbate  Paolo 
Emilio  Badi,  dettere  de  I'una,  e  I'altra  legge  .  .  . 
Venetia,  Zamaria  Rossi,  1689.     5  p.  I.,  Jfi  p.     l^""*. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader 
with  name  of  Antonio  Lombardiiii  as  composer.  Schatz  5679 

II  trionfo  di  Arianna,  ballet.     See  Tarchi's  La  Virginia. 


OPERA   LIBRETTOS  1099 

II  trionfo  di  Bacco.     A.  T.  of  Bernardini's  II  barone  a  forza. 

II  trionfo  di  Camilla,  regina  de'  Volsci.  Dramina  per  musica 
di  Silvio  Stampiglia,  tra  gl'Arcadi  Palemone  Licurio  .  .  . 

NapoU,  Domenico  Antonio  Parrino  e  Michele  Luigi  Mvtio,  1696.- 
2  p.  I,  83  p.     13'"^. 

Three  acts.  Argument.  T.-p.  and  list  of  characters  have  been  supplied  in  ms., 
as  above.  This  was  evidently  done  iinder  the  impression  that  the  copy  is  one  of  the 
Naples  ed.  (1696)  of  Marc  Antonio  Bononcini's  opera,  but  as  Wotquenne's  catalogue 
proves,  this  should  have  6  p.  1.,  70  p.,  not  2  p.  1.,  83  p.!  Consequently,  our  imperfect 
copy  belongs  to  some  other  edition.    It  is  distinctly  different  from  the  next  entry. 

SCHATZ  1206 

—  Camilla,  regina  de'  Volsci.  Drama  da  rappresentarsi  in 
musica  nel  famoso  Teatro  Vendramino  Fanno  1698  .  .  . 

Venetia,  Girolamo  ATbrizzi,  1698.     59  p.     IJ^h'^- 

Three  acts.  Publisher's  dedication,  dated  Venice,  October  4, 1698,  scenario,  argu- 
ment, and  prefetory  note,  in  which  it  is  stated: 

"E  convenuto  ridurlo  con  molta  fatica  k  quella  brevity,  ch'e  indispensabilmente 
necessaria  al  costume  delle  noetre  scene." 

Accordingly,  the  first  act  has  17  scenes,  the  second  15,  the  third  12,  as  against  15, 18, 
15  in  our  imperfect  copy.  Also,  the  text  differs  noticeably  in  scenes  otherwise  the 
same.  For  instance,  imperf.  copy  has,  in  Scene  I,  act  I,  Camilla,  "Ma  piii  di  voi  son' 
io  misera  figlia;"  Venice  (1698)  has,  "O  d'infelice  r^  misera  figlia."  In  the  latter  the 
opera  ends  with  a  quartet,  "Amore  nel  mio  core;"  the  imperf.  copy  with  a  chorus,  "A 
tan  to  giubilo."  The  opera  became  known  under  many  titles  besides  the  two  here 
given:  "Regina  de'  Volsci,"  "La  fede  in  cimento  o  sia,  Camilla,  regina  de'  Volsci," 
Amore  per  amore,"  "La  rinovata  Camilla."  Schatz  1208 

—  II  trionfo  di  Camilla  regina  de'  Volsci,  drama  per  musica  di 
Silvio  Stampiglia  tra  gl'  Arcadi  Palemone  Licurio.  Da  rappresen- 
tarsi nel  Teatro  da  S.  Sebastiano  I'anno  1701  .  .  . 

Livomo,  Jacopo  Valid,  1701.     72  p.     IS*^. 

Three  acts.  Dedication,  argument,  scenario.  The  composer,  probably  Marc' 
Antonio  Bononcini,  is  not  mentioned.  ML  50.2.T82B9 

—  Camilla.  An  opera.  As  it  is  performed  at  the  Theatre  Royal  in 
Driny-Lane,  by  Her  Majesty's  servants. 

London,  Jacob  Tonson,  1706.     3  p.  I.,  38,  [2]  p.    21^'^. 

On  last  (imnumb.)  page,  publisher's  book  list. 

Three  acts,  prologue,  and  epilc^ue.  Cast  and  dedication  by  "Owen  Swiny,"  which 
reads,  in  part: 

"The  mighty  encouragement  musick  has  lately  met  with  in  England,  is  not  only 
an  effect  of  the  true  taste  our  nobility  and  gentry  entertain  of  that  nice  science,  but 
an  instance  that  we  have  some  among  us,  who  may  be  able  in  time  to  bring  it  into  a 
eetled  reputation.  Hitherto  it  seem'd  confin'd  to  the  more  Southern  climates,  as  if 
it  had  been  the  peculiar  product  of  those  happier  countries;  and  languish'd,  like 
tender  exoticks,  when  remov'd  into  our  colder  region.  But  some  late  attempts  have 
made  it  appear,  that  the  English  genius  is  not  so  inharmonious,  but  that  a  publick 
encouragement  may  render  us  capable  of  contending  for  the  mastery  with  the  Italians 
themselves. 

"This  consideration  made  me  ambitious  of  addressing  the  following  essay  to  Your 
Ladyship  [Lady  WhartonJ,  which  is  design'd  to  introduce  a  foreign  composition,  that 
may  serve  at  present  to  give  us  a  taste  of  the  Italian  musick,  and  in  time  prove- a  foil 
to  the  English  ..." 

Owen  MacSwiney  mentions  neither  Stampiglia.  whose  "II  trionfo  di  Camilla"  he 
simply  translated,  nor  M.  A.  Bononcizd.  Nor  does  he  mention  Niccolo  Francesco 
Havm.    If  Grove's  Dictionary  says: 

^Camilla  (adapted  from  Buononcini,  to  a  libretto  by  Owen  Mac  Swiney)  was 
Haym's  first  opera,  produced  at  Drury  Lane,  April  30,  1706." 

this  information  is  partly  misleading,  partly  mcorrect,  since  a  comparison  between 
the  score  of  "The  songs  ...  in  Camilla"  (London,  Walsh)  and  tne  ms.  score  oi 
Bononcini's  opera  proves  that  the  latter  was  performed  at  London  practically  intact, 
without  additions  by  Haym  or  any  other  composer.  Longe  132 


1100  LIBBARY   OP   CONGRESS 

II  trionfo  di  Cesar©  in  Egitto,  ballet.    See  Monza's  Cleopatra. 

II  trionfo  di  Clelia.     Dramma  scritto  .  .  .  dall'  autore  in  Vienna, 
e  rappresentato  nella  Cesarea  Corte  la  prima  volta,  con  musica  dell 
*Hasse  ...  in  occasione  del  felicissimo  parto  di  S.  A.   R.  I'arci- 
duchessa  Isabella  di  Borbone  I'anno  1762. 

fl.,  [3]-9j!i.  p.  26"^,  (Metastasio,  Opere,  t.  ix,  Parigi,  vedova  Heris- 
sant,  1781.) 

Three  acta.    Argument.  ML  49.A2M44 

II  trionfo  di  Clelia.  Dramma  del  celebre  Signor  abate  Pietro 
Metastasio  ...  da  rappresentarsi  per  musica  in  Bologna  nell 
primavera  dell'  anno  1763  in  occasione  della  prima  apertura  del  Nuovo 
rubblico  Peatro  inventato  dal  celebre  Sig.  Cavaliere  Antonio  Galli 
Bibiena  .  .  . 

Bologna,  Giam  Battista  Sassi,  n.  d.     79,  [1]  p.     211*^ .  ' 
Three  acts.    Argument,  cast,  scenario,  and  name  of  Cristoforo  Gluk  (Gluck)  as  the 
composer.    With  the  opera  were  performed  (composers  of  the  music  not  mentioned) 
Augusto  Hus's  ballets.     "II  riposo  interotto"  and  "Le  fontane  incantate"  briefly- 
described  in  the  libretto. 

First  performed,  as  indicated,  May  14,  1763.  ML  48.M2E 

II  trionfo  di  Clelia.     Dramma  per  musica  da  rappresentarsi  in 
occasione  del  felicissimo  parto  di  S.  A.  R.  I'arciduchessa  Isabella  .  .  . 
In  Vienna  I'anno  MDCCLXII. 
n.  %.,  n.  d.     Unpaged.     21^""^. 

At  end:  "Vienna,  nella  Stamperia  di  Ghelen  1762."  Frontispiece,"  ornamental 
title  page,  head  and  tail  pieces,  etc.,  designed  by  different  artists,  engraved  by  A. 
Tischler. 

Three  acts.  Argument,  ca*jt,  scenario,  and  names  of  Metastasio  as  author,  of  Joh. 
Ad.  Hasse  as  composer. 

First  performed  at  Vienna,  Buigtheater,  April  27,  1762.  Schatz  4566 

—  Die  triumphirende  Claelia,  ein  theatralisch-musicalisches  schau- 
spiel,  so  bey  der  gluecklich  erfolgten  entbindung  Ihrer  Koenigl. 
Hoheit  .  .  .  Isabella  ...  in  Wien  aufgefuehret  worden  im  janr 
1762.  Verfasset  von  herrn  abbate  Metastasio  .  .  .  und  in  das 
teiitsche  uebersetzt  von  J.  A.  E.  v.  G. 

[TTien],  Gedruckt  mit  von  GTieliscTien  schriften,  n.  d.  Unpaged. 
151^"^. 

Three  acts.  Translated  by  Johann  Anton,  edler  von  Ghelen.  Ailment,  cast, 
scenario,  and  name  of  Hasse  as  the  composer.  Schatz  4567 

D  trionfo  di  Clelia.  Dramma  per  musica  da  rappresentarsi  nel 
Real  Teatro  dell'  Ajuda  nel  felicissiino  giorno  natalizio  del  fedelissimo 
monarca  D.  Giuseppe  I  .  .  .  nel  di  6.  giugno,  1774. 

[Lishona],  Stamperia  reale,  n.  d.     70  p.     1^'^'^. 

Three  acts.  Argument,  cast,  scenario,  and  names  of  Metastasio  as  author,  of  Nic- 
col6  JoxameUi  as  composer  ("nuova  composizione,"  consequently  Abert's  1772  on 
p.  93  of  his  Jommelli  biography  would  appear  to  be  incorrect).  The  date  in  the 
score  at  Naples,  San  Carlo  1757,  if  correct,  would  mean  that  the  Lissabon  score  was  a 
Second  setting.  Schatz  4883 


OPERA   LIBEETTOS  1101 

II  trionfo  di  Clelia.  Dramma  per  musica  da  rappresentarsi  nel 
nuovo  Teatro  di  Corte  .  .  .  nel  carnevale  delF  anno  MDCCLXXVI. 
La  poesia  ^  dell  Sig.  abbate  Pietro  Metastasio  .  .  .  La  musica  d  del 
Sig.  Giuseppe  Michl  .  .  . 

MoTiaco,  Francesco  Giiiseppe  ThuiUe,  n.  d.  8  p.  I.,  1/^5,  [42]  p. 
15^. 

Three  acts.  Argument,  scenario,  and  cast.  German  title  page,  "Der  sieg  der 
Clelia,"  and  text  face  Italian.  The  unpaged  part  contains  in  French  and  Italian 
cast  and  description  of  Trancart's  ballets  "Telemaque  dans  I'isle  de  Calypso"  ("Tele- 
mach  in  der  insel  der  Calipso")  and  "Venus  et  Adonis"  ("Venus  und  Adonis"). 
The  composers  of  the  music  are  not  mentioned.  Schatz  6489 

II  trionfo  di  Clelia.  Dranuna  per  musica  da  rappresentarsi  nel 
Kegio  Teatro  di  Torino  nel  carnovale  del  1768  .  .  . 

Torino,  Onorato  Derossi,  n.  d.     viii,  61,  [1]  p.     16'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Joseph  Misliweczek  as  the  composer.  On  p.  59-61  description  of  the 
ballets  that  were  performed  with  the  opera.  Only  the  first  "Egle  e  Dafni"  had  a 
special  title.  It  was  invented  by  Antonio  Pitrot  and  Giuseppe  Antonio  Le  Messier 
composed  the  music. 

First  performed,  as  indicated,  December  26, 1767.  Schatz  6531 

II  trionfo  di  Clelia.  Nuovo  dramma  del  celebre  Antonio  Simone 
Sografi  da  rappresentarsi  in  musica  nel  Teatro  grande  alia  Scala  di 
Milano  il  carnevale  del  1799.     Correndo  I'anno  VII.  Repubblicano. 

Milano,  Gio.  Batista  Bianchi,  n.  d.     53,  [3]  p.     W^. 

Two  acts..  Impresario's  and  author's  prefatory  notes,  cast,  scenario,  and  name 
of  Sebastiano  Nasolird  as  the  composer  ("La  musica  h  tutta  nuova"). 

On  p.  [27J-36  argument,  cast,  and  description  of  Urbano  Garzia's  ' '  II  Bruto  Milanese 
ossia  La  congiura  contro  Galeazzo  Maria  Sforza  Visconti,  ballo  tragico-pantomimo," 
on  p .  [55J-56  of  his  ballet  * '  L'oracolo. ' '    The  composers  of  the  music  are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1798.  Schatz  7028 

Second  copy.     ML  48.A5    v.l 

II  trionfo  di  Clelia,  dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1787  .  .  . 

Torino,     Onorato  Derossi,  n.  d.     viii,  72  p.     15^'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  cast,  scenario,  and 
name  of  Angelo  Taxchi  as  the  composer.  On.  p.  65-72  cast  and  description  of  Sebas- 
tiano Gallet's  four-act  "II  signore  benefico,  ballo  pantomimo,'  music  by  Vittorio 
Amedeo  Canavasso. 

First  performed,  as  indicated,  December  26, 1786.  Schatz  10222 

II  trionfo  di  Flavio  Olibrio.  Drama  per  musica  da  rappresentarsi 
nel  f  amosissimo  Teatro  Grimani  a  S.  Gio.  Grisostomo.  Nell'  autunno 
1726  .  .  . 

Venezia,  Marino  Rossetti,  1726.     58  p.     15'^. 

Three  acts.  Later  version  of  ' ' Flavio  Anicio  Olibrio  "  by  Apostolo  Zeno  and  Pietro 
Pariati,  who  are  not  mentioned.  Impresario's  dedication  dated  Venice,  November 
23,  1726,  argument,  cast  scenario,  and  name  of  Giovanni  Porta  as  the  composer. 

Schatz  8382 

II  trionfo  di  Gedeone.  Dramma  sacro  per  musica  da  rappresen- 
tarsi nel  Regio  Teatro  di  via  della  Pergola  la  quadragesima  del 
1798  .  .  . 

Firenze,  Siamperia  Albizziniana  .  .  .  per  Pietro  Fantosini,  1798. 
40  p.     16^'=^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Argument,  cast,  and 
name  of  Giuseppe  Moneta  as  composer.    ("La  musica  b  tutta  nuova.") 

ScHAfz  6553 


1102  LIBRARY   OF   CONGRESS 

II  trionfo  di  Giuditta  o  sia  La  morte  d'Olofeme.     See  the  A.  T. 

II  trionfo  di  Gustavo  re  di  Svezia,  ballet.  See  Paer's  II  nuovo 
Figaro. 

II  trionfo  di  Magg^o,  vincitor  della  paste.     Favola  musicale. 

Qirolamo  Bartolommei  Smeducd,  Drammi  musicali  morali,  Firenze, 
1656,  V.  i,  p.  [1S1]-181.     23"^. 

Prologue  and  three  acts.  Argument,  allegoria,  and  dedication  to  Ferdinando  II., 
Gran  duca  di  Toscana,  in  which  he  says: 

"...  m'awisai,  che  potesse  per  avventura  non  dispiacere,  se  con  poetico  etile  lo 
n'offerissi  dipinto  rabbominoso  moetro  della  peste;  il  quale  n'afflisse  la  bell'  Italia, 
non  perdonando  alia  Toscana.  Quindi  composi  la  presente  favoletta  musicale  del 
Trionfo  di  Maggio;  giil  che  cesso in  untal  tempo I'infettante con tagio."    ML49.A2B3 

II  trionfo  di  Pallade  in  Arcadia.  Drama  pastorale  da  rappresen- 
tarsi  in  musica  nel  camovale  deU'  anno  1716  nel  Teatro  Marsiglj 
Rossi  .  .  . 

Bologna,  Costantino  Pisarri,  1715.     50,  [1]  p.     15*^. 

Three  acts.  By  conte  Otto  Mandelli.  Dedication  dated  December  26,  1715, 
argument,  cast,  scenario,  and  name  of  Floriano  Aresti,  composer,  but  not  of  librettist. 

SCHATZ  312 

II  trionfo  di  Rodrigo,  ballet.     See  Sarti's  Giulio  Sabine. 

II  trionfo  di  Scipione  in  Cartagine.  Dranuna  per  musica  da  rap- 
presentarsi  nel  Regio  Teatro  di  via  della  Pergola  il  camevale  del 
MDCCXCV  .  .  . 

Firenze,  Pietro  Fantosini,  1795.     36  p. 

Three  acts.  Argument  and  cast.  "La  poesia  e  tutta  nuova  del  Sig.  C.  M.  La 
musica  6  espressamente  tutta  nuova  del  celebre  .  .  .  Giuseppe  Curcio  ..." 

ScHATZ  2307 

II  trionfo  improwiso,  ballet.     See  Pugnani's  Demetrio  a  Rodi. 

A  trip  to  Bath.     A.  T.  of  The  snuff-box. 

A  trip  to  Jamaica.     A.  T.  of  The  sailor's  opera. 

A  trip  to  Portsmouth.     A.  T.  of  S.  Arnold's  Britain's  glory. 

The  trip  to  Portsmouth;   a  comic  sketch  of  one  act,  with  songs. 

London,  T.  WaUer,  T.  Becket  [etc.],  n.  d.     51  p.     19"^. 

Cast,  prologue,  and  Advertisement,  in  which  the  author,  George  Alexander  Ste- 
phens (not  mentioned),  says  that  "these  detached  scenes,"  "begun  and  finished  in 
five  days, ' '  were  inspired  "  by  the  late  naval  review  at  Portsmouth . "  The  composer, 
Charles  Dibdin,  is  not  mentioned. 

First  performed  at  London,  Haymarket  Theatre,  August  11,  1773.        Longe  40 

A  trip  to  the  Nore.     A  musical  entertainment  in  one  act.     As  per- 
formed by  Their  Majesty's  servants  at  the  Theatre-Royal,  Drury- 
Lane.     By  Andrew  Franklin  .  .  . 
London,  George  Cawthom,  1797.     22  p.     21^^"^. 

Cast  and  prefatory  note,  according  to  which  the  text  was  written  in  less  than  a  day, 
"to  pay  a  just  tribute  of  respect  and  applause  to  those  gallant  heroes  who  distinguished 
themselves  in  the  late  glorious  action  against  the  Dutch."  The  text  of  the  song, 
"Why,  Jack,  my  fine  fellow,"  is  credited,  as  also  the  text  of  the  song  "O'er  the  rude 
rocks,"  to  John  Grubb.  The  final  medley  is  one  of  four  British  national  airs.  The 
composer  and  arranger  is  not  mentioned,  and  is  xmknown  to  Schatz,  but  Dibdin  con- 
tributed "Why,  Jack,  my  fine  fellow." 

First  performed  November  9, 1797.  Longe  244 


OPERA   LIBRETTOS  1103 

The  triple  wedding.     A.  T.  of  A  pill  for  the  doctor. 

Gesaenge  aus  dem  singspiele  Der  triumpf  der  liebe,  in  vier  auf- 
zuegen,  von  Jester.     In  niusik  gesetzt  von  C.  D.  Stegmann. 
Hamburg,  Freystatzky  und  Robe,  1796.     72  p.     15^'''^, 
First  perfonned  at  Hamburg,  Theater  beim  Gansemarkt,  April  4,  1796. 

SCHATZ  10044 

n  triumfo  del  fate  oder  Das  maechtige  geschick  bei  Lavinia  und 
Dido.  Wie  solches  am  15.  [25.]  novembris  als  den  glorwuerdigsten 
nahmens-tag  des  .  .  .  Keisers  Leopolds  in  aller-unterthaenigstem 
gehorsam  auf  dem  Hamburgischen  Schauplatz  in  einem  singe-spiel 
auffgefuehret  worden  im  jahr  1699. 
n.  i.,  n.  d.     Unpaged.     16'^^. 

Badly  cut  copy. 

Three  acts.  Neither  the  translator,  Gottlieb  Fiedler,  nor  the  composer,  Agostino 
Stef^ahl,  nor  the  original  author,  Ortensio  Mauro,  is  mentioned.  The  original 
Italian  title  was  "I  trionfi  del  fato,"  to  which,  in  the  same  year,  was  added  the  A.  T. 
"Legloried'Enea." 

First  performed,  as  "I  trionfi  del  fato."  at  Hanover,  December,  1695. 

SCHATZ  10037 

Der  triumph,  der  Ariadne.     Tr.  of  Righini's  II  trionfo  d'Arianna. 

Triumph  der  grossmuth  und  treue  oder  Cleofida,  koenigin  von 
Indien.     Tr.  of  Handel's  Poro  r^  d'ltalia. 

Der  triumph  der  liebe  und  bestaendigkeit.     Tr.  of  Conti's  II 
trionfo  delF  amore  &  della  costanza. 

Der  triumph  der  treue.     A.   T.   of  P.   Guglielmi's  Robert  und 
Kalliste. 

Der  triumph  der  tugend.     A.  T.   of  von  Schacht's  Das  unter- 
brochene  fest. 

Der  triumph  des  Amors.     A.  T.  of  JommeUi's  Endyniione,  1759. 

Der  triumph  des  Amors.     Tr.  of  JommeUi's  II  trionfo  d'amore, 
1763. 

Der  triumph  des  sch.oenen  geschlechts.     Tr.  A.  T.  of  P.   v. 
Winter's  Ogus. 

The  triumph  of  beauty.     A.  T.  of  The  judgment  of  Paris,  ballad 
opera. 

The  triumph  of  conjugal  love.     A.  T.  of  Noverre's  ballet  Alceste. 

Airs,  chorusses,   etc  in  the  Triumph  of  mirth;   or,  Harlequin's 
weddmg. 

London,  n.  puhl.,  1782.     15  p.     20^"^. 

Neither  author  nor  composer,  Thomas  Linley,  the  elder,  mentioned. 

First  performed  at  London,  Drury-Lane,  1782.  ML  52.2.T81 


1104  LIBBARY  OF   CONGBESS 

The  triumph  of  nature.  A.  T.  of  Markoe's  libretto  The  reconcilia- 
tion. 

The  triumph  of  peace.  A  masque,  presented  by  the  Foure  Honour- 
able Houses,  or  Innes  of  court  .  .  .  [mutilated]  the  King  and  Queenes 
Ma  .  .  .  [mutilated]  the  Banquetting-house  at  White  Hall,  [muti- 
lated] February  the  third,  1633.  Invented  and  written  by  James 
Shirley  .  .  . 

London,  Printed  by  John  Norton,  for  WiUiam  CooJce,  1633.  1  p.  I., 
8,  2Jf.  p.     17"^. 

Text  contains  9  songs  and  detailed  description.    On  the  last  page  the  note: 

"The  scene  and  ornament,  was  the  act  of  Inigo  Jones  .  .  .  Tne  comp>o8ition  of 
the  musicke,  was  perform'd  by  Mr.  William  Lawes,  and  Mr.  Simon  Ives,  whose  art 
gave  an  harmonious  soule  to  the  otherwise  languishing  numbers." 

Grove  adds  Henry  Lawes  as  composer.  Longe  188 

The  triumph  of  peace.     A  masque.     Perform'd   at  the  Theatre 
Royal  in  Drury-Lane.     On  occasion  of  the  general  peace,  concluded 
at  Aix   la  Chapelle,  October  7th,   1748.     Written  by  R.   Dodsley. 
Set  to  musick  by  Mr.  Ame. 
London,  R.  Dodsley,  1749.     15  p.    20^. 

One  act. 

First  performed,  as  indicated,  February  21,  1749.  AC901.M5  v.519 

Die  triumphirende  Claelia.     Tr.  of  Hasse's  II  trionfo  di  CleUa. 

Den  troe  bruud.     Tr.  of  P.  Guglielmi's  La  sposa  fedele. 

Die  Trofonius  hoehle.     Tr.  of  Paisiello's  La  grotta  di  Trofonio. 

Trofons  zauberhoele.     Tr.  of  SaUeri's  La  grotta  di  Trofonio. 

Les  trois  comeres.     Piece  en  trois  actes.     Par  M"^  Le  S    *     *.    & 
d'Or    *     *.     Representee  k  la  Foire  S.  Germain  1723. 
Le  Theatre  de  U  foire,  Paris,  1737,  t.  ix,  [423]-568  p.     17^^. 

By  Le  Sage  and  D'Omeval.  Lai^ely  en  vavdevilles.  The  airs,  selected  or  com- 
posed and  arranged  by  Jean  Claude  Gillier,  are  printed  at  the  end  of  the  volume  in 
the  "Table  des  airs."  ML  48.L2IX 

Les  trois  fermiers,  com^die  en  deux  actes,  en  prose,  et  m^l^e 
d'ariettes,  representee  pour  la  premiere  fois,  par  les  Com^diens  ita- 
liens  ordinaires  du  roi,  le  12  mai  1777.     Par  M.  Monvel. 

Paris,  Vente,  1777.    2  p.  I.,  87,  [1]  p.    21*^. 

Cast.  Dezdde,  the  composer,  is  not  mentioned.  On  p.  [1-4]  a  prefatory  note  in 
which  Monvel  refers  to  an  anecdote  in  "Les  Eph^m brides  du  Citoyen,  tome  2,  ann^e 
1769  "  as  source  of  his  plav  in  answer  to  imputations  of  his  critics 

Correct  date  of  first  performance,  according  to  Schatz,  May  24, 1777. 

ML  50.2.T83D2 

^  —  Les  trois  fermiers,  comedie  en  deux  actes  et  en  prose,  m^l^e 
d'ariettes;  representee  pour  la  premiere  fois  par  les  Comediens  ita- 
liens   ordinaires  du  roi,   le    16   mai    1777.     Par  Monsieur  Monvel. 
Nouvelle  edition. 
Paris,  N.  B.  Duchesne,  1781.     40  p.     20'^'^. 
Dezdde,  the  composer,  is  not  mentioned.  ML  50.2.T83D3 


OPEKA  LIBEETTOS  1105 

Les  trois  comeres — Continued. 

—  Les  trois  fermiers,-  conaedie  en  deux  actes,  en  prose,  et  m^lee 
d'ariettes;  representee  pour  la  premiere  fois  par  les  Com6diens 
italiens  ordinaires  du  roi,  le  16  mai  1777.     Par  M.  Monvel. 

Paris,  Vente,  1782.     64  p.     W^"^. 

With  cast  and  author's  preface,  in  which  he  narrates  the  anecdote  on  which  his 
plot  is  founded.  DezSde,  the  composer,  is  not  mentioned.  On  p.  57-64  "Airs  des 
Trois  fermiers.  No.l.  Romance.  Faut  attendre  avec  patience  .  .  .  No.  2.  Chanson. 
Je  le  compare  avec  Louis  .  .  .  No.  3.  Romance  en  rondeau.  Dre's  I'instant  que  je 
vis  .  .  .     No.  4.   Vattdeville.     Sans  un  petit  brin  d 'amour."  Schatz2523 

—  Die  drey  paechter.  Ein  singspiel  in  zwey  aufzuegen.  Aus  dem 
franzoesischen  des  hrn.  Monvel.  Uebersetzt  von  Eerm  Wilhelm 
Gottlieb  Becker.  Aufgefuehrt  im  k.  k.  Hoftheater  naechst  dem 
Kaerntnerthor. 

Wien,  heym  logenmeister,  1785.     72  p.     16*^. 

First  performed,  as  indicated,  October  28,  1785;  at  Francfort  o/M,  Theater  im 
Junghof,  April  21,  1779.  Schatz  2524 

Trois  nouveUes  entrees.     See  Fragments  de  Mr.  de  Lully. 

Les  trois  souhaits.     A.  T.  of  Philidor's  Le  bucheron. 

Les  trois  sultanes.     A.  T.  of  Gilbert's  Soliman  Second. 

Troja  distnitta.  Dramxna  per  musica  da  rappresentarsi  nel  Nuovo 
Regio  Ducal  Teatro  di  Milano  per  il  second©  spettacolo  nel  suo  prime 
aprimento  nel  corrente  autunno  dell'  anno  1778  .  .  . 

Milano,  Gio.  Batista  Bianchi,  n.  d.     55,  {1\  p.     16^"^. 

Three  acts.  By  Mattia  Verazj,  who  is  not  mentioned.  His  remarks  addressed 
"Al  rispettabilissimo  pubblico  di  Milano"  are  very  instructive  reading  and  show,  if 
nothing  else,  how  authors  dreaded  the  caprices  and  "inveterate"  traditions  of  the 
Milanese  public.  Dedication,  argument,  cast,  and  name  of  Michele  Mortellari  as 
the  composer  ("La  musica  h  nuova  composizione").  With  the  opera  were  performed 
the  anonymous  ballets  "Calipso  abbandonata"  and  "La  gelosia.'' 

First  performed,  as  indicated,  September  1,  1778.  Schatz  6687 

n   Trojano  schemito  in   Cartagine  nascente  e   moribonda. 

Dramma  per  musica,  nel  Teatro  a  San  Samuele. 

Venezia,  Antonio  Mora,  1743.     2  p.  I.,  7-45  p.     15\'^'^. 

Three  acts.  Note  on  2d  p.  1.:  "Le  parole  sono  d'autore  incognito.  La  musica  h 
di  quattro  virtuosi  maestri."  Wiel  mentions  Giuseppe  Imer  as  author  of  this  parody 
of  Metastaaio's  "La  Didone  abbandonata."  ML  48.A5    v.  10 

Le  trompeur  trompe,  ou  La  rencontre  impr^vue.  Opera  comique 
en  im  acte,  par  M.  Vade.  Repr^sente  pour  la  premiere  fois  sur  le 
Theatre  de  la  Foire  S.  Germain,  le  18  f^vrier  1754  .  .  . 

Paris,  Duchesne,  1754.     61,  [3]  p.     18^"^. 

On  the  [3]  p.  a  list  of  plays  published  since  1747.  En  vaudevilles.  The  arranger 
of  the  music  unknown  to  me.  On  p.  56-61  the  same  airs  as  below.  Not  to  be  con- 
fused with  Blaise's  opera  of  the  same  title  (1767),  in  which  Vad^'s  text  had  been 
retouched  by  Framery.  ML  50.2.T835 

— ^Le  trompeur  tromp^,  ou  La  rencontre  imprevue.  Opera-comique 
en  un  acte,  par  M.  Vad6.  Repr^sentes  pour  la  premiere  fois  sur  le 
Theatre  de  la  Foire  S.  Germain  le  18  fevrier  1755. 

La  Haye,  Pierre  Gosse,  1759.  67  p.  16"^.  (Vade,  Oeuvres,  La 
Haye,  1760,  t.  ii.) 

One  act,  en  vaudevilles.  On  p.  61-67  the  three  aira  notis:  "De  tous  les  coexirs," 
"De  m^me  qu'une  ^tincelle,"  "Quand  on  se  rend."  ML  49.A2V2 

72251°— VOL  1—14 70 


1106  LIBRARY   OF   CONGRESS 

Les  trompeurs  trompes,  divertissement  en  un  acte,  k  I'occasion  de 
la  f^te  de  Madame  de  la  Garde,  pom*  la  veille  de  Sainte-Anne,  sa 
patrone:  repr6sent6  le  27  juillet  1772,  au  Chateau  de  la  Com--Neuve. 

n.  pi,  Aux  VeHus,  1772.     102  p.     20^"^. 

Cast.  On  p.  69-95  "Bouquet  pour  Annette,"  the  romanza  "Des  bouquets  le  plus 
simple"  (aire  only),  "Chanter  pour  I'aimable  Annette"  (with  acc.)i  "Aupr^  d  An- 
nette, rassemb Ions-nous  "  (air  only),  "  Je  r6ve  en  vain  "  (with  ace.) 

Not  recorded  by  CI.  &  L.,  Schatz  or  Towere.  Schatz  11517 

Tropotipo.  Intermezzi  ;per  musica  di  Ortanio,  Past.  Arc.  Da  rap- 
presentarsi  nel  Teatro  Gnmani  di  S.  Samuele.  Nell'  autimno  dell' 
anno  presente  1726. 

Venezia,  Marino  Rossetti,  1726.    21  p.     i^'^. 

Three  parts.  By  Domenico  Lalli.  Cast  and  name  of  Giovanni  Battieta  Pescetti 
as  the  composer.  Schatz  7963 

Les  troqueurs,  en  un  acte.  Par  M.  Vad6.  Repr6sent6s  pour  la 
premiere  fois  sm*  le  Theatre  de  la  Foire  S.  Laurent  le  30  juillet  1753. 
Suivi  du  Rien ;  parodie  des  parodies  de  Titon  et  L'Aurore. 

La  Haye,  Pierre  Gosse,  1759.  24  p.  16^^.  (Vade,  Oeuvres,  La 
Eaye,  1760,  t.  ii.)  » 

One  act.  The  parody  and  the  "Airs  choisis  des  Troqueurs,"  which  should  follow 
according  to  the  table  of  contents,  are  wanting.  The  composer,  Antoine  Dau- 
vergne,  is  not  mentioned. 

The  Ms.  de  Munich,  published  by  Prod'homme  (Sammelbande  d.  I.  M.  G.  July- 
September,  1905),  gives  the  date  of  first  performance  aa  July  29, 1753.    ML  49.A2V2 

—  Les  troqueurs,  op6ra  bouffon,  interm^de.  Par  Mr.  Dauvergne. 
1761. 

n.  i.,  n.d.     17  p.     21*^. 

One  act.    By  Jean  Joseph  Vad6,  who  is  not  mentioned.  ML  50.2.T84D3 

Les  troubadours.     See  Floquet's  L'union  de  I'amour  et  des  arts. 

Les  Troyennes  en  Champagne,  opera-comique  en  un  acte.  Par 
M.  Vad6  represente  pour  la  premiere  fois  sur  le  Theatre  de  FOpera- 
comique  du  Fauxbourg  St.  Germain,  le  1  f^vrier  1755. 

La  Haye,  Pierre  Gosse,  junior,  1759.  {Vade,  Oeuvres,  La  Haye, 
1759,  t.  Hi.)     52  p.     16'='^. 

En  vaudevilles.  Cast.  On  p.  49,  the  air  note  of  the  rondo  "Ne  lisons  jamais  dans 
I'avenir."    This  was  a  parody  of  CMteaubrun's  tragedy,  "Les  Troyennes  "  (1754). 

Not  recorded  by  CI.  &  L.,  though  entered  (without  name  of  composer)  in  "Anec- 
dotes dramatique  "  by  Clement  and  De  Laporte.  ML  49.A2V2 

True-blue.     L.  T.  of  Carey's  Nancy. 

Das  tugendhaflFte  lieben.     See  Graupner's  Berenice  e  Lucilla. 

•  Tullia  Superba.     Drama  per  musica  da  rappresentarsi  nel  novo 
Teatro  di  S.  Angelo.     L'anno  1678  .  .  . 

Venetia,  Francesco  Nicolini,  1678.     64  p.     13^"^ 

Three  acts.  Dedication  dated  Venice,  January  29,  1678,  and  signed  by  the  sup- 
posed author,  Antonio  Medolago.  Notice  to  the  reader,  calling  this  libretto  "le 
primizie  del  mio  povero  in^egno,"  and  mentioning  Domenico  Frescbi  as  the  com- 
poser, argument,  and  scenario.  Schatz  3356 


OPERA   LIBRETTOS  1107 

Tullo  Ostilio.  Drama  per  musica  del  Sig.  Adriano  Morselli  da 
rappresentarsi  nel  famoso  Teatro  di  Tor  di  Nona  ,  .  . 

Roma,  Buagni,  1694.     '^^  V-     ^^''"'• 

Three  acts.  Impresario's  dedication,  cast,  scenario,  and  prefatory  note,  in  which 
it  is  stated: 

"Comparisce  per  la  seconda  opera  su  queste  scene,  il  Tullo  Ostilio,  bensi  in  gran 
parte  mutata  per  quello  che  risguarda  all  arie  da  Palemone  Licurio  [= Silvio  Stam- 

Siglia]  havendovi  levate,  &  aggiunte  alcune  scene  con  qualche  poca  variazione  in 
iversi  passi  de'  recitativi  ...    La  musica  in  pochi  giomi  I'ha  partorita  il  fertile 
ingegno  del  Signer  Gio.  Bononcini." 

Consequently  the  opening  remark  in  the  dedication  that  "il  Tullo  Ostilio,  che  sin 
ora  con  eommo  applauso  ha  passeggiato  i  piu  famosi  teatri  d'ltalia  vienea  far  mostra  di 
si  in  questo  di  Roma,"  appears  to  apply  to  the  libretto,  with  music  by  some  other 
composer,  possibly  by  Marc  Antonio  Ziani,  first  performed  at  Venice  in  1685.  Bonon- 
cini^ setting  was  first  performed,  as  indicated,  during  carnival,  1694.      Schatz  1201 

TuUo  Ostilio.  Dramjna  in  musica  da  rappresentarsi  nel  nobile 
Teatro  di  Torre  Argentina  il  camevale  dell'  anno  1784  ,  .  . 

Roma,  Cannetti,  1784.     40  p.     17"^. 

Three  acts.  Francesco  Ballani  is  mentioned  as  the  author,  Giuseppe  G-azzaniga 
as  the  composer.  Argument,  scenario,  and  cast.  With  the  opera  were  performed 
Onorato  Vigan6's  "ballo  eroico  tragico  pantomimo  Andromaca  in  Epiro"  and  "ballo 
semitragico  pantomimo  II  convitato  di  pietra,"  music  for  both  by  Luigi  Marescalchi. 

Schatz  3685 

Tullo  Ostilio.     O.  T.  of  Pescetti's  I  tre  difensori  della  patria, 

Tullo  Ostilio.  Drama  per  musica  da  rappresentarsi  nel  ristau- 
rato  famoso  Teatro  Vendramino  di  S.  Salvatore.  L'anno 
MDCLXXXV  .  .  . 

Venetia,  Francesco  Nicolini,  1685.     64  P-     14'^'^- 

Three  acts.     By  Adriano  Morselli .    Neither  he  is  not  mentioned,  nor  the  composer. 
Marc'  Antonio  Ziani.     Publisher's  dedication,  argument,  and  scenario. 
,    First  performed,  as  indicated,  carnival,  1685.  Schatz  11195 

Le  turc  genereux.     Entree  in  Rameau's  Les  Indes  galantes. 

La  turca  in  cimento,  ballet.     See  Andreozzi's  Angelica  e  Medoro. 

Gli  Turchi  amanti.     L.  T.  of  Cimarosa's  I  Traci  amanti. 

Turia  Lucrezia.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
di  Sant'  Angelo  nel  carnevale  dell'  anno  MDCXIKXVI  .  .  . 

Venezia,  Marino  Rossetti,  1726.     58  p.     W"^. 

Three  acts.  Dedication  by  Domenico  Lalli  as  author  ("la  presente  mia  opera"), 
and  dated  Venice,  December  26,  1725,  argument,  cast,  scenario,  and  name  of  Antonio 
PoUaroli  as  the  composer.  Schatz  8265 

Tumo  Aricino.  Drama  per  musica  da  rappresentarsi  nel  Teatro 
del  Falcone  .  .  . 

Genoa,  Gio.  Battisia  Scionico,  1702.     4  p.  I.,  62,  [4]  p.     15'^. 

Three  acts.  Argument,  scenario,  cast,  and  dedication  bv  Giov.  Batt.  Scionico. 
Neither  the  author,  Silvio  Stampiglia,  is  mentioned,  nor  tlie  composer,  Giuseppe 
Antonio  Vincenzo  Aldrovandini.  Schatz  140 

Turno  re  de  Rutoli.  Dramma  tragico  per  musica  di  Gio.  Gastone 
Boccherini  Lucchese  .  .  . 

Vienna,  Giovanni  Tommaso  de  Trattnem,  1767.     64  p-    21"^. 

Three  acts.    Argument,  scenario  and  dedication  in  which  Boccherini  says: 

"L'ardente  desio  che  ho  di  mostrare  ogni  mio  poco  ingegno,  prima  della  mia  desti- 
nata  partenza  da  questa  Dominante,  mi  fa  risolvere  a  dare  alia  luce  im'  opera  teatrale, 
senza  aspettar  I'occasione  che  si  produca  in  scena." 

No  composer  or  performance  recorded  by  Schatz.  ML  50.2.T9 


1108  LIBRARY   OF   CONGRESS 

The  turnpike  gate;  a  musical  entertainment,  in  two  acts.     Now 

Serforming  with  universal  applause,  at  the  Theatre  Royal,  Covent- 
arden.     By  T.  Knight. 
London,  G.  G.  and  J.  Robinson,  1799.     2  p.l,  52  p.     21^'^. 

Cast  and  "advertisement  for  the  useof  the  theatres  "  to  the  effect  that  the  "old,  but 
ridiculous"  and  contradictory  "signs  of  P.  S.,  meaning  prompt  side;  and  O.  P.  mean- 
ing opposite  prompt "  have  been  replaced  by  "R.  H.  meaning  right  hand;  and  L.  H 
meaning  left  nana;  (always  supposing  you  are  on  the  stage  and  facing  the  audience." 

The  composers,  Joseph  Mazzinghi  and  William  Beeve,  are  not  mentioned. 

First  performed  November  14,  1799.  Lonoe  258 

La  Tusnelda  o  sia  La  disfatti  di  Vario,  ballet.  See  Cimarosa's 
Artaserse. 

Le  tuteur  trompe  o  sia  H  maestro  di  musica,  ballet.  See  Gelosia  e 
pazzia. 

II  tutore.     Intermezzi  ...    In  Dresde,  I'anno  1738. 

See  the  22  additional  pages  in  Hasse's  Alfonso,  (Dresda),  1738.  He  composed  also 
these  intermezzi,  the  author  of  which  is  unknown  to  Schatz. 

First  performed  at  Naples,  Teatro  di  San  Bartolomeo,  1730;  at  Dresden,  Hofth eater, 
May  11, 1738.  Schatz  4510 

—  H  tutore.     Intermezzi  da  rappresentarsi  in  musica. 
n.  i.,  n.  d.     45  p.     16^"^. 

Two  parts.  Cast  and  note:  "In  Dresda  I'anno  1738."  Hasse  is  not  mentioned. 
German  title  page,  "Der  vormimd"  and  text  face  Italian.  Obviously  issued  for  the 
convenience  of  a  German  audience  for  the  same  performance  as  above.    Schatz  4569 

—  Pandolfo.     Intermezzo  a  due  voci. 

Venezia,  Marino  RoSsetti,  1739.    21  p.     15"^. 

Two  parts.  Cast  and  name  of  Johann  Adolph  Hasse  as  composer.  The  text  is 
that  of  II  tutore."  Was  performed  as  intermezzi  for  Chiarini's  opera  "Achille  in 
Sciro."  Schatz  4583 

—  II  tutore  e  la  pupilla.  Intermezzo  per  musica  da  rappresen- 
tarsi nel  Teatro  dell'  Opera  Pantomima  de  Piccoli  Hollandesi  sopra 
la  Piazza  de  Cappuccmi.  A  Vienna,  la  prima  vera  dell'  anno 
MDCCXLVII. 

n.  i.,  n.  d.     Unpaged.     20^^. 

Two  parts.  Cast  and  name  of  Joh.  Ad.  Hasse  as  the  composer.  Same  text  as  the 
above. 

First  performed  imder  this  longer  title  at  Hambui^,  Opemhaus  beim  GSnaemarkt, 
November  26,  1744.  Schatz  4570 

II  tutore  burlato.     A.  T.  of  Accorimboni's  II  podestk  di  Tufo  antico. 

II  tutore  burlato.     A.  T.  of  Insanguine's  opera  La  finta  semplice. 

II  tutore  burlato  o  sia  I  matrimonii  in  maschera.  L.  T.  of  G.  M. 
Rutini's  I  matrimoni  in  maschera. 

n  tutore  deluso  o  sia  La  semplice,  intermezzo  a  quatro,  da  rappre- 
sentarsi nel  Teatro  di  Ratisbona  .  .  . 

[Regenshurg],  Gedruckt  mit  Zunkelischen  schriften,  n.  d.  135,  [1]  p. 
15^'^. 

Two  acts.  Cast,  name  of  Theodor,  freiherr  von  Schacht  as  the  composer,  and 
his ' '  avertissement " : 

"Get  op^ra,  qui  pent  §tre  est  un  des  anciens  sortis  d'ltalie,  avait  pour  titre  La 
Semplice.    C'est  sous  ce  nom  qu'il  est  connu  et  c'est  sans  contredit  im  des  meilleura 


OPERA  LIBRETTOS  1109 

« 

H  tutore  deluso — Continued. 

que  nous  ayons  de  ce  pais  1^  .  .  .  Cependant  ayant  a  representer  un  op^ra  devant 
un  public,  dont  une  grande  partie  s'attache  au  d^faut  de  la  langue,  aux  beaut^s  d'un 
chant  aise  et  naturel,  sans  faire  attention  k  des  expressions  trop  recherche  et  indifl- 
pensables  au  musicien,  lorsque  les  paroles  les  demande;  j'ai  done  fait  changer  par 
Monsieur  Friggieri,  presque  tout  le  caractere  du  premier  acteur  Giacinto,  qui,  outre 
eon  ing^nuite,  ^tait  farci  de  ces  expressions  empouU^s  difficiles  k  saisir  d'abord, 
m^me  a  des  connoisseurs  de  la  langue.  J'ai  de  plus  ajout^  quelque  airs  du  celebre 
Metastasio  ..." 

German  title-page,  "Der  betrogene  vormund  oder  Das  einfaeltige  maedgen,"  and 
text  face  Italian. 

Must  have  been  performed  after  1780.  Schatz  9564 

II  tutore  e  la  pupilla.     L.  T.  of  Hasse's  II  tutore. 

n  tutore  in  scompiglio,  ballet.  See  Tarchi's  II  matrimonio  per 
contrattempo. 

II  tutore  ingannato,  ballet.     See  Anfossi's  Azor,  re  di  Kibinga. 

H  tutore  ingannato.     Dranima  giocoso  per  musica.     Da  rappre- 
sentarsi  nel  Teatro  di  San  Samuelle  il  carnovale  dell'  anno  1774. 
Venezia,  Modesto  Fenzo,  1774.     56  p.     17^"^. 

Three  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Luigi  Msj-escalchi  as  the  composer.  With  the  opera  were  performed  Onorato 
Viganb's  ballets  "Diana  sorpresa"  (described  on  p.  28-29)  and  'Amore  trionfator 
dellamagia."    The  composer  of  the  music  is  not  mentioned.  Schatz  5945 

II  tutore  ingannato,  ballet.    See  Paisiello's  II  Sismano  nel  Mogol. 

II  tutore  sorpreso,  ballet.     See  Tarchi's  Giulio  Sabino. 

Tutto  per  amore.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  A.  E.  di  Sassonia.  Composto  dal  Sign.  Caterino 
Mazzolk  ... 

Dresda,  n.  puhl,  1785.     131  p.     15"'^. 

Two  acts.  Johann  Gottlieb  Naumann  is  mentioned  as  the  composer.  Grerman 
title  page,  "AUes  aus  liebe,"  and  text  face  Italian. 

First  performed,  as  indicated,  March  5,  1785.  Schatz  7057 

—  Elskovs  magt.  Et  syngespil  i  to  acter,  af  Caterino  Mazzola, 
hvortil  musikken  er  componeret  af  Naumann.  Oversadt  af  Lars 
Knudsen. 

Ki0hen7iavn,  S^nnichsensforlag,  1791.     110  p.     16^"^. 

First  performed  at  Copenhagen,  Kongelige  Theater  par  Kongens  Nytorv,  April  12, 
1791.  Schatz  7063 

De  twee  standbeelden;  zangspel,  met  baUetten  door  den  burger 
Pieter  Pypers. 

Amsteldam,  J.  Helders  en  A.  Mars,  1798.  4  p.  I.,  \xn\,  127,  [1]  p, 
IGY"^. 

Four  acts.  Dedication  by  the  author  dated  "Amsterdam,  14  van  wintermaand, 
1797,"  and  "  Voorrede,"  dated  "30.  van  Louwmaand,  1798,"  with  the  name  of  Barthol- 
omaeus  Ruloffs  as  the  composer. 

First  performed  at  Amsterdam,  Nationale  Schouwbiug,  1798.    ^        Schatz  9150 

2,  6,  3,  8.     A.  T.  of  Storace's  The  prize. 


1110  LIBBABY  OP  CONGBESS 

Tlie  two  harlequins.  A  farce  of  three  acts.  Written  by  Mr. 
Noble.  And  acted  by  the  King's  ItaHan  comedians  at  Paris.  And 
now  perform'd  by  the  French  comedians  at  the  Theatre  in  Lincoln's 
Inn  Fields. 

L(xndon,  W.  Mears  and  W.  Chetwood,  1718.     (double)  43  p.     19'^. 

French  original,  "Les  deux  arlequins"  (by  the  elder  Riccoboni),  facee  the  Engliflh 
translation. 

First  performed  at  Paris,  March  20,  1718!  Longe  262 

The  two  misers :  a  musical  farce.  As  it  is  performed  at  the  Theatre 
Royal  in  Covent-Garden.  By  the  author  of  Midas,  and  the  Golden 
pippin. 

Lmdon,  G.  Kearsley,  1775.     S  p.l.,  32  p.     19^<^. 

Two  acts.    By  Kane  O'Hara.    Cast  and  note: 

"The  following  scenes  are  taken  from  a  justly  admired  piece  entitled,  Lei  deux 
avares  [by  Fenouillot  de  Falbaire].  The  bare  out-line  only  or  the  finish'd  characters, 
with  just  enough  of  the  dialogue  to  connect  the  incidents,  has  been  retain 'd  in  order 
to  reduce  the  whole  within  the  compass  of  an  English  farce  ..." 

The  composer,  Charles  Dibdin,  is  not  mentioned.  How  much,  if  any,  of  Gr^try'a 
music  he  borrowed,  is  unknown  to  me.  In  Johnston's  vocal  score  of  "The  two 
miaerg"  Dibdin  is  not  mentioned,  and  the  title  page  says  "  The  music  selected  from 
the  works  of  the  most  celebrated  composers."  In  owe  copy  the  name  of  Dr.  Haves 
is  added  in  pencil  to  the  duet  "  Now  gossip  strike  home  and  that  of  [Felice]  Qiar- 
dini  to  the  catch  "Fill  ev'ry  man  his  cup. 

First  performed,  as  indicated,  January  21,  1775.  Longe  32 

The  two  queens  of  Brentford:  or  Bayes  no  poetaster:  A  musical 
farce,  or  comical  opera.  Being  the  sequel  of  the  famous  Rehearsal, 
written  by  the  late  duke  of  Buckingham.  With  a  comical  prologue 
and  epilogue. 

London,  M  'Tliam  Chetwood,  1721.     88  p.     W^. 

Five  acts.  Neither  Thomas  Durfey,  the  author,  is  mentioned,  nor  the  composer. 
Possibly  the  text  was  not  composed.     No  performance  recorded.  Longe  169 

The  two  Sosias.     A.  T.  of  Purcell's  Amphitryon. 

Two  to  one.  A  comic  opera,  in  three  acts.  As  performed  at  the 
Theatre-Royal,  Hay-market,  and  Smock-alley.  Written  by  George 
Colman,  jun.  .  .  .     The  music  composed  by  Dr.  Arnold. 

Dublin,  Printed  for  W.  Wilson,  1785.  5 4  p.,  1  I.  17^.  [Bound 
with  Thompson,  James.     Edward  and  Eleonora.] 

Most  of  the  music  was  composed  by  Arnold,  but,  as  Harrison  &  co.'s  vocal  score 
shows,  he  also  utilized  some  oallad  airs.  For  instance,  for  air  IV,  "Adzooks,  old 
Crusty"  he  used  "Yankee  Doodle."  "When  cruel  parents"  is  headed  in  the  vocal 
score  as  composed  by  Philip  Hayes. 

First  performed  at  the  Haymarket  June  19,  1784.  PR 

Den  ubeboede  0e.     Tr.  of  Traetta's  L'isola  disabitata. 

Die  uber  eyffersucht  und  list  triumphirende  bestaendige  liebe, 
aus  der  bekandten  historic  von  Tamestris  in  ein  drama  zusammen 
gezogen. 

Wittenberg,  August  Koberstein,  n.  d.     Unpaged.     19"^. 

Four  acts.  Dedication  signed  by  the  composer  and  author,  Johann  Paul  Kuntze, 
and  his  apologies  to  the  reader,  who  is  informed  that  the  text 

"mit  samt  der  composition  binnen  3.  tagen  muessen  ihr  ende  sehen  .  .  .  Es 
mangelt  zwar  den  arien  so  viel  an  pension ,  als  die  recitative  an  historien  abundiren . 
Allem,  was  jenes  verursachet,  ist  schon  gemeldet.  Hier  aber  hat,  was  sonst  ein 
oeffentlicher  Bchauplatz  und  die  action  der  personen  verrichten,  durch  worte  bedeutet 
werden  muessen." 

It  would  seem  that  the  opera  was  first  performed  in  concert-form  about  1720,  at 
Wittenberg,  in  the  composer  s  CoU^um  musicum.  Schatz  5315 


OPEEA   LIBRETTOS  1111 

Gli  uccellatori.  Dramma  di  tre  atti  per  musica.  Rappresentato 
per  la  prima  volta  in  Venezia  nel  1759  con  musica  del  Gazman  [0. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  figli,  1788-95,  v,  4£, 
[159']-206  p.     18''^.  PQ 

Li  uccellatori.  Dramma  giocoso  per  musica  di  Polisseno  Fegejo, 
Pastor  Arcade.  Da  rappresentarsi  nel  Teatro  Giustinian  di  S.  Mois^ 
il  carnovale  dell'  anno  1759  .  .  . 

Venezia,  Modesto  Fenzo,  1759.     58  p.     15"^. 

Three  acts.  By  Goldoni.  Cast,  scenario,  and  name  of  Florian  Leopold  Gass- 
mann  as  the  composer.  Schatz  3617 

—  Gl'uccellatori.  Dramma  giocoso  per  musica  da  rappresentarsi 
ne'  Tektri  Privilegiati  di  Vienna  I'autunno  dell'  anno  1768. 

Vienna,  Ghelen,  n.  d.     60  p.     16"^. 

Three  acts.  Goldoni  is  mentioned  as  author  and  Florian  Leopold  Gassraaxin  as 
the  composer.  Schatz  claims  that  this  was  his  second  setting  of  the  text.  This 
Vienna  version  of  the  libretto  follows  fairly  closely  that  of  the  ori^al,  Venice,  1759. 
Still,  a  number  of  differences  are  noticeable.  For  instance,  the  aria  "Tusai  cupido  " 
(I,  11)  has  become  "Roccolina  bella,  bella,"  "Amor  per  te  mi  stimola"  (III,  5^  has 
become  "  Per  te  sospiro , "  etc . ,  etc .  Sch  atz  3627 

Gl'uccellatori,  ballet.     See  Robuschi's  Li  raggiri  fortunati. 

L'uccellatrice.  Intermezzi  per  musica  da  rappresentarsi  nel  Teatro 
di  S.  Samuele  nella  fiera  dell'  Ascensione  dell'  anno  MDCCL. 

Venezia,  AW  insegna  della  Scienza,  n.  d.     19  p.     16^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.  Cast  and  name  of 
Niccol6  Jonrmelli  as  the  composer. 

First  performed,  as  indicated,  May  6,  1750.  Schatz  4873 

—  Intermezzo  in  musica,  da  representarsi  nel  Teatro  Privileggiato  del 
Signor  Pietro  Moretti,  in  Dresda  nel  mese  di  giugn.  1762  intitolato  II 
matto  Don  Narciso. 

n.  i.,  n.  d.    22  p.     W"^. 

Two  parts.  Cast  and  note:  "La  musica  6  di  diversi  autori,"  among  whom  Schatz 
includes  Jomnielli.  The  text  is  that  of  "L'Uccellatrice,"  but  with  so  many  differ- 
ences as  to  almost  hide  the  identity.  Schatz  4874 

Die  ueber  die  liebe  triumphirende  weissheit,  oder  Salomon,  in 
einem  singe-spiel  auff  dem  grossen  Hamburgischen  Schau-platze  vor- 
gestellet  im  jahr  1703. 

[Hamburg],  mit  Grejiingischen  schrifften,  n.  d.     Unpaged.     18"^. 

Three  acts.  Scenario  and  "vorrede,"  according  to  which  "Der  .  .  ..Koenig 
Salomon  "  "vor  einigen  jahren  "  was  performed  at  Brunswick,  but: 

"Dass  man  aber  dieses  schauspiel  durchaus  geaendert;  und  so  wohl  die  music, 
poesie  als  auch  die  invention  und  einrichtung  anders  und  kuertzer  gemacht,  ist  aus 
solchen  ursachen  geschehen,  die  ein  jeder  errathen  kan,  der  die  opem,  das  hiesige 
theatrum  und  den  gout  der  leute  verstehet.  Die  eintzige  partie  von  Salomon  ist, 
was  die  poesie  und  die  music  anbelanget,  aus  gewisser  raison  so  g;eblieben;  nur  dass 
man  wegen  der  weitlaeufftigkeit  vieles  ausgelassen,  und  zuletzt  erne  neue  arie  hinzu- 
gesetzet,  welche  wie  auch  eine  andere  arie  des  Salomons  in  der  music  neu  ist,  und 
will  man  selbige  aus  unnoehtiger  sorgfalt  nicht  beschreiben,  weil  ein  jeder  den  grossen 
imterschied  der  alten  und  neuen  composition  leicht  verstehen  wird.  Imgteichen 
hatmanauf  vomehmen  befehl,  .  .  .  diese  arie  indem  dritten  actumit  eingeruecket: 
EiuJi  ihr  schoenen  augen  muss  ich  liehen,  und  es  dem  hochgeneigten  leser  bericljten 
woUen,  um  nicht  angesehen  zu  werden,  als  ob  man  sie  vor  die  seinige  ausgaebe  .  .  ." 

Neither  the  author.  Christian  Friednch  Hunold  (called  Menantes),  is  mentioned, 
nor  the  composer,  Reiuhard  Keiser.  Schatz  5113 


1112  LIBEABY  OF  CONGRESS 

Ulisse.  Dramma  per  musica  di  Domenico  Lalli  da  rappresentarsi 
nel  Teatro  di  S.  Angelo  per  I'ultim'  opera  del  camevale  dell'  anno 
MDCCXXV  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     56  p.     15'^. 

Three  acts.  Author's  dedication,  cast,  scenario,  argument,  and  name  of  Giovanni 
Porta  as  the  composer.  Schatz  8394 

Ulisse  al  Monte  Etna,  ballet.     See  Bianchi's  L'orfano  cinese. 

LTJlisse  errante.  Opera  musicale  dell'  Assicurato,  Academico 
incognito  .  '.  . 

Venetia.  Gio.  Pietro  PineUi,  1644-     US  p.     IS'^. 

Five  acts.  By  Giacomo  Badoaro,  who  in  his  long  dedication  (p.  5-18)  gi-^es  what 
may  be  called  his  esthetic  creed  of  dramas  for  music.  In  the  course  of  his  remarks  he 
Bays: 

"Feci  gi^  molti  anni  rappresentare il  Ritomo  d'  JJlisse  in  patria,  dramma  cavato  di 
punto  da  Homero,  e  raccordato  per  ottimo  da  Aristotile  nella  sua  Poetica,  e  pur'  anco 
air  hora  udii  abbaiar  qualche  cane,  ma  io  non  fui  per5  tardo  k  risentirmene  co'  sassi 
allemani.  Hora  f 6  vedere  1' CTZmc  errante  .  .  .  ho  voluto  rappresentare  gli  accid en ti 
pill  gravi,  occorsi  ad  Ulisse  nel  gir'  in  patria  ...  Se  dirassi,  e  questa  opera  sia 
un  mostro,  dir6  di  n6;  ee  dirassi,  che'l  soggetto  ecceda  la  commune  dell'  altre  tragedie, 
dir6  che  h  un  gigante  nato  per  eccesso  di  materia,  e  non  contra  la  mia  volunti.  Se 
vorr^  afiFermar  un  bell'  ingegno,  che  di  questo  soggetto  poteva  fare  cinque  opere;  io 
le  rispondo,  ch'6  vero,  ma  non  le  h6  fatte,  perche  ho  voluto,  e  saputo  fame  una  sola  .  .  . 

"F^  11  Ritorno  d'  Ulisse  in  patria  decorato  dalla  musica  del  Signer  Claudio  Monte- 
verde  soggetto  di  tutta  fama,  e  perpetuity  di  nome,  hora  mancher^  questo  condi- 
mento;  poiche  e  andato  il  gran  maestro  ad  intuonar  la  musica  degli  angeli  k  Dio.  Si 
goderanno  in  sua  vece  le  ^lorioee  fatiche  del  Signer  Francesco  Sacra  ti,  e  ben'  era  di 
dovere,  che  per  veder  gli  splendori  di  questa  luna,  tramontasse  prima  quel  Sole. 
Havremo  per  ordinator  di  machine,  e  di  scene  il  nostro  ingegnosissimo  Torelli,.  .  ." 

Between  this  dedication  and  the  argument  there  is  a  notice  to  the  reader  by  Gia- 
como Torelli,  which  is  of  importance  in  another  direction.    He  says: 

"Io  hebbi  dalla  mano  dell'  auttore  V  Ulisse  errante,  con  privilegiata  auttorit^  di 
farlo  etampare  in  grande  con  le  figure  dopp6  fomite  le  recite,  &  ci6  intrapresi  per 
haver  occasione  di  mostrar  al  mondo  quelle  fatiche,  che  h6  io  incontrate  per  ben  servire 
k  questi  cavalieri;  Hora  dalla  pienezza  di  questa  gratia  6  nato  in  mh  nuovo  ardire  di 
fana  anco  stampar  in  questa  forma  per  incontrar  la  sodisfattione  di  quelli,  che  godono 
piti  simili  cose,  quando  sieno  accompagnate  dalla  lettura  ..."  Schatz  9255 

L'XTlisse  in  Feaccia.  Drama  da  rappresentarsi  in  musica  nel  luoco 
ove  era  il  Theatro  Zane  k  San  Moise.     L'anno  MDCLXXXI. 

Venetia,  Francesco  Nicolini,  1681.     ^7  p.     14^""- 

Three  acts.  Notice  to  the  reader,  argument  and  scenario.  Neither  the  author, 
Filippo  Acciajuoli,  nor  the  composer,  Aiitonio  del  Gaudio,  is  mentioned.  One  of 
those  operas  that  were  staged  with  "figure -formate  di  cera."  Schatz  3634 

XTlisses.     A.  T,  of  Keiser's  Circe. 

TTlisses,  musicalische  opera,  welche  auff  dem  Theatro  zu  Bresslau 
in  October  anno  1726  vorgestellet  .  .  . 
n.  i.,  n.  d.     Unpaged.     171"^. 

Three  acts.  Dedication,  argument,  scenario,  and  names  of  "Signore  Teofilo 
Fedele — Theophilo  Treu  "  as  composer,  of  Domenico  Lalli  as  author.  German  text 
faces  Italian.  Schatz  10444 

L'liltinia  che  si  perde  e  la  speranza.  O.  T.  of  Zini's  text  GU 
amanti  della  dote. 


OPERA  LIBBETTOS  1113 

L'ultima,  che  si  perde  e  la  speranza.  Commedia  per  musica  di 
Saverio  Zini  da  rapprespntarsi  nel  Real  Teatro  del  Fondo  di  Sepa- 
razione  per  second  'opera  di  questo  corrente  anno  1790. 

Napoli,  n.  puhl,  1790.     U  V-     15^'^'^. 

Two  acts.  Cast  and  name  of  Marcello  di  Capua  (Marcello  Bemardini)  as  com- 
poser. On  p.  5-7,  cast  and  ar^ment  of  "Magia  contro  Magia.  Ballo  eroico  favoloeo. 
Composto  6  diretto  dal  Sig.  Gio.  Battista  Giannini."  Pietro  Dutillieu  is  mentioned 
as  the  composer  of  the  music.  Schatz  841 

—  L'ultima  che  si  perde  e  la  speranza.  Farsa  di  un  atto  solo 
da  recitarsi  per  musica  nel  nobilissLmo  Teatro  della  nobil  Donna  Tron 
Veronese  in  San  Cassiano,  il  carnovale  dell'  anno  1792. 

Venezia,  Modesto  Fenzo,  1792.     56  f.     18^"^. 

Cast  and  name  of  Marcello  da  Capua  (Marcello  Bemardini)  as  composer  ("La 
musica  h  del  tutto  nuova").  This  one-act  farce  is  followed  as  "atto  secondo"  (with 
cast)  by  "/Z  convitato  di  pietra.  Farsa  di  un  atto  solo  ...  La  musica  6  di  vari 
celebri  maestri,"  on  p.  29-66.  Schatz  836 

Ulysse,  tragedie  representee  par  I'Academie  royale  de  musique  I'an 
1703.  Les  paroles  de  M.  Guichard  &  la  musique  de  M.  Rebel. 
LVIII.  opera. 

n.  i.,  n.  d.  pi.,  p.  57-110.  14-*^.  (Recueil  general  des  opera, 
t.  via,  Paris,  1706.) 

Detached  copy.     Five  acts  and  prologue.    Brief  avertissement. 
First  performed,  as  indicated,  January  21,  1703.  Schatz  8622 

Second  copy.    ML  48. R4 

Ulysse  et  Circe.     Entree  in  Duplessis'  Les  festes  nouvelles. 

Ulysses.     In   einem   musicalischen   Schau-spiele    auf   dem   Ham- 
burgischen  Theatro  vorgestellet  im  jahre  1721. 
[Hamburg],  Caspar  Jakhel,  n.  d.     Unpaged.     18"^. 

Three  acts.  Author  not  mentionedj  and  unknown  to  Schatz.  Argument.  Com- 
posed by  Johann  Caspar  Vogler,  who  is  not  mentioned.  Schatz  10801 

Ulysses  riickkunft  zur  Penelope.  Tr.  of  Alessandri's  II  ritorno 
di  Ulisse  a  Penelope. 

Umor  di  principessa  o  sia  L'ambizione  castigata.    See  the  A.  T. 

Gli  unaori  contrari.     Dramma  ^iocoso  per  musica  di  un  atto  solo 
di  Gio.  Bertati  .  .  .  posto  in  musica  dal  maestro  Sebastiano  Nasolini 
da  rappresentarsi  nel  nob.  Teatro  di  S.  Cassiano  nella  state  1798. 
Venezia,  Antonio  Rosa,  n.  d.     27  p.     17 Y'^.  Schatz  7030 

Das  unbekannte  dienstmaedgen.     A.  T.  of  Roellig's  Clarisse. 

Die  unbewohnte  insel.     Tr.  of  Jonmielli's  L'isola  disabitata. 

Die  unbewohnte  insel.     Tr.  of  Gius.  Scarlatti's  L'isola  disabitata. 

De  under  masken  sluttede  giftermaale.  A.  T.  of  G.  M.  Rutini's 
Den  bedragne  formynder. 

Die  uneinigen  briider.     Tr.  of  Graim's  I  fratelli  nemici. 

Die  unentbehrlichen  verraether  ihrer  herrschaften  aus  eigen- 
nutz.     A,  T.  of  Salieri's  Der  rauchfangkehrer. 


1114  LIBRARY   OF   CONGRESS 

Die  unerwartete  abreise.     Tr.  of  Salieri's  La  partenza  inaspettata. 

Den  unge  grevinde.     Tr.  of  Gassmann's  La  contessiiia. 

Das  ungeheuer  oder  Liebe  aus  dankbarkeit.  Tr.  of  Seydelmann's 
H  mostro  ossia  Da  gratitudine  amore. 

Die  ungezwungene  liebe.     A.  T.  of  Telemann's  Adelheid. 

Die  ungleiche  heyrath  zwischen  Vespetta  und  Pimpinone  in 
dreyen  intermediis  auf  dem  Hamburger  Theatro  vorgestellt. 
n.  i.,  n.  d.     Unpaged.     18'^. 

The  Ariaa  in  Italian,  the  recitatives  in  German.  Neither  Pietro  Pariati,  the 
author  of  the  Italian  "Vespetta  e  Pimpinone,"  nor  the  translator,  Johann  Philipp 
Praetorius,  nor  the  composer,  Georg  Philipp  Telemann,  is  mentioned.  Ottzenn 
enters  this,  possibly  from  the  score  parts,  as    Pimpinone  oder  Die  ungleiche  heirat." 

First  performed  as  indicated,  1725.  Schatz  10273 

Die  unglueckselige  Cleopatra,  koenigin  von  Egyppten.    A.  T. 

of  Mattheson's  Die  betrogene  staatsliebe. 

L'union  de  ramour  et  des  arts,  ballet-h6roique  en  trois  entries; 
compose  des  actes  de  Bathile  &  Chloe,  de  Theodore,  &  de  La  cour 
d'amom*:  repr6sent6,  devant  Sa  Majesty,  k  Choisy-le-roi,  le  9  f^vrier 
1774. 

[Paris],  P.  RoheH  Christophe  Ballard,  1774.    61  p.     19^. 

Cast  and  names  of  Pierre  Ren6  "Le  Monnier,  commissaire  des  guerres"  as  author 
and  of  Etienne  Joseph  Floquet  as  composer.  The  third  entree  has,  in  the  text,  the 
alternative  title  "Les  troubadours,"  and  "Theodore"  is  preceded  by  this  note: 

"Le  sujet  de  cet  acte,  est  le  mSme  que  celui  qui  a  et6  traits  par  M.  Roi  [Roy], 
dans  le  Ballet  des  GrS,ce8;  on  a  supprime  le  role  d'Eudoxe,  m^re  de  Theodore,  parce 
qu'on  a  cru  qu'il  faisoit  longueur.  Les  vers  marques  par  des  guillemets,  eont  de 
lancien  opera." 

First  performed  at  Paris,  Acad^mie  royale  de  musique,  September  7,  1773. 

ML52.2.U5 
Union  of  the  clans.     A.  T.  of  The  highland  fair. 

Das  unnuetze  bestreben.     Ein  singspiel  in  zween  aufzuegen. 

n.  i.,  n.  d.  [113]-176  p.  16"^.  (F.  L.  SchmideVs  Theatralische 
werTce,  Wien  &  Leipzig,  1786.) 

Detached  copy.    The  text  is  preceded  by  this  protest: 

"Dieses  singspiel  wurde  den  23  homung  [February]  1783  in  dem  k.  k.  National- 
hoftheatei  unter  dem  titel — Die  betrogene  oarglisi — aufgefuehrt.  Da  es  in  dieser 
gestalt,  in  der  es  aufgefuehrt  wurde,  gar  nicht  zu  dieser  absicht  bestimmt  war,  sondem 
von  dem  herausgeber  ohne  mein  wissen  dazu  gebraucht  worden  ist,  eo  bin  ich  nie- 
manden,  der  ueber  seine  imwahrscheinliche  imd  unvoUkommene  ausfuehnmg  unzu- 
frieden  war,  und  es  sein  musste,  rechenschaft  schuldig.  Was  die  gegenwaertige 
ausfuehrung  betrifft,  erwarte  ich  das  urtheil  eines  jeden  kunstrichters,  der  mich 
belehren  will." 

The  piece  was  written,  and  compoeed  by  Joseph  Weigl,  for  the  marionettes  theater 
of  friends  of  Schmidel.  Schatz  10958 

—  Die  betrogne  arglist,  ein  singspiel  in  einem  aufzuge.  In  musik 
gesetzt  von  Joseph  Weigl.  Aufgefuehrt  im  kaiserl.  koenigl.  National 
Hoftheater. 

Wien,beymLogenmeister,  1783.     28  p.     16*^. 

By  Schmidel  with  alterations  by  unknown  author  {see  the  forgoing  entry).  The 
text  ia  preceded  by  this  odd  prefatory  note  by  Joseph  Weigl: 

"Die  Goetter  sehen  mit  beglueckender  huld  auf  die  opfer  dei  erstlingeherab;  Du 
erstes,  bestes  publikum  Deutschlands  sey  du  meine  gottheit!  empfange  dies  erst- 
lingsopfer  aus  meinen  fast  noch  unmuendigen  haenden,  und  schenke  mir,  wo  nicht 
beyiafl,  wenigstens  nachsicht." 

First  performed,  as  indicated,  Febniary  23,  1783.  Schatz  10959 


OPERA   LIBRETTOS  1115 

Die  unniitze  vorsicht.     A.  T.  of  Andre's  Der  barbier  von  Sevilien. 

Die  unniitze  vorsicht.     A.  T.  of  Paisiello's  Der  barbier  von  Sevilla. 

Die  unruhige  nacht.     Tr.  of  Gassmann's  La  notte  critica. 

Der  unschuldige  betrug,  oder  Auf  dem  land  kennt  man  die  rache 
nicht.     Eine  laendliche  operette  in  einem  aufzug,  fuer  die  Marinel- 
lische  Kinderschule.     Von  herm  Leopold  Huber  .  .  .     Die  mnsik  ist 
yon  herrn  Ferdinand  Kauer  .  .  . 
'  Wien,  Schmidt,  1790.     92  p.     15^"^. 

Cast  of  the  children  who  took  the  characters. 

First  performed,  as  indicated,  June  22,  1790.  Schatz  5061 

Die  unsichtbare  braut.     Tr.  of  Fabrizj's  La  sposa  invisibile. 

Unter  zwey  streitenden  siegt  der  dritte.     Tr.  of  Sarti's  Fra  i  due 
litiganti  il  terzo  gode. 

Unter  zwey  streitenden  zieht  der  dritte  den  nutzen.     Tr.  of 
Sarti's  I  pretendenti  delusi. 

Das  unterbrochene  fest  oder  Der  triumph  der  tugend.     Tr.  of  von 
Schacht's  La  festa  interotta. 

Das  unterbrochene  opferfest.     Eine  heroisch-komische  oper  in 
zwey  akten. 


By  Franz  Xaver  Huber,    Music  by  Peter  von  Winter. 

;  performed  at  Vienna,  Kaemthr 
L.  of  C.  has  the  original  version  only  in  the  edition  of  1803. 


First  performed  at  Vienna,  Kaemthnerthor  Theater,  June  15,  1796. 


—  Gesaenge  aus  dem  singspiele :  Mjnrha  und  Elvira,  oder  Das 
opferfest,  m  zwey  aufzuegen.  Die  musik  ist  von  dem  kapellmeister 
Winter. 

Hamhurg,  Robe  und  Freystatzky  ivittwe,  1797.     39  p.     16"^. 

Huber 'b  text  in   Christian   August   Vulpius   version,  neither  of  whom  is   men- 
tioned. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  September  1,  1797. 

Schatz  11060 

—  II  sacrifizio  interrotto.  Dramma  eroicomico  in  due  atti  da  rap- 
presentarsi  nel  Teatro  Elettorale  di  Sassonia. 

Dresda,  n.  puhl,  1798.     159  p.     16"^. 

The  Italian  translator  is  not  known .    Peter  von  Winter  is  mentioned  as  the  com- 
poser.   German  title-page,  "Das  unterbrochene  opferfest,"  and  text  face  Italian. 
First  performed,  as  indicated,  April  25,  1798.  Schatz  11061 

—  Gesaenge  aus  der  oper:  Das  opferfest,  in  vier  acten.  Die  musik 
ist  vom  kapellmeister  Winter. 

Hamhurg,  Friedrich  Hermann  NesUer,  n.  d.    39  p.     15^"^. 

The  Huber- Vulpius  version. 

First  performed  with  this  title  at  Hamburg,  December  12, 1798.         Schatz  11062 

Die  unvermutete  zusammenkunft,  oder  Die  pilger  von  Mecca 
(Mekka).     Tr.  of  Gluck's  La  rencontre  imprevue. 

Die  unvermutheten  zufaelle.  Tr.  of  Gr6try's  Les  6v6nements 
impr^vues. 


1116  LIBRARY   OF   CONGRESS 

L'uoino  effeminato,  ballet.  See  Crippa's  Le  confusioni  per  somi- 
glianza. 

L'uoino  femmina.     Dramma  eiocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  in  S.  Moise  il  presente  autunno  MDCCLXII. 
Venezia,  Francesco  Valvasense,  n.  d.     4^  p.     15'^"^. 

Three  acts.  Author  not  mentioned^  and  unknown  to  Schatz.  Cast,  scenario,  and 
name  of  Oaluppi  as  the  composer.  Schatz  3509 

L'uomo  indolente.  Commedia  per  musica  di  Giiiseppe  Palomba 
da  rappresentarsi  nel  Teatro  Nuovo  sopr.a  Toledo  per  terz'  opera  del 
corrente  anno  1795. 

Napoli,  n.  puhl,  1795.     44  p.     IS^""". 

Two  acts.     With  cast  and  name  of  the  composer^  Giuseppe  Farinelli. 

Schatz  3017 

TJranio  e  Erasitea.  Favola  pastorale  di  Eaco  Panellenio  vice- 
custode  della  Parniense  colonia  da  rappresentarsi  nel  Regio-Ducal 
Teatro  di  Parma  I'agosto  dell'  anno  1773  per  la  nascita  del  real 
primogenito  di  Ferdinando  Borbone.  Infante  di  Spagna  e  di  Maria 
Amalia  .  .  .  [vignette]. 

Parma,  Stamperia  reale,  n.  d.     6  p.  I.,  31  p.    22'^'^. 

Two  acts.  By  conte  Jacopo  Antonio  San vi tale,  who  signs  the  dedication  with  both 
his  real  and  his  Arcadian  name.  Argument,  cast,  name  of  the  composer,  Giuseppe 
Colla,  and  note: 

"Questa  favola  pastorale,  con  maggiore  estensione  in  tre  atti  divisi,  fu  un'  opera 
fino  dair  anno  1720  esposta  sul  Ducal  Teatro  di  Piacenza  in  occasione  delle  nozze  del 
Serenissimo  Sig.  Duca  di  Modena.  La  traccia,  la  condotta,  e  i  pessimi  versi,  che  ne 
{anno  arrossire  I'autore,  sono  tutti  diversi,  come  diversa  h  I'allegoria;  onde  I'argomento 
medesimo  chiaramente  si  vede  in  quante  nuove,  e  migliori  maniere  possa  esser  trattato. 
Quanti  autori  di  tragedie,  di  commedie,  e  di  drammi  musicali  non  hanno  trattato  il 
medesimo  argomento?    Giudica  bene,  e  \dvi  elice."  Schatz  2108 

Urganostocor.     See  Latilla's  L'opera  in  prova  alia  moda. 

TJrtado  e  Miranda,  ballet.     See  Curcio's  La  Nitteti. 

Das  (urteil)  urtheil  des  Midas.  Tr.  of  Gretry's  Le  jugement  de 
Midas. 

Urtheil  des  Paris,  ballet.     See  Bernasconi's  Temistokles. 

Das  urtheil  des  Paris.     Tr.  of  Graun's  II  giudicio  di  Paride. 

The  useless  precaution.  A.  T.  of  Mrs  Griffith's  text  The  barber  of 
Seville. 

Det  uventede  ni0de.     Tr.  of  Gluck's  La  rencontre  imprevue. 

Les  v^cances  de  Cy there.     A.  T.  of  L' amour  desoeuvr6. 

H  vagabond©  fortunate.  Conunedia  per  musica  di  P.  M.  Da 
rappresentarsi  nel  Teatro  de'  Fiorentini  nelF  autunno  di  quest'  anno 
1773. 

Napoli,  Vincenzo  Flauto,  1773.     2  p.  I.,  56  p.     15"^. 

Three  acts.  By  Pasquale  Mililotti.  Cast  and  name  of  Niccol6  Picciimi  as  the 
composer.  Schatz  8142 


OPERA   LIBRETTOS  1117 

Li  vaghi  accidenti  fra  amore  e  gelosia.  L.  T.  of  Galuppi's  La 
diavolessa. 

Valasco  e  Vespetta,  intermezzi.     See  Stratonica. 

Valcour  et  ZeUa.     A.  T.  of  Philidor's  La  belle  esclave. 

La  vallee  de  Montmorency,  ou  Jean  Jacques  Rousseau  dans  son 
hermitage,  opera-comique  en  trois  actes,  en  prose,  m§16  de  vaude- 
villes. Far  les  CC.  Piis,  Barr6,  Radet  et  Desfontaines.  Represents, 
pour  la  premidre  fois,  sur  le  TheS,tre  du  Vaudeville,  le  23  prairial,  an 
6.     [June  11,  1798] 

Paris,  chez  le  libraire  ait  Theatre  du  vaudeville,  an  VII  [1798-99\. 
87  p.     21^"^. 

Cast.  Many  of  the  airs  are  printed  in  the  text.  They  are  by  no  means  all  vaude- 
villes in  the  sense  of  real  folk-songs  but  in  the  technical  sense.  For  instance,  Rous- 
seau's own  "Dans  ma  cabane  obscure"  was  used  and  Paisiello  is  expressly  men- 
tioned as  the  composer  of  the /reckon  "Je  suis  Lindor"  for  "Toujours  ainsi,  de  mon 
champetre  asyle,"  as  also  "C.[itoyen]  Wicht"  as  composer  for  the  fredons  of  "Pour 
leur  grosseur"  and  "Cueillons  cea  censes."  A  note  on  p.  2  informs  us  that  the  title 
of  the  opera  at  its  first  performance  was  simply  "La  vall^  de  Montmorency." 

ML  50.2.V2 

II  valore  delle  donne.  Dramma.giocoso  per  musica  da  rappresen- 
tarsi  in  Casale  nel  Teatro  degl'  Illiiii  Signori  cavalieri  della  society 
nel  carnevale  delF  anno  1783  .  .  . 

Casale,  Giovanni  Meardi,  n.  d.     53,  [1]  p.     14h"^- 

Reimprimatur  dated  February  8,  1783.    Two  acts.    By  Giovanni  Bertati.     Im- 

gresario's  dedication,  cast,  scenario,  and  name  of  Pasquale  Anfossi  as  composer, 
ut  not  of  librettist. 
First  performed  at  Turin,  Teatro  Corignano,  fciU  of  1780.  Schatz  268 

Le  vane  gelosie.  Commedia  per  musica  da  rappresentarsi  nel  Teatro 
grande  alia  Scala  la  primavera  1791  .  .  . 

MHano,  Gio.  Batista  Bianchi,  n.  d.     80,  {8\  p.     W^. 

Three  acts.  By  Giambattista  Lorenzi,  who  is  not  mentioned.  Impresario's  dedi- 
cation, scenario,  and  name  of  Paisiello  as  the  composer.  The  imnumbered  p.  con- 
tain argument  and  description  of  Giuseppe  Herdlitzka's  "La  schiava  americana, 
ballo  pantomimo  di  mezzo  carattere."  Neither  of  this  nor  of  his  second,  comic,  ballet 
"La  vindemmia  "  is  the  composer  of  the  music  mentioned. 

First  performed  at  Naples,  Teatro  de'  Fiorentini,  spring,  1790.  Schatz  7701 

Vanelia :  or,  The  amours  of  the  great.  An  opera.  As  it  is  acted  by 
a  private  company  near  St.  James's  .  .  . 

London,  E.  Rayner,  1732.     vii,  [1],  55  p.     19*^. 

Three  acts  and  introduction.  Political  satire  in  form  of  a  ballad  opera.  Table 
of  the  21  songs,  the  airs  to  which  are  indicated  by  title  in  the  text.  Author  unknown 
to  Clarence.  "  Longe  191 

Vanesio  and  Larinda.  A.  T.  of  Orlandini's  Le  bourgeois  gentil- 
homme. 

La  vanity,  corretta  dal  disprezzo,  ballet.     See  Monza's  Erifile. 

La  vanita  delusa.  Drama  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniano  di  S.  Moisd  nel  carnovale  dell'  anno  1748. 

Venezia,  n.  pull.,  1747.    59  p.     14\'^. 

Three  acts.  Scenario,  cast.  Author  and  composer  not  mentioned  and  imknown 
to  Schatz.     Perhaps  identical  with  Antonio  Gori's  text  of  the  same  title. 

Schatz  11373 


1118  UBRABY   OF   CONGRESS 

La  vanitd,  delusa.     Dramma  per  musica  da  rappresentarsi  in  Firenze 
neir  autunno  dell'  anno  1731  nel  Teatro  di  via  del  Cocomero  .  .  . 
Firenze,  Giuseppe  Pagani  e    Melchiorre  Alberighi,   1731.     90  p. 

Three  acts.  Argument  and  name  of  the  composer,  Giovanni  Chinzer.  The 
author  (unknown  to  Schatz)  in  the  argument  resents  the  attacks  made  on  him  by 
"maligni  censori "  and  others  and  protests  that  hie  text  is  not  intended  as  "una  satira 
diretta  contro  la  nobiliti.'  Schatz  1865 

The  varietie,  a  comedy,  lately  presented  by  His  Majesties  servants 
at  the  Black-Friers. 

London,  Humphrey  Mosdey,  1649.    2  p.  I.,  87  p.     1^^. 

Five  acts.  By  William,  duke  of  Newcastle,  who  is  not  mentioned.  Considerably 
interspersed  with  songs.  PR  2729.  N5 

Vasco  di  Gazna,  dramma  per  musica  con  cori  e  balli  analoghi  com- 
posto  da  Antonio  de'  Filistn  ...  da  rappresentarsi  nel  Regio  Teatro 
di  Berlino  il  carnovale  dell'  anno  1792.     Con  musica  di  van  autori. 

Berlino,  Haude  e  Spener,  n.  d.     119  p.     15^^. 

Three  acts.  Argument,  cast.  German  title  page  and  text  face  Italian.  Carl 
Spazier  wrote  a  sarcastic  review  of  this  pasticcio  m  the  Musikalisches  Wochenblatt, 
1792,  p.  153-1^,  161-162,  from  which  it  appears  that  not  less  than  eighteen  com- 
posers were  represented,  amongst  them  Pi*ati,  Paisiello,  Nasolini,  Bianchi,  Saxti, 
Stighini,  Naumann,  JommelU,  and  the  then  court  conductor  Felice  Alessandri, 
who  furnished  most  of  the  recitatives  for  this  monstrum. 

First  performed,  as  indicated,  January  20,  1792.  Schatz  11374 

I  vecchi  delusi.  Commedia  per  musica  di  Giuseppe  Palomba  da 
rappresentarsi  nel  Teatro  de'  Iiorentini  per  second  opera  di  questo 
corrente  anno  1793. 

Napoli,  Vincenzo  Flauto,  1793.     48  p.     15^*^. 

Two  acts.    Cast  and  name  of  Gaetano  MarineUi  as  the  composer.     Schatz  5960 

—  I  vecchi  burlati.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  di  San  Samuele  I'autunno  dell'  anno  1795  .  .  . 
Venezia,  Casali,  1795.     55,  {!]  p.     17'"^. 

Two  acts.  Palomba's  "I  vecchi  delusi,"  without  many  alterations.  Impresario's 
dedication,  cast,  and  name  of  Gaetano  MarineUi  as  the  composer.        Schatz  5966 

n  vecchio  amante.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi in  Torino  nel  Teatro  di  S.  A.  S.  il  Signor  principe  di  Carignano  nel 
carnovale  dell'  anno  1747. 

Torino,  Giuseppe  Domenico  Verani,  n.  d.     78  p.     14Y'^- 
Three  acts.    Castand name  of  Gaetano  Latilla  as  composer.    The  author,  Giovanni 
Barlocci,  is  not  mentioned.    Schatz  says  that  the  original  title  of  hie  text  was  "La 
commedia  in  commedia."  Schatz  5463 

II  vecchio  burlato.     O.  T.  of  the  libretto  Chi  vuol  non  puole. 

II  vecchio  burlato.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  di  San  Samuele  I'autunno  dell'  anno  1783. 

Venezia,  Gio.  Battista  Casali,  n.  d.     72  p.     18^^. 

Two  acts.  Author  unknown  to  Schatz.  Cast,  scenario,  and  name  of  "Luigi 
Ceruso"  (Luigi  Camso)  as  the  composer.  On  p.  65-72^  argument,  and  detailed 
description  of  "Zemira  e  Azor,  ballo  serio  pantomime  in  cmque  atti,"  by  Francesco 
Clerico.  Of  this  and  the  second  ballet,  ''Lo  epoeo  burlato,  he  also  composed  the 
music.  Schatz  1664 


OPERA   LIBRETTOS  1119 

E  vecchio  capricioso  in  amore.     See  II  vecchio  pazzo  in  amore. 

II  vecchio  geloso.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  A.  Serenissima  il  Signer  Principe  di  Carignano  nell' 
autunno  del  1782. 

Torino,  Onorato  Derossi,  n.  d.     78,  [2]  p.     l^"^. 

Two  acts.  Cast,  scenario,  and  name  of  Felice  Alessandri  as  the  composer. 
Librettist  unknown  to  Schatz.  With  the  opera  were  performed  Filippo  Beretti'e 
ballets  (composer  of  the  music  not  mentioned),  "II  pastor  fido"and  "La  contadina 
filosof^." 

First  performed  at  the  Teatro  della  Scala,  Milan,  fall  season  of  1781.     Schatz  151 

H  vecchio  geloso.     L.  T.  of  Galuppi's  L'amante  di  tutte. 

II  vecchio  pazzo  in  amore.     Da  rappresentarsi  nel  Teatro  Gius- 
tiniano  di  S.  Mois^  nel  carnovale  dell    anno  1731.     Dalla  Sig.  Rosa 
Venturini  .  .  .  e  dal  Signer  Pietro  Michelli. 
[Venezia],  n.  puht,  n.  d.     12  p.     1^'^. 

Three  intermezzi,  performed  with  Paganelli's  "La  caduta  di  Leone  Imperator 
d'Oriente."     Author  and  composer  not  mentioned,  and  unknown  to  Schatz. 

Schatz  11376 

—  II  vecchio  capricioso  in  amor.  Da  rajjpresentarsi  nel  Teatro 
Giustiniano  di  S.  Moise  nel  carnovale  dell'  anno  1732.  DaUa  Sig. 
Maria  Penna,  e  dal  Sig.  Matteo  Bevilacqua  Bolegnesi. 

Venezia,  Steffano  Valvasense,  n.  d.     12  p.     IS*^. 

Three  intermezzi,  performed  with  Albinoni's  "Gli  evenimenti  di  Rugero."  The 
text  is  the  same  as  of    II  vecchio  pazzo  in  amore."  Schatz  11375 

Veddemaalet  eller  Elskemes  skole.     Tr.  of  Mozart's  Cosi  fan  tutte. 

La  vedova.  Drama  musicale  rappresentato  nel  giardino  del  Signer 
marchese  Bartolenuneo  Corsini  alia  Porta  al  Prate. 

n.  L,  n.  d.     p.  [299]-403.     15^'^'^. 

Detached  from  the  third  part  (not  in  L.  of  C.)  of  Moniglia's  "Poesie  dram- 
matiche,"-  1690.    Three  acts.    Argument  and  scenario.    On  p.  301: 

"Fu  questo  drama  composto  dall'  autore  per  comandamento  del  Sereniss.,  e  rev- 
erendiss.  principe  cardinale  Gio.  Carlo  di  Toscana,  per  doversi  rappresentare  nel 
eoUto  Teatro  de  Signori  Accademici  Immobili  sotto  la  protezzione  della  medesima 
Altezza  Reverendissima,  e  gi^  era  stato  messo  in  musica  dal  famoso  Sig.  Jacopo  Melani, 
e  n'erano  di  gi^  state  distribuite  le  parti  a  i  recitanti;  ma  sopravenendo  la  sempre 
lagrimevol  morte  di  si  gran  principe,  ne  re6t6  sospesa  la  recita;  la  quale  dopo  molti 
anni  da  una  fiorita  conversazione  di  nobilissimi  cavaUeri  fu  richiamata  su  le  scene 
I'anno  1680  nel  giardino  del  Sig.  march.  Bartolommeo  Corsini"  [at  Florence]. 

Schatz  6289 

La  vedova  accorta.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  di  S.  Cassane  il  carnevale  dell'  anno  1745[!]  .  .  . 

Venezia,  Modesto  Fenzo,  1746[!]    64  p.     15\'^. 

Three  acts.  Argument,  cast  and  scenario.  Ferdinando  Giuseppe  Bertoxii  is 
mentioned  only  as  the  composer  of  the  recitatives  and  of  nine  arias,  marked  with  an 
asterisk,  for  instance,  "Son  rimasta  vedovella"  (I,  3),  "Voi,  che  piet^  provate" 
(II,  4).    The  author,  Ambrosio  Borghese,  is  not  mentioned.  Schatz  927 

According  to  Wiel  1745  is  the  correct  year  of  performance. 

La  vedova  bizzarra.  Commedia  per  musica  da  rappresentarsi  nel 
Teatro  de'  Fierentini  per  prim'  opera  di  quest'  anno  1788. 

Napoli,  n.  puhl,  1788.     45  p.     15"^. 

Three  acts.  By  Giovanni  Bertati .  Cast  and  name  of  composer,  Pasquale  Anf  ossi, 
but  not  of  librettist.  Schatz  261 


1120  LIBRABY  OF   CONGRESS 

La  vedova  capricciosa.  Commedia  per  musica  di  Giuseppe  Palomba 
Napolitano.  Da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  nel 
camevale  di  quest'  anno  1765. 

Napoli,  Vincenzo  Mazzola-Vocola,  1765.     93  p.     16"". 

Three  acts.  Cast  and  name  of  "Giacomo  Insanguine  detto  Monopoli"  as  com- 
poser, "a  riserba  dell'  arie  di  Odoardo  e  Celidea  che  sono  di  D.  Carlo  De  Prancrilii." 
(See  f.-n.  on  p.  93  below  the  aria  "Ah  dalla  gioja  oppreeso"  substituted  for  "lo  veggo 
un'  astro  splendere  "  in  I,  3.)  Schatz  4840 

La  vedova  ingegnosa.  Intermezzi  per  musica,  rappresentati  nel 
Regio  Teatro  alia  corte  di  Dresda.     L'anno  1747. 

n.  i.,  n.  d.     79  p.     IS^*^. 

Three  acts.  Cast.  The  author,  Tommaso  Mariani,  is  not  mentioned,  nor  the 
composer.  According  to  Schatz  this  was  first  performed  as  intermezzi  to  "Emira," 
July  12,  1735,  Teatro  S.  Bartolomeo,  with  music  by  Leonardo  Iieo.  Though  the 
opera  was  by  Leo,  the  intermezzi  possibly  were  not.  Florimo  mentions  Ignazio 
Prota  as  the  composer,  and  Florimo  s  predecessor  is  said  by  I^eo,  the  biographer  of 
hia  ancestor,  to  have  attributed  the  music  to  Giuseppe  Sellitti.  The  original  title 
seems  to  have  been  "Drusilla,  vedova  ingegnosa  e  D.  Strabone,  dottore  in  medicina." 
German  title  page,  "Die  listige  wittwe,    and  text  face  Italian  in  the  Dresden  ed. 

Schatz  5554 

—  La  vedova  ingegnosa.  Intermezzi  per  musica  rappresentati  nel 
Regio  Teatro  alia  Corte  di  Dresda.     L'anno  1747. 

n.  i.,  n.  d.     39  p.     17 ^''". 

The  same,  but  Italian  text  only.  ML  50.2,V25L2 

La  vedova  ingegnosa  ossiano  Le  bizzarie  del  bel  sesso,  ballet.  See 
Tarchi's  Ademira. 

La  vedova  raggiratrice,  o  siano  I  due  sciocchi  delusi.    Dramma 
giocoso  per  musica  da  rappresentarsi  nel  Teatro  Elettorale. 
Dresda,  n.  pull.,  1795.     127  p.     16<^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz  and  Carvalhaes.  Marcos 
Portug^al  is  mentioned  as  the  composer.  German  title-page,  "Die  schlaue  wittwe 
oder  Die  beiden  angefuehrten  thoren,"  and  text  face  Italian. 

First  performed  1795,  at  Dresden,  as  indicated;  at  Florence,  Teatro  della  Pergola, 
spring  of  1794.  Schatz  8421 

La  vedova  scaltra,  ballet.  See  Alessandri's  II  matrimonio  per  con- 
corso. 

La  vedova  scaltra,  ballet.     See  P.  Guglielmi's  La  sposa  fedele. 

La  vedova  scaltra.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  magnifico  Teatro  delF  illust.  Academia  degl'  Erranti  della  cittk 
di  Brescia  per  la  fiera  delF  anno  1778  .  .  . 

Brescia,  Francesco  Ragnoli,  1778.     63  p.     16^"""^. 

Two  acts.  Author  not  mentioned  and  unknown  to  Schatz.  Impresario's  dedi- 
cation, cast,  and  name  of  Vincenzo  Bighini  as  the  composer. 

First  performed,  as  indicated,  August,  1778.  Schatz  8790 

II  veglione,  baUet.     See  Stabinger's  L'astuzie  di  Bettina. 

U  vello  d'oro.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Tron  di  S.  Cassiano.     Nel  carnovale  dell'  anno  1749  .  .  . 

Venezia,  Modesto  Fenzo,  1749.     36  p.     15'=^. 

Three  acts.  By  Giovanni  Palazzi,  who  is  not  mentioned.  Argument,  cast,  sce- 
nario, and  name  of  Giuseppe  Scolaxi  as  the  composer.  Schatz  9800 


OPEEA  LIBEETTOS  1121 

Venceslao. 

Apostolo  Zejio,  Poesie  drammatiche,  Venezia,  1744^  ^  ^v  ^4  V'     ^^""• 
Five  acts  and  licenza.     Argument.     No  composer  is  mentioned.     In  the  "Cata- 
logo"  at  end  of  t.  x,  date  and  place  of  first  ed.  is  given  as  "in  Venezia.     1703.     E  in 
Vienna.    1725."     (-See  below.)  ML49.A2Z3 

—  Venceslao.     Pubblicato  per  la  prima  volta  in  Venezia  1703. 

Apostolo  Zeno,  Poesie  drammatiche,  Orleans,  1785-86,  t.  ii,  p.  217- 
SO4.     21'^'^. 

Five  acts  and  licenza.    Argument.    No  composer  is  mentioned.      ML  49.A2Z4 

Venceslao.     Dranuna  per  musica  da  rappresentarsi  nel  Teatro  di 

S.  A.  S.  il  Signor  principe  di  Carignano  .  .  . 

Torino,  Francesco  Antonio  Gattinara,  1721.     4  V-  ^-t  ^^j  [^]  V-     15"^' 
Three  acts.    Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  the 

composer,  Giuseppe  Boniventi,  but  not  of  the  librettist,  Apostolo  Zeno. 

First  performed,  as  indicated,  December  26,  1720.  Schatz  1195 

Venceslao.  Dramma  per  musica,  da  rappresentarsi  nella  Cesarea 
Corte  per  il  nome  gloriosissimo  della  Sac.  Ces.  e  Catt.  Real  Maestk  di 
Cario  VI.  imperadore  de'  Romani  .  .  .  La  poesia  e  del  Sig.  Apostolo 
Zeno  .  .  .     La  musica  h  del  Sig.  Antonio  Caldara  .  .  . 

Vienna  d^ Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.     4  V-  ^'>  "^^  V-     i4h"^- 
Five  acts  and  licenza.    Argument  and  scenario.    The  ballet  muaic  was  composed 
by  Niccola  Matteis. 

First  performed  at  Vienna,  as  indicated,  November  4,  1725.  Schatz  1489 

Venceslao.     Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassiano  nel  carnovale  dell'  anno  MDCCLII. 
[Venezia],  n.  publ.,  n.  d.     60  p.     14^'^. 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Argument,  cast,  scenario, 
and  name  of  Antonio  Gaetano  Paxapani  as  the  composer.  Schatz  7759 

Venceslao.  Drama  da  rappresentarsi  per  musica  nel  Teatro 
Grimani  in  S.  Gio.  Grisostomo  ... 

Venezia,  Girolamo  Albrizzi,  170S.     72  p.     14^"^. 

Five  acts.  Dedication,  with  the  initials  of  the  author,  Apostolo  Zeno,  from  which 
it  appears  that  the  drama  was  first  privately  performed  for  Signore  Filippo  Rangoni 
before  it  appeared  before  the  public  at  the  Grimani  Theatre.  Argument,  cast,  scen- 
ario, notice  to  the  reader,  and  name  of  Carlo  Francesco  Pollaroli  as  the  composer  ("La 
musical  .  .  .  ventesima  sua  fatica  in  questo  solo  Teatro").  Schatz  8322 

Venceslao,  drama  per  musica. — ^Wenceslaus  .  .  . 

Hamburg,  Spiering,  1744-     ^^  V-     ^^i*^- 

Three  acts.  By  Apostolo  Zeno,  who  is  not  mentioned.  Scenario,  cast,  ar^ment, 
and  name  of  Paolo  Scalabrini  as  the  composer  "a  risserva  di  alcuneariedi  diversi 
autori."     Italian  and  German  texts. 

P^rst  performed  at  Hamburg,  Theater  beim  Gansemarkt,  August  19,  1744;  at  the 
same  theater  previously,  October  31,  1743,  and  at  Linz,  Theater  im  Ballhause,  1743. 

Schatz  9518 
Venceslao.     Musicalisches  schauspiel,  umb  auf  dem  hohen  nahmens- 
tag  Seiner  Churfuerstl.  Durchl.  Maximilian  Emanuel  ...  in  Muen- 
chen  den  12.  octob.  dess  1725  sten  jahrs  vorgestellet  zu  werden. 
Auss  dem  welschen  uebersetzt. 

[Muenchen],  JoTiann  Lucas  Strauh,  n.  d.     76  p.     13^.     • 

Five  acts.  Neither  Apostolo  Zeno,  the  author,  nor  the  translator,  nor  the  composer, 
Fietro  Torri,  is  mentioned.  The  Italian  text  of  the  arias  and  choruses  is  adoed  to 
the  German.  Schatz  10367 

72251°— VOL  1—14 ^71 


1122  LIBBABY  OF   CONGRESS 

Les  vendangeurs  ou  Les  deux  baillis,  divertissement  en  un  acta  et 
en  vaudevilles;  par  MM.  de  Piis  &  Barr6;  repr6sent6  pour  la  pre- 
miere fois,  h  Paris,  le  mardi  7  novembre  1780,  &  k  Versailles,  devant 
Leurs  Majest^s,  le  vendredi  suivant,  par  les  Com^diens  italiens  ordi- 
naires  du  roi. 

Paris,  Vente,  1781.     4O  p.     19^"^. 

Cart.    Not  recorded  by  CI,  &  L.  or  Schatz.  Schatz  11521 

La  Vendemia  ossia  La  contadina  impertinente,  ballet.  See  Insan- 
guine's  Calipso. 

La  vendemmia.     A.  T.  of  the  ballet  Li  due  sindaci. 

La  vendemmia.  Dramma  giocoso  per  musica.  Da  rappresentarsi 
nel  Teatro  presso  la  porta  d'ltalia.  Sotto  I'impresa  e  direzzione  di 
Giuseppe  Bustelli.     L'anno  1779. 

Vienna,  Giiiseppe  noble  de  Kurzbock,  n.  d.    66  p.     16^^. 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Scenario  and  name  of 
Giuseppe  Gazzaniga  as  composer.  This  version  has  in  I,  3,  the  aria  "Del  destino 
invan  mi  lagno,"  in  I,  6,  "Su  bel  bello,  adagio,"  in  I,  8,  "AUe  selve  alle  capanne." 

First  performed  at  Florence,  Teatro  in  via  della  Pergola,  May  12, 1778;  at  Venice, 
Teatro  di  San  Moisfe,  fall  of  1778.  ML  50.2.V28G3 

— La  vendem.mia.  Dramma  giocoso  per  musica,  da  rappresentarsi 
nel  Piccolo  Teatro  Elettorale. 

Bresda,  1783,  n.  publ.     127  p.     15^"^. 

Two  acts.  German  title  page, ' '  Die  weinlese, ' '  and  text  face  Italian .  Gazzaniga 
is  mentioned  as  the  composer.  This  edition  of  Bertati's  text  is  very  different  from 
that  below. 

The  latter  has  in  I,  3,  the  aria  "La  donna  ch'^  amante,"  the  Dresden  libretto  has 
no  aria;  the  Lisbon  ed.  has  "Su  bel  bello,  adagio"  in  I,  6,  the  Dresden  ed.  has  it  in 
I,  7.  Scene  I,  9,  in  the  latter  is  the  same  as  I,  8,  in  the  former,  but  this  has  the  aria 
"Egli  b  ver  che  son  villana"  instead  of  "Alle  selve,  alle  campanne."   Schatz  3675 

—  La  vendemmia.     Dranuna  giocoso  per  musica  da  rappresentarsi 
nel  Reggio  Teatro  di  S.  Carlo  della  Principessa  .  .  .  nel  24  di  giugno 
dell'  anno  1794. 
Lishona,  Simone  Taddeo  Ferrdra,  1794.     77  p.     14^"". 

Two  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Cast,  scenario,  and  name 
of  the  composer,  Giuseppe  Gazzaniga.  Schatz  3674 

La  vendemmia  ossia  La  contadina  impertinente,  ballet.  See 
Anfossi's  II  curioso  indiscreto. 

Li  vendemmiatori,  ballet.     See  Piccinni's  La  scaltra  letterata. 

I  vendemmiatori  ovvero  I  due  sindaci.  Farsa  in  prosa  con  musica 
alia  francese  che  si  rappresenta  della  Compagnia  Accademica  toscana 
di  Pietro  Andolfati  addetta  al  Regio  Teatro  degli  Infuocati  di 
Firenze  .  .  . 
Livomo,  Antonio  Lami  e  comp.,  1790.  44  V-  14¥^- 
One  act.  Neither  the  author  (unknown  to  Schatz)  is  mentioned,  nor  the  composer, 
Ferdinando  Butini. 

First  perfcMTned  at  Florence,  Teatro  di  via  del  Cocomero,  carnival,  1789. 

ML  48.A5v.13 

Le  vendemmie  o  sia  La  villanella  rapita,  ballet.  See  Sarti's  Fra  i 
due  litiganti  il  terzo  gode,  Lisbona^  1793. 


OPERA   LIBRETTOS  •        1123 

Le  vendemmie  fiainiuinghe,  ballet.     See  Bianchi's  II  disertore. 
La  vendetta  d'amore,  ballet.     See  Paer's  La  testa  riscaldata. 

La  vendetta  di  Armida  vinta  dall'  amore.    A.  T.  of  the  ballet  II 
ritomo  di  Rinaldo  presso  Armida. 

La  vendetta  di  Nino,  baUet.     See  the  pasticcio  Elena  e  Paride. 

La  vendetta  di  Nino.     Dra^n^na  per  musica  da  rappresentarsi  nel 
Real  Teatro  di  S.  Carlo  nel  di  12  di  novembre  1790  ..  . 


iCWJ 


Napoli,  Vincenzo  Flauto,  1790.     56  p.     15" 

Two  acts.  Impresario's  dedication,  argument,  cast,  scenario,  and  name  of  Fran- 
cesco Bianchi  as  the  composer.  The  text  is  by  Ferdinando  Moretti  (not  mentioned) 
who  based  it  on  Melchiore  Cesarotti's  translation  of  Voltaire's  "Semiramis."  Dedi- 
cation dated  November  12,  1790,  with  remark  that  the  first  performance  had  to  be 
postponed  from  November4.  On  p.  8-24  cast,  argument,  and  description  of  "Gli  sven- 
turati  amori  di  Cleide  ed  Almindo  o  sia  II  trionfo  de'  Goti.  Balloeroico  pantomimo, 
inventata  e  composto  dal  Sig.  Sebastiano  Gallet"  in  five  acts,  music  ("tutta  nuova") 
by  Giuseppe  Ercolano.  Schatz  985 

La  vendetta  di  Nino.     A.  T.  of  Borghi's  La  morte  di  Semirajmide. 

La  vendetta  di  Nino,  ballet.    See  Curcio's  Emira  e  Zopiro. 

La  vendetta  di  Nino.     A.  T.  of  Nasolini's  La  jnorte  di  Semiramide. 

La  vendetta  di  Nino.  Melodramma  tragico  per  musica  da  rappre- 
sentarsi nel  nobile  Teatro  de'  Cinque  Signori  Condomini  di  Senigallia 
la  fiera  di  luglio  dell'  anno  1786  .  .  . 

Firenze,  n.  full.,  1786.    front.,  47  f.     18*^. 

Two  acts.  The  author  is  not  mentioned  and  unknown  to  Schatz.  Impresario's 
dedication,  prefatory  note,  cast,  and  name  of  Alessio  Prati  as  the  composer  ("musica 
tutta  nuova^').  Schatz  8452 

—  La  morte  di  Semiramide.  Tragedia  in  musica  da  rappresentarsi 
nel  nobilissimo  Teatro  Venier  in  San  Benedetto  I'autunno  dell'  anno 
1791. 

Venezia,  Modesto  Fenzo,  1791.     5 4  p.     18^'"'^. 

Three  act  version  of  "La  vendetta  di  Nino  "  in  which  Seleuco  has  become  Sesostri. 
Cast,  scenario,  and  name  of  Giuseppe  instead  of  Alessio  Prati  as  the  composer.  On 
p.  [23]-28  argument  and  cast  of  Paolino  Franchi's  "Inkle  e  Jariko,  ballo  eroico  tragico 
pantomimo.       The  composer  of  the  music  is  not  mentioned.  Schatz  8453 

La  vendetta  disarmata  dall'  amore.     Drama  per  musica  da  rap- 
presentarsi in  Venezia  nel  Teatro  di  S.  Fantino,     L'anno  1704  .  .  . 
Venezia,  Domenico  Miloco,  170 If..     ^8  p.     14"^. 

Three  acts.  Dedication  with  the  initials  of  the  author  Francesco  Passarini,  sce- 
nario, argument,  and  notice  to  the  reader.  The  composer,  Girolamo  Polani,  is  not 
mentioned.  The  dedication  begins  "Gl'applausi,  che  ripport6  in  Rovigo  I'autunno 
Bcorso  il  presente  drama"  but  it  was  then  given  with  the  title  "La  costanza  nell' 
Honore."  Schatz  8253 

[Venere,  Amore,  etc.] 

Venere,  Amore,  Iride,  Borea,  Nettimo,  Anfione,  Museo  are  the  characters  used  for 
the  prologue  and  six  intermedii  in : 

"Hero,  e  Leandro.  Favola  marittima  del  Bracciolino  dell'  Api.  Con  inter- 
medii apparenti.  E  col  Montano  Egloga  ...  In  Roma,  Appresso  Guglielmo  Fac- 
ciotti.     1630  .  .  .     Ad  instanza  d'Ottavio  Ingrillani." 

Ingrillani's  dedication  is  dated  Rome,  April  20,  1630.  PQ. 


1124        •  LIBEABY  OF  CONGRESS 

Venere  con  Adone  ossia  Le  gelosie  di  Diana  e  di  Marte,  ballet.  See 
Paer's  Ero  e  Leandro. 

Venere  e  Adone,  ballet.    See  Anfossi's  La  contadina  incivilita. 

Venere  ed  Adone,  ballet.    See  Monza's  Sesostri.  . 

Venere  gelosa  di  Niccold  Enea  Bartolini  .  .  . 
Padova,  Paolo  Framo,  I64S.     7  p.  I,  92,  [1]  p.     1/^'^. 

Three  acts  with  prologue.  Author's  dedication  dated  Padua,  January  11,  1643, 
lengthy  prefatory  note,  and  argument.  Francesco  Paolo  Sacrati,  the  composer,  is 
not  mentioned. 

First  performed  at  Venice,  Teatro  Novissimo  alia  Cavallerizza,  carnival,  1643. 

SCHATZ  9251 

Venere  placata.     Componimento  drammatico  per  le  augustissime 
nozze  delle  Reali  Altezze  di  Giuseppe  arciduca  d  Austria  etc  e  della 
reale  infanta  Donna  Isabella  di  Borbone  etc    Da  cantarsi  nel  Teatro 
di  Livorno  la  sera  de'  v.  ottobre  MDCXJLX  .  .  .  [vignette] 
Livomo,  Gio.  Paolo  Fantechi,  n.  d.     xxvii,  [1]  p.     29\'^. 

Vignettes  by  C.  Coltellini,  engraved  by  F.  Violanti  and  others.  At  the  end  Marco 
Coltellini  is  mentioned  as  the  author  and  Carlo  Antonio  Campion  as  the  composer. 
The  cast  consisted  of  two  characters  only,  Venere,  sung  by  Maria  Maddalena  Parigi 
and  Amore,  simg  by  Tommaso  Guarducci.  Schatz  1536 

Venere  placata.  Dramma  per  musica  da  rappresentarsi  nel  Teatro 
Grimani  di  S.  Samuele  nella  fiera  delP  Ascensione  dell'  anno 
MDCCXXX. 

Venezia,  Carlo  Bitonarigo,  1731.     ^7,  [1]  p.     15*=^. 

Three  acts.  By  Claudio  Niccol6  Stampa,  with  impresario's  dedication,  argument, 
cast,  scenario,  and  names  of  the  author  and  of  the  composer,  Francesco  Courcelle. 
The  additional  p.  contains  Buonarigo's  announcement  of  publication  of  "un  esatto 
catalog©  di  tutti  li  drammi  musicali  recitati  in  Venezia,"  Schatz  2284 

I  Veneziani  a  Costantinopoli,  ballet.  See  Luigi  Piccinni's 
L'amante  statua. 

I  Veneziani  a  Costantinopoli,  ballet.  See  Trento's  La  finta 
amalata. 

La  vengeance.     A.  T.  of  Gresnich's  Les  faux  monnoyeurs. 

La  vengeance  de  1' amour  ou  Diane  et  Endimion.     See  Palmire. 

La  Venitienne,  comedie-ballet,  representee  par  I'Academie  tojsXq 
de  musique  Fan  1705.  Les  paroles  de  M.  de  la  Mothe  &  la  musique 
de  M.  de  la  Barre.     LXIV.  opera. 

n.  L,  n.  d.  14'^.  front,  393-436,  [3]  p.  (Becadl  general  des 
opera,  t.  viii,  Paris,  1706.) 

Detached  copy.    Three  acts,  with  prologue.    Cast. 

First  performed,  as  indicated.  May  26,  1705.  Schatz  5345 

Second  copy.    ML  48. R4 

Venus,  feste  galante,  chantee  devant  Monseigneur,  le  27  Janvier 

1698. 

{1]-12  p.     17^"^.     (Antoine  Danchet,  Theatre,  t.  ii,  Paris,  1751.) 
One  act.    Not  recorded  by  De  La  Vallifere.  PQ  1972. DI 


OPERA   LIBRETTOS  1125 

Venus  and  Adonis:  A  masque.  And  Myrtillo:  A  pastoral  inter- 
lude. Performed  at  the  Theatre-Royal.  Written  by  CoUey  Gibber, 
Esq.,  set  to  musick  by  Dr.  Pepusch  .  .  . 

London,  Henry  Lintot,  1736.     vii,  {incl.  front.) ,  [8]-24  P-     ^^""' 

The  first  piece  coneists  of  two  "interludes."  "Myrtillo"  begins  on  p.  25.  Casts 
and  preface: 

' '  The  following  Entertainment  is  an  Attempt  to  give  the  Town  a  little  good  Musick 
in  a  Language  they  understand:  For  no  Theatrical  Performance  can  be  absolutely 
Good,  that  is  not  Proper;  and  how  can  we  judge  of  its  Propriety,  when  we  know  not 
one  Word  of  the  Voice's  Meaning?  But  perhaps  this  is  not  all  that  the  Italian  Lan- 
guage has  of  late  impos'd  upon  us;  most  of  our  Opera's  being  (if  possible)  as  miserably 
void  of  Common  Sense  in  tneir  Original,  as  the  Translation:  Nay,  the  Tyranny  is  car- 
ried yet  farther;  for  the  Songs  are  so  often  tum'd  out  of  their  Places,  to  introduce 
some  absurd  favourite  Air  of  the  Singer,  that  in  a  few  Days  the  first  Book  you  have 
bought,  is  reduc'd  to  little  more  than  the  Title-Page  of  what  it  pretends  to;  and  as  it 
now  stands,  the  whole  Entertainment  seems  to  be  dwindled  into  a  Concert  of  Instru- 
ments; for  a  Voice  that  is  not  understood,  has  in  reality  no  more  Meaning  than  the 
Fiddle  that  plays  to  it :  And  thus,  by  slavishly  giving  up  our  Language  to  the  despotick 
Power  of  Sound  only,  we  are  so  far  from  establishing  Theatrical  Musick  in  England, 
that  the  very  Exhibition  or  Silence  of  it  seems  entirely  to  depend  upon  the  Arrival  or 
Absence  of  some  Eminent  Foreign  Performer.  By  this  sort  of  Conduct,  the  vast 
Sums  that  have  been  levied  for  the  Support  of  it,  have  only  ended  in  its  Abuse  and 
Prostitution.  And  (though  the  insolent  Charms  of  the  Opera  seem  to  be  above  it) 
why  should  we  suppose  that  a  little  plain  Sense  should  do  Musick  any  more  harm, 
than  Virtue  does  a  Beautiful  Woman?  And  'tis  but  a  melancholy  Proof  of  its  Power, 
that  it  has  been  so  long  able  to  keep  Nonsense  In  countenance. 

"It  is  therefore  hoped,  that  this  Undertaking,  if  encourag'd,  may  in  time  reconcile 
Musick  to  the  English  Tongue.  And,  to  make  the  Union  more  practicable,  it  is 
humbly  moved,  that  it  may  be  allow'd  a  less  Inconvenience,  to  hear  the  Performer 
express  his  Meaning  with  an  imperfect  Accent,  than  in  Words,  that  (to  an  English 
audience)  have  no  Meaning  at  all :  And  at  worst,  it  will  be  an  easier  Matter  to  instruct 
two  or  three  Performers  in  tolerable  English,  than  to  teach  a  whole  Nation  Italian. 

"After  having  said  so  much  of  its  Absurdities,  it  will  be  but  just  to  allow  the  Excel- 
lencies of  the  Italian  Composition;  the  Manner  of  it  being  indisputably  superior  to 
all  Nations  for  a  Theatre:  And  'tis  hoped  this  Entertainment  will  want  nothing  of 
the  Italian,  but  the  Language." 

"Venus  and  Adonis"  was  first  performed  at  Drury  Lane,  as  indicated,  November 
22, 1715;  "Myrtillo"  in  1716.  ML  52.2.V47 

Venus  et  Adonis,  tragedie  en  inusique,  representee  par  I'Academie 
royalle  de  musique. 

Amsterdam,  chez  les  heritiers  d'Antoine  Schelte,  1699.  57  p.  {iTicl. 
front.).     IW"^. 

Prologue  and  five  acts.  Neither  the  author,  J.  B.  Rousseau,  nor  the  composer, 
Henri  Desmarets,  is  mentioned. 

First  performed  March  17,  1697,  as  indicated.  ML  50.2. V3D2 

—  Venus  et  Adonis,  tragedie.  Representee  par  I'Academie  rojale 
de  musique  I'an  1697.  Les  paroles  sont  de  M.  Rousseau  &  la  musique 
de  M.  Desmarets.     XLI.  opera.     Tome  VI. 

n.i.,n.d.  front.,  p.  1-62.  {Reaidl  genArql  des  opera,  Paris,  1703.) 
IJf^. 

Detached  copy.     Prologue  and  five  acta.  Schatz  2535 

Second  copy.    ML  48.R4 

—  Venus  und  Adonis,  in  einer,  sov/ohl  der  poesie,  als  musique  nach, 
frantzoesischen  opera,  nebst  «inem  teutschen  comiquen  vorspiel  auf 
dem  Hamburgiscnen  Schau-platz,  im  april  der  1725  sten  jahres  vorge- 
stellet. 

n.  %.,  n.  d.    \46]  p.     16^"^. 

With  "Vorbericht,"  in  which  Desmarets  and  Rousseau  are  mentioned.  Trans- 
lator unknown  to  Schatz.    French  and  German  text.  Schatz  2536 


1126  UBRARY  OF  CONGRESS 

Venus  et  Adonis,  ballet.    See  Michl's  II  trionfo  di  Clelia. 

Venus  et  Adonis.     See  Mondonville's  Les  festes  de  Paphos. 

Venus  et  Adonis,  entree  in  Quinault's  Les  amours  des  Dresses. 

La  vera  costanza.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  delle  Dame  nel  carnevale  dell'  anno  1776  .  .  . 
Roma,  Giovanni  Bartolomicchi,  1776.     12,  70  p.     16^"^. 

Three  acts.    By  Francesco  Puttini,  who  is  not  mentioned.     Publisher's  dedica- 
tion, argument,  scenario,  cast,  and  name  of  Pasquale  Anfossi  as  the  composer. 
First  performed,  as  indicated,  January  3,  1776.  ML  50.2.V33A5 

— *-  La  vera  costanza.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  di  viadella  Pergola  nella  primavera  del  MD(X)LaXVII 

Firenze,  Gio.  Risaliti,  1777.     48  p.     16'^. 

Three  acts.  By  Francesco  Puttini.  Name  of  Pasquale  Anfossi  as  composer,  but 
not  of  librettist,  and  cast  of  the  ballets,  but  not  of  the  opera.  Schatz  249 

—  La  vera  costanza ;  drama  giocoso  per  musica  da  rappresentarsi 
nel  Regio  Teatro. — Den  sande  bestandigned;  et  lystigt  syngespill  .  .  . 

Ki0lenhaim,  H.  J.  Graae,  1778.     163  p.     16^'"^. 

Three  acts.  Argument,  cast,  and  name  of  Pasquale  Anfossi  as  composer.  Danish 
text  faces  Italian. 

First  performed,  as  indicated  in  the  title,  January  31,  1778.  Schatz  250 

—  La  vera  costanza.  Dramma  giososo  per  musica.  Da  rappre- 
sentarsi nel  Piccolo  Ducal  Teatro  di  Bronsvic. 

Bronsvic,  n.  pull.,  1783.     159  p.     W"^. 

3?hree  acts.  Scenario  and  name  of  Anfossi  as  composer.  German  title-page, 
"Die  wahre  bestandigkeit,"  and  text  face  Italian.  Schatz  251 

—  1.1a  pescatrice  fedele.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  Giustiniani  di  San  Moisd  I'autunno  'dell'  anno 
1776. 

n.  i.,  n.  d.    2  p.  I.,  80  p.     17"-^. 

Three  acts.  Cast,  scenario  and  name  of  Pasquale  Anfossi  as  composer.  This  is 
practically  the  same  text  as  that  of  "La  vera  costanza,"  except  that  the  third  act  of 
"La  pescatrice  fedele  "has  six  scenes  only  instead  of  nine,  that  III,  1  is  different, 
shorter  and  without  the  aria  "N5,  non  andr^  I'indegna,"  and  that  the  scene  II,  11 
"Perdona  amato  Ernesto"  with  aria  "A  questo  bel  segno"  has  been  dropped. 

First  performed  at  Venice,  as  indicated,  November  20,  1776.  Schatz  248 

La  vera  costanza.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Real  Teatro  dell'  Ajuda  nel  felicissimo  giorno  natalizio  di  Sua 
Altezza  Serenissima  I'augusto  Don  Giovanni,  principe  del  Brasile  li 
13.  maggio  1789. 
\Lisbond\,  Stamperia  reale,  n.  d.     60  p.     Id^'^. 

Two  acts.  By  Francesco  Puttini,  who  is  npt  mentioned.  Scenario,  oast,  and 
name  of  Jeronymo  Francisco  de  Xiima  as  composer. 

First  performed  at  Lisbon,  Theatro  de  Salvaterra,  carnival,  1785.       Schatz  5617 

Die  veraechter  der  schoenen  oder  Der  wechsel  in  der  liebe.  Tr.  of 
Tritto's  Li  disprezzatori  delle  donne  o  sia  Le  vicende  amorose. 


OPERA  LIBRETTOS  1127 

Die  an  dem  gluecklichen  vermaehlungs-tage  Ihr.  Roemisch.  und 
Ungar.  Majestaet  koenig  Josephs  mit  der  Durchl.  printzessin  Wil- 
helmina  Ainalia  gebohrnen  hertzogin  zu  Braunschw.  und  Lueneb. 
vorgebildete  Verbindung  des  grossen  Hercules  mit  der  schoenen 
Hebe,  wie  solcbe  in  einem  singe-spiel  auf  dem  Hamburg.  Schau-platz 
aufgefuehret  worden. 

[Hamburg],  Nicolaus  Spieringlc,  1699.      Unpaged.     IS*^. 

Three  acts.  Historical  preface  by  the  author,  Christian  Heinrich  Postel  (not 
mentioned),  with  name  of  Reinhard  Keiser  as  composer. 

First  performed,  as  indicated,  February  14/24,  1699.  Schatz  5114 

Die  verdammte  staat-sucht,  oder  Der  verfuehrte  Claudius,  in 
einem  sing-spiel  auff  dem  Hamburgischen  Schau-platz  vorgestellet. 

Hamburg,  Nicolaus  Spieringlcs  wittwe,  1703.      Unpaged.     19"^. 

Three  acta.  Neither  the  author,  Hinsch,  is  mentioned,  nor  the  composer,  Rein- 
hard  Keiser.    Some  of  the  arias  have  Italian  text  only.  Schatz  5130 

—  Claudius,  roemischer  kaeyser,  in  einem  sing-spiele  auf  dem 
Hamburgischen  Schau-platze  vorgestellet  im  jahr  1726. 

[Hamburg],  mit  Stromerschen  schrifften,  n.  d.      Unpaged.     19"^. 

Three  acts.  Argument,  scenario.  Neither  the  author,  resp.  translator,  Hinsch, 
nor  the  composer,  Reinhard  Eeiser,  is  mentioned.  Some  of  the  arias  have  Italian 
text  added  to  the  German.  Noticeably  different  from  the  edition  of  1703.  For 
instance,  the  aria  "Wie  sich  die  blauen  flammen  entziinden"  has  been  dropped 
from  I,  i,  as  also  "Holde  goettin  glimmer  hertzen"  from  I,  2,  and  the  aria  in  I,  2, 
"Toedtliche  eyffersucht,"  nas  been  replaced  by  "Du  grausame  schoene." 

Schatz  5083 

Die  vereinigten  mit-buhler  oder  Die  siegende  Atalanta,  in  einem 
singe-spiel  auff  dem  Hamburgischen  Schau-platz  vorgestellet  1698. 
n.  %.,  n.  d.     Unpaged.     18'^. 

Prologue  and  three  acts.  German  version  by  Gottlieb  Fiedler  of  Agostino  Stef- 
fani's  "Le  rivale  concordi,"  text  by  Ortensio  Mauro.  As  such,  first  performed  at 
Hanover,  February  10,  1692,  not  1693  as  Riemann  incorrectly  states  in  his  Steffani 
bibliography.  Schatz  10035 

Die  vereitelten  raenke.     Tr.  of  Cimarosa's  Le  trame  deluse. 

Veremonda  rAmazzone  di  Aragona.  Drama  ridotto  in  nuova 
forma  dal  Signor  Luigi  Zorzisto,  per  esser  honorato  di  musica  dal 
Signor  Francesco  Cavalli  .  .  . 

Venetia,  Giuliani,  1652.    93  p.  {ind.front.)     IS""". 

Three  acts  with  prologue.  By  conte  Maiolino  Bisaccioni.  The  dedication  ia 
signed  by  Gio.  Battista  Balbi,  the  director  of  the  scenery,  machinery,  etc.,  is  dated 
Venice,  January  28,  1652,  and  deals  with  the  machines,  etc.,  only.  The  argument 
appears  on  p.  86-91. 

First  performed  at  Venice,  Teatro  a  SS.  Giovanni  e  Paolo,  fall  of  1652. 

Schatz  1742    • 

Die  verfolgte  unbekannte.  Tr.  of  Piccinni's  L'incognita  perse- 
guitata. 

Die  verfolgte  und  triumphirende  liebe.  A.  T.  of  Griiger's  Hass 
und  aussoehnung. 

Der  verfuehrte  Claudius..  A.  T.  of  Reiser's  Die  verdammte 
staatsucht. 


1128  LIBRARY  OP  CONGRESS 

Die  vei^ebliche  vorsicht.  A.  T.  of  F.  L.  Benda's  Der  barbier  von 
Seville. 

La  verg^e  del  sole.     A.  T.  of  the  ballet  Cora. 

La  vergine  del  sole.     Dramma  per  musica  da  rappresentarsi  nel 
Regio  Teatro  degl'   illustrissimi   Signori  Accademici  Awalorati  in 
Livorno  I'autunno  dell'  anno  1799. 
Livomo,  La  Societa  tipogrqfica,  n.  d.     S5  p.     17 \'^. 

Two  acts.  By  Francesco  Cas51i.  Prefatory  note,  argomento,  cast,  and  namee  qH 
composer,  Gaetano  Andreozzi,  and  author. 

First  performed  at  Palermo,  Teatro  di  Santa  Cecilia,  fall  of  1797.         Schatz  203 

La  vergine  del  sole.     A.  T.  of  Sarti's  L'Idalide. 

La  vergine  del  sole.  Dranuna  per  musica  di  Carlo  Lanfranchi 
Rossi,  gentiluomo  toscano,  tra  gli  Arcadi  =  Egesippo  Argolide.  Da 
rappresentarsi  nel  Real  Teatro  del  Fondo  di  Separazione  per  quart' 
opera  di  quest'  anno  1786  .  .  . 

Napoli,  n.  puhl,  1786.     48  p.     IjY"^. 

Two  acts.  Impresario's  dedication,  notice  to  the  public,  in  which  this  is  called 
the  last  opera  of  the  season,  argument,  scenario,  cast,  and  name  of  Giacomo  Tritto  as 
the  composer.  On  p.  41-^8,  argument  and  description,  without  name  of  the  com- 
poser of  the  music,  of  Giambattista  Giannini's  "II  Tancredi,  ballo  eroico  pantomimo." 
His  second  ballet  was  called  "L'infedelta  sorpresa."  Schatz  10464 

La  vergine  del  sole  o  sia  Alonzo  e  Cora,  ballet.  See  Prati's  L'Ifigenia 
in  Aulide. 

Die  verhinderte  grausamkeit.  A.  T.  of  the  ballet  Raoul,  herr  von 
Crequi.   , 

I  veri  amici.  O.  T.  of  Silvani's  Candace  libretto,  as  altered  by 
Lalli. 

I  veri  amici.  Secondo  drama  per  musica  da  rappresentarsi  in  occa- 
sione  che  si  festeggiano  le  augustissime  nozze  de  serenissimi  sposi 
Carlo  Alberto  principe  elettorale  di  Baviera  etc  e  Maria  Amalia, 
principessa  elettorale,  arciduchessa  d' Austria  etc  I'anno  MDCCXXII. 

Monaco,  Enrico  Teodoro  di  Collen.     70  p.     l^Y'^- 

Prologue  and  three  acts.  By  Francesco  Silvani  and  Domenico  Lalli.  Argument, 
cafit,  scenario,  and  name  of  Tommaso  Albinord  as  composer.  With  this  opera  were 
performed  his  intermezzi,  "  Vespetta  e  Pimpinone"  (see  his  Pimpinone). 

First  performed,  as  indicated,  October  24,  1722.  Schatz  99 

I  veri  amici.  Drama  per  musica  da  rappresentarsi  nel  Teatro  Tron 
di  S.  Cassano.     Nel  carnovale  dell'  anno  1713  ... 


jcm 


Venezia,  Marino  Rossetti,  1713.     70  p.     15*^ 

Three  acts.  Dedication,  argument,  cast,  scenario,  and  notice  of  the  publisher,  in 
whiclf  he  says: 

"L'idea  del  presente  drama,  fe  presa  dalla  famosa  tragedia  di  Mons.  Pietro  ComeliOj 
intitolata  I'Eraclio  ["H^raclius"],  ella  fu  appoggiata  ad  una  storia  egittia,  cangiatevi 
perci6  i  nomi.  Consegriato  poi  ad  altro  auttore  perche  la  verseggiasse,  questo  si  h 
creduto  in  debito  di  aggiugnervi  diverse  altre  scene  ancora  per  ridurre  I'opera  all  uso 
italiano,  chegusta  vedereadagiregl' interlocutori,  enon  solosentirli  parlare  .  .  ." 

This  note  does  not  seem  to  quite  bear  out  Wiel  and  Schatz,  who  attribute  the  text 
to  Francesco  Silvani  and  Domenico  Lalli.  They  both  consider  Andrea  Paulati  as 
the  composer.  Schatz  7786 


OPERA   LIBRETTOS  1129 

La  verita  in  cimento.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  di  S.  Angelo  rautuimo  dell'  anno  1720  .  .  . 
Venezia,  Marino  Rossetti,  1720.     4^  p.     15"^. 

Three  acts.  By  Giovanni  Palazzi,  who  is  not  mentioned.  Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Antonio  Vivaldi  as  the  composer. 

SCHATZ  10782 

La  veilta  nell'  inganiio.  O.  T.  of  Francesco  Silvani's  text  Attalo 
re  di  Bitinia.  * 

La  verita  nell'  inganno.  O.  T.  of  Silvani's  text  I  fratelli 
riconosciuti. 

La  verita  nell'  inganno.  Drama  per  musica,  da  rappresentarsi 
nella  Cesarea  Corte  per  il  nome  gloriosissimo  della  Sac.  Ces.  e  Catt. 
Keal  Maestk  di  Carlo  VI  .  .  .  L'anno  A^IDCCXVII. 
Vienna  d' Austria,  Gio.  Van  Ghelen,  n.  d.  95  p.  14h'^- 
Three  acts  and  licenza.  By  Francesco  Silvani,  who  is  not  mentioned,  but  who 
presumably  also  wrote  the  three  intermezzi  in  three  parts  of  ' '  Lisetta  ed  Astrobolo  " 
Ip.  84-95).  With  argument,  scenario,  and  name  of  the  composer,  Antonio  Caldaxa. 
The  ballet  music  was  composed  by  Niccola  Matteis. 

First  performed  at  Vienna,  Hoftheater,  November  4,  1717.  Schatz  1490 

La  verita  nell'  inganno.     Drama  per  musica  da  rappresentarsi  nel 
Teatro  Tron  di  S.  Cassano.     Nel  carnovale  dell'  anno  1713  .  .  . 
Venezia,  Marino  Rossetti,  1713.     72  p.     IW"^. 

Three  acts.  By  Francesco  Silvani,  who  is  not  mentioned.  Dedication  dated 
Venice,  February  7,  1713,  argument,  cast,  scenario,  name  of  Carlo  Francesco  Gas- 
parini,  and  notice  to  the  reader,  who  is  informed  that  the  libretto  was  written  eight 
years  previously,  remained  since  then  destined  for  performance,  but  now  had  to  be 
cut,  altered,  and  adapted  "all'  attiviti  de'  virtuosi,  che  devono  rappreeentarlo." 

Schatz  3587 

La  verita  raminga,  e'l  Disinganno.     Dram  mi  musicali.     Di  Fran- 
cesco Sbarra.     Di  nuovo  aggiunti  alia  moda. 
Venetia,  n.  puhl,  I664.     4I  p.     13'''^. 

On  p.  28-41:  "II  Disinganno.  [2]  Intremedi  rappresentati  in  musica."  This  is 
preceded  by  "La  veritk  raminga.  Balletto  in  musica"  in  two  parts  (p.  3-27),  but  it 
18  really  a  bizarre  opera  with  ballets.  The  argument  was  delivered  by  "II  Tempo" 
in  person,  who  "al  suono  d'una  bizarra  corrente  comparve  ballando  grave  d'anni 
non  meno,  che  leggiero  di  piedi  un  vecchio  alato  ...  No  composer  recorded  by 
AUacci,  Wotquenne,  or  Schatz.  ML  50.2.  V35 

Die  verkehrte  welt.     Tr.  of  Galuppi's  11  mondo  aUa  roverscia. 

Die  verkehrte  welt,  in  einer  opera  comique  auf  dem  Hamburgischen 
Schau-platze  vorgestellet.     Im  jahr  1728. 

[Hamburg],  Gedruckt  mit  Stromerschen  schrifften,  n.  d.  Unpaged. 
18^"^. 

Three  acts.  Cast,  names  of  Johann  Philipp  Praetorius  as  author,  of  Georg  Philipp 
Telenxann  as  composer  and  "Vorbericht,',  in  which  Praetorius  gives  as  his  source 
Le  Sage's  "Le  monde  reavers^,"  first  performed  1718.  The  capable  German  trans- 
lation then  made  could  not  be  traced.    Besides^  it  was  mostly  in  prose: 

"So  hat  der  uebersetzer  des gegenwaertigen  sing-spiels,  dem  herm  Le  Sage,  mutatis 
mutandis,  lediglich  folgen,  una  nach  dessen  wohlgetroffenen  original  seine  schlechte 
copie  einrichten  muessen."  Schatz  10267 

Der  verkleidete  liebhaber  oder  Der  verstellte  gaertner.  Tr.  of 
Philidor's  L'amant  d^guise. 


1130  LIBRARY  OF   CONGRESS 

Die  verlassene  Armide.     Tr.  of  Prati's  Armida  abbandonata. 

Die  verlassene  Dido.     Tr.  of 'Hasse's  La  Didone  abbandonata. 

Die  verlassene  Dido.     Tr.  of  Jommelli's  Didone  abbandonata. 

Die  verlassene  Didone.     Tr.  of  Fiorillo's  La  Didone  abbandonata. 

Der  verliebte  eige^sinn  oder  Nannerl  bei  hofe.  Tr.  of  Favart's 
parody  Le  caprice  amoureux. 

Der  verliebte  herr  doctor.     A.  T.  of  Dieter's  Der  schulze  im  dorfe. 

Der  verliebte  herr  doctor.     A.  T.  of  Lacher's  Der  schulze  im  dorfe. 

Der  verliebte  maler.  Tr.  of  Duni's  Le  peintre  amoureux  de  son 
modele. 

Die  verliebte  taenzerin.     Tr.  of  Cimarosa's  La  ballerina  amante. 

Gesaenge  aus  der  oper  Der  verliebte  werber,  in  zwey  aufzuegen. 
Die  musik  ist  von  Carl  Eule. 

Hamburg,  Peter  Christian  Heinrich  Rahe,  1799.     82  p.     15^"". 

Author  unknown  to  Schatz. 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  September  10,  1799. 

Schatz  2961 

Die  verliebten  bauernmaedchen.  Tr.  of  Borghi's  Le  villanelle 
innamorate. 

Die  verliebten  poltergeister.     Tr.  of  Mozart's  Gli  amanti  foUetti. 

Het  vemietigd  verdrag.     Tr.  of  Gaveaux  'Le  traite  nul. 

II  vero  amico.     A.  T.  of  the  ballet  Zeboschi  ed  Esing. 

II  vero  amore.  Da  cantarsi  nel  Teatro  privilegiato  da  S.  M.  C.  e 
Cat.  in  Vienna.  Nell'  anno  MDCCXXXVl.  Nel  mese  di  novem- 
bre. — Die  wahre  liebe  ... 

Wien,  Johann  Peter  v.  Ghelen,  n.  d.     67  p.     IS*^. 

Three  acts.    Argument.    German  text  faces  Italian.    Author  and  composer  not 
mentioned,  and  unknown  to  Schatz.    Not  recorded  by  von  Weilen.    Schatz  11377 

II  vero  amore.     A.  T.  of  Schuster's  Riibenzahl. 

II  vero  omaggio. 

Metastasio,  Poesie,  Parigi,  vedova  Quillau,  1756,  t.  vii,  [363]-376  p. 
16'^. 

One  act.  ML49.A2M42   • 

—  II  vero  omaggio.  Questo  breve*  dranunatico  componimento  fu 
scritto  in  Vienna  dall'  autore,  I'anno  1743,  e  cantato  con  musica  del 
Bonno  nel  Palazzo  del  giardino  di  Schonbrunn,  aUa  presenza  de' 
sovrani,  per  festeggiare  il  giorno  di  nascita  di  S.  A.  K.  I'arciduca 
Giuseppe,  poi  imperadore. 

[405]-416  p.    26'^.     (Pietro  Metastasio,  Opere,  t.  ii,  Parigi,  vedova 
Herissant,  1780.) 

One  act.  ML49.A2M44 


OPERA   LIBRETTOS  1131 

Die  verschwoerung  der  Odalikeii[ !]   oder  Die  loewenjagd.     Ein 

singspiel  in  drey  aufzuegen,  fuer  die  K.  K.  priv.  MarineUische  schau- 

buehne,  von  Karl  Friedrich  Hensler.     In  musik  gesetzt,  von  herm 

kapellmeister  Miiller. 

Wien,  mit  Goldhannschen  schriften,  1792.     91  p.     W^. 

Cast. 

Firet  performed,  as  indicated,  May  3,  1792.  Schatz  6974 

II  versUlo  della  liberta.     See  M.  Curzio. 

Der  verspottete  geitzige.     Tr.  of  Paisiello's  L'avaro  deluso. 

Der  versteUte  gaertner.  A.  T.  of  Philidor's  Der  verkleidete 
liebhaber. 

Die  verstellte  gaertnerin.     Tr.  of  Anfossi's  La  finta  giardiniera. 

Das  versteUte  kammerinaedgen.  Tr.  of  Galuppi's  La  finta 
cameriera. 

Der  verstellte  narr  aus  liebe.  Tr.  of  Sacchini's  II  soldato  per 
forza  impazzito  per  amore. 

Der  verstellte  Policare.     Tr.  of  Conti's  II  finto  Policaro. 

Die  verstellte  Teutsche.     Tr.  of  Hasse's  La  finta  Tedesca. 

Vertunno  e  Pomona,  ballet.     See  Anfossi's  La  forza  delle  donne. 

Vertunno  e  Pomona,  ballet.     See  Rust's  II  conte  Baccelone. 

Die  verwaiste  Amerikanerin.  Tr.  of  Gestewitz'  L'orfanella 
americana. 

Die  verwandelte  Dapline.     See  Handel's  Der  beglueckte  Florindo. 

Die  verwandelten  weiber,  oder  Der  teufel  ist  los.  Eine  komische 
oper  in  drey  aufzuegen.     Zweyte  auflage. 

Leipzig,  Dyclcische  hiichhaTidlung,  1772.     1^  p.     15^^. 

On  p .  [21,  the  note :  ' '  Nach  dem  Devil  to  pay  or  The  wives  metamorphosed  dea  herm 
Coffey."  On  October  6,  1752,  Christian  Fehx  Weiese's  two-act  "Der  teufel  ist  los 
oder  Die  verwandelten  weiber"  was  performed,  with  music  by  Johann  StaxLdfuss,  at 
Leipzig.  Later  on  Weisse  rewrote  the  text  in  three  acts,  after  Sedaine's  ' '  Le  diable  k 
quatre  and  reversed  the  title,  and  Johann  Adam  Hiller  revised  Standfuss's  music.  ' 
replaced  rejected  portions  of  it  by  music  of  his  own,  and  composed  all  new  matter  in 
the  text.  The  libretto  of  1772  mentions  neither  author  nor  composers.  In  the  revised 
three-act  version  this  practically  first  German  comic  opera  was  first  performed  at  Koch's 
Theater  am  Rannstaedter  Thore,  Leipzig,  May  28,  1766  (Calmus).         Schatz  4732 

—  Arien  und  gesaenge  aus  der  komischen  oper  Die  verwandelten 
weiber,  oder  Der  teufel  ist  los,  in  drey  aufzuegen.  Nach  dem 
"  Devil  to  pay  or  the  Wives  metamorphosed  "  des  herrn  Coffey. 
Die  musik  ist  von  Standfuss  und  Hiller. 

Riga,  Julius  Conrad  Daniel  Mueller,  1794<^    16  p.     IS*^. 

Schatz  4732a 


1132  LIBBABY   OF   CONGBESS 

Die  verwandelten  weiber — Continued. 

—  Die  verwandelten  weiber  oder  Der  teufel  ist  los.     Eine  komische 

oper  in  drey  aufzuegen. 

C.  F.  Weisse,  Komische  opem,  Carlsruhe,  1778,  th.  ii,  5  p.  I.,  IO4  p. 

Text  preceded  by  the  dedicatory  poem  to  Anna  Amalia  duchess  of  Saxe- Weimar 
and  Eieenach,  as  protectress  of  German  dramatic  and  histrionic  art.  On  p.  [21  the 
note :  ' '  Nach  dem  Devil  to  pay,  or,  the  Wives  metamorphosed  dea  herm  Coffey . ' '  With- 
out names  of  Standfuss  and  Killer.  ML  49.A2W2 

Die  verwandelten  weiber.     Tr.  of  Portugal's  Le  donne  cambiate. 

Verwirrung  durch  aehnlichkeit.  Tr.  of  Portugal's  Le  confusioni 
della  somiglianza. 

v^H  Vespasiano.     Drama  per  musica  nel  nuovo  Teatro  Grimano  di 
S.  Gio.  Chrisostomo.     L'anno  1678.     Di  Giulio  Cesare  Corradi  .  .  . 
Venetia,  Francesco  NicoUni,  1678.     72  p.     IJ^Y"^. 

Three  acts.  Author's  dedication,  notice  to  the  reader  with  name  of  Carlo  Palla- 
vicino  as  the  composer,  argument,  and  scenario.  Schatz  7732 

Vespetta  e  Milo.  Intermezzi  by  A.  Scarlatti  (I-II),  and  Conti  (III) 
in  Lotti's  opera  "  Giove  in  Argo.  Schatz  5719 

[Vespetta  e  Milo]  Intermedi  cantati  dalli  Signori  Livia  Constantini 
la  Polachina,  e  Lucrezio  Borsari,  ambi  virtuosi  della  Maestk  Augusto 
Secondo  re  di  Polonia  .  .  . — Traduction  des  intermedes  italiens  en 
franyois  .  .  . 

Bresde,  Jean  Riedel,  1717.     31  p.     W"^. 

A  notice  to  the  reader  tells  us  that  the  first  and  second  intermezzo  were  by  Alee- 
Bandro  Scarlatti,  the  third  by  P"'rancesco  [Bartolommeo]  Conti;  also  that  the  text  of 
the  first  two  was  by  Silvio  Stampiglia,  of  the  third  by  baron  Francesco  Ballerini 
and  that 

"Le  arie  che  sono  tradote  in  francese,  di  Vespetta  e  di  Milo,  si  poesono  cantare 
come  le  italiane." 

Not  mentioned  by  Dent,  unless  I  am  much  mistaken.  The  libretto  of  these 
intermezzi  forms  also  part  of  that  to  Antonio  Lotti's  opera  "Giove  in  Argo,"  Dresda, 
(1717).     (Unpaged.     19cm.    ^See  Schatz  5719.) 

First  performed  at  Dresden,  Schlosstheater  ("Sala  di  Ridotto"),  October  25,  1717 
(Schatz),  though  the  dedication  in  the  libretto  of  "Giove  in  Argo"  is  dated  Novem- 
ber, 1717.  Schatz  9522 

Vespetta  e  Pimpinone.     L.  T.  of  Albinoni's  Pimpinone. 

Vespetta  e  Valasco,  intermezzi.     See  Stratonica. 

La  veuve.     Entr6e  in  Mouret's  Les  festes  de  Thalie. 

La  veuve  coquette.     Entree  in  Mouret's  Les  festes  de  Thalie. 

La  veuve  indecise.     Parody  of  La  veuve  coquette. 

II  viaggiator  ridicolo,  dramma  giocoso  per  musica.  Da  rappresen- 
tarsi  nel  Teatro  privileggiato  di  Vienna  neU'  anno  1766. 

[Vienna],  GTielen,  n.  d.     56  p.     WY"^. 

Three  acts.  Cast,  scenario,  and  names  of  Goldoni  as  the  author,  and  of  Florian 
Leopold  Gassmann  as  the  composer. 

First  performed  as  indicated,  Kaemthnerthortheater,  May  25.  1766. 

Schatz  3618 


OPERA   LIBRETTOS  1133 

n  viaggiator  ridicolo.     Dramma  giocoso   da  rappresentarsi   nel 
Teatro  Giustinian  di  S.  Moisd  il  earnovale  dell'  anno  1761. 
Venezia,  Modesto  Fenzo,  1761.     58  p.     14'='^. 

Three  acts.  By  Goldoni,  who  is  not  mentioned.  Cast,  scenario,  and  name  of 
Salvatore  Perillo  as  the  composer.  Schatz  7922 

II  viaggiatore  ridicolo.  Dramma  di  tre  atti  per  musica.  Rap- 
presentato  per  la  prima  volta  in  Parma  nel  earnovale  dell'  anno 
MDCCLVII  con  musica  del  Mazzoni. 

Carlo  Goldoni^  Opere  teatrali,  Venezia,  Zatta  efigli,  1788-95,  t.  Jfi, 
\_5\-56  p.     18'=^.  PQ 

II  viaggiatore  ridicolo.  Dramma  giocoso  per  musica  del  Signor  dot- 
tor  Carlo  Goldoni  da  rappresentarsi  nel  magnifico  Teatro  dell'  illustris- 
sima  Accademia  degli  Erranti  di  Brescia  per  la  fiera  di  agosto  dell' 
anno  1771  .  .  . 

Brescia,  Fratelli  Pasini,  n.  d.     55  p.     17*^^. 

Three  acta.  Dedication,  cast,  scenario,  and  name  of  the  composer,  Pietro  Cara- 
manica.  .Schatz  1619 

II  viaggiatore  ridicolo.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  Teatro  del  Bairo  Alto  di  Lisbona  nell'  estate  del  corrente 
anno  1770.     Poesia  del  rinomato  avvocato  Carlo  Goldoni  .  .  . 

Lishona,  Stamperia  reale,  n.  d.     72  p.     l^Y'^. 

Three  ^cts.  Dedication,  cast,  scenario,  and  name  of  Giuseppe  Scolari  as  com- 
poser, except  for  the  arias:  "Quant'  h  buono  il  cioccolato"  (I,  1),  "Se  placate  un  di 
vi  miro"  (I,  3),  "Vous  ^tes  le  mon  cher  coeur"  (I,  6),  "S6  che  gl'uomini  han  per 
U60  "  (I,  8),  "lo  sono  un  uqmo  docile "  (II,  1),  "Di  sdegno  m'accende  (II,  2),  "Astolfo 
poveretto"  (II,  4),  "lo  conosco  d'ogni  amante"  (II,  5),  "Non  sperar  ch'io  faccia 
pace  "  (III,  4).    The  composer  of  these  is  not  mentioned.  ML  50.2.V42S2 

I  viaggiatori.  Commedia  per  musica  di  Pasquale  Mililotti  da  rap- 
presentarsi nel  Teatro  de'  Fiorentini  nella  primavera  del  corrente 
anno  1776. 

Napoli,  n.  pull.,  1776.     48  p.     15^"^. 

Three  acts.  Cast  and  name  of  Niccol6  Piccinni  as  composer.  Florimo  and  Schatz 
state  that  the  opera  had  been  previously  performed  there  in  the  fall  of  1775. 

Schatz  8134 

I  viaggiatori  o  siano  I  matrimoni  in  cantina.  Dranmia  giocoso  per 
musica  da  rappresentarsi  nel  nuovo  Teatro  de'  nobili  Signori  fratelli 
Prini  della  citt^  di  Pisa  il  carnevale  dell'  anno  1786. 

Pisa,  Francesco  Pieracdni,  1786.     4^  V-     ^7^'^'^. 

Two  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Cast  and  name  of 
Michele  Neri  Bond!  as  the  composer.    ("La  musica  tutta  nuova.")      Schatz  7079 

I  viaggiatori  areostatici,  ballet.    See  Pugnani's  Demofoonte. 

I  viaggiatori  felici.  Dramma ,  giocoso  per  musica  da  rappresen- 
tarsi nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  pull.,  1781.     163  p.     15^"^- 

Two  acts.  By  FilipfH)  Livigne,  who  is  not  mentioned.  Name  of  Anfossi  as 
composer.    German  title-page,     Die  gluecklichen  reisenden,"  and  text  face  Italian. 

First  performed  at  Dresden  on  November  21,  1781;  at  London  in  the  same  year 
(Schatz),  and  at  Venice,  Teatro  di  S.  Mois^,  fall  of  1780.  Schatz  255 


1134  LIBRARY  OF   CONGRESS 

I  viaggiatori  felici — Continued. 

—  I  viagg^tori  felici ;  a'  new  comic  opera,  in  two  acts.  As  per- 
formed at  the  King's  Theatre  in  the  Ha^-Market.  The  music 
entirely  new,  by  the  celebrated  Signor  Anfossi. 

London,  E.  ReyneU,  1782.     68  p.     17 Y"^. 

Two  acta.    By  Filippo  Livigni,  who  ia  not  mentioned.  Schatz  254 

—  I  viagg^iatori  feHci.  Dramxna  giocoso  per  musica.  Da  rappre- 
sentarsi  ne'  Teatri  privilegiati  di  Vienna  I'anno  1783. 

[Vienna],  Giuseppe  Noh.  de  Kurzbeck,  (1783).     173  p.     16^"^. 
Two  acts.    Name  of  Anfossi  as  composer.    German  title,   "Die  gluecklichen 
reisenden,"  and  text  face  Italian. 

F'iret  performed  on  December  29,  1783,  as  indicated  in  the  title.         Schatz  256 

La  viaggiatrice  o  sia  Le  circostanze  imbarazzanti,  ballet.  See  Bian- 
chi's  Briseide. 

Le  vicende  amorose.  Dramma  giocoso  per  musica  del  Timido  da 
rappresentarsi  nel  Teatro  Giustimani  di  S.  Mois^  I'autunno  dell' 
anno  1760. 

Venezia,  Modesto  Fenzo,  1760.     59  p.     l^Y"^. 

Three  acts.  Unknown  author's  preface^  cast,  scenario,  and  name  of  Ferdinando 
Giuseppe  Bertoni  as  composer.  Schatz  928 

Le  vicende  amorose.  O.  T.  of  Tritto's  Li  disprezzatori  delle  donne 
o  sia  Le  vicende  amorose  and  of  his  I  raggiri  d'amore. 

Le  vicende  d'amor  e  di  fortuna.     Da  rappresentarsi  in  musica  nel 
Teatro  di  San  Fantino  il  carnovale  dell'  anno  1709. 
Venetia,  Marino  Rossetti,  n.  d.     ^6  p.     IJfP^. 

Three  acts.  Argument,  scenario.  Author  ^Giov.  Domenico  Pallavicino,  text  origi- 
nally called  "Tiberio  imperadore  d'Oriente  )  and  composer  (unknown  to  Schatz) 
not  mentioned.  Schatz  11378 

Le  vicende  d'amore.     O.  T.  of  the  libretto  L'impostura  poco  dura. 

Le  vicende  d'amore.     Dramma  in  musica  a  cinque  voci.     Da  rap- 
presentarsi ne'  Teatri  privilegiati  di  Vienna  I'anno  1784. 
Vienna,  Giuseppe  noh.  de  Kurzheck,  n.  d.     [9]-70  p.     17*^^, 
Two  acts.    Author  not  mentioned  and  unknown  to  Schatz.     Pietro  Gugliemi  is 
mentioned  as  the  composer.     On  p.  1-8  a  "Capitolo  burlesco  sopra  lo  studio." 
First  performed,  as  indicated,  June  16, 1784;  at  Rome,  Teatro  Valle,  carnival,  1784. 

Schatz  4278 

Le  vicende  della  sorte.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S,  A.  Serenissima  il  Signor  principe  di  Carignano 
nell'  autunno  dell'  anno  MDCCLXIV. 

Torino,  Gaspare  Bayno,  n.  d.     46  p.     16*^. 

Three  acts.  The  author,  Giuseppe  Petrosellini,  is  not  mentioned.  Cast  and  name 
of  Niccol6  Piccinni  as  the  composer. 

First  performed  at  Rome,  Teatro  Valle,  January  3,  1761.  Schatz  8154 

—  Le  vicende  della  sorte. ,  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Real  Teatro  dell'  Ajuda  in  occasione  di  festeggiarsi  il 
giorno  natalizio  del  fedelissima  monarca  D.  Giuseppe  I.  .  .  .  nel  di 
6  giugno.     MDCCLXVI. 

Lishona,  Michele  Maneschal  da  Costa,  n.  d.     63  p.     16'^^. 
Two  acts.    By  Giuseppe  Petrosellini,  who  is  not  mentioned.    Cast,  scenario,  and 
name  of  Niccol6  Piccixuii  as  the  composer.  Schatz  8143 


OPEBA   LIBRETTOS  1135 

Le  vicende  della  sorte — Continued. 

—  Der  glueckswechsel,  oder  Mutter  Natur  in  ihren  kindern.  Ein 
komisches  singspiel  in  zwey  aufzuegen,  nach  Goldoni  und  Riccini[!J, 
von  Bock. 

n.  L,  n.  d.     78  p.     16'"^. 

Is  no.  I  in  liter  theil  of  his  "Komische  opem  der  Italiener,"  Leipzig,  1782. 

First  performed  at  Leipzig,  Theater  b.  Rannstadter  Thore,  June  30,  1780. 

SCHATZ  8120 

Victor,  hertzog  der  Normannen.     Opera. 

n.  i.,  n.  d.      Unpaged.     16\'^™'. 

Three  acts.  Argument.  Neither  the  author,  Hinsch,  is  mentioned,  nor  the  com- 
posers, Johann  Christian  Schieferdecker  (act  I),  Johann  Mattheson  (act  II),  and 
Georg  Bronner  (act  III). 

First  performed  at  Hamburg,  Theater  beim  Gansemarkt,  1702.  Schatz  9605 

Li  viecchie  coffejate.  Commeddeia  pe  museca  de  col'  Antuono 
Feralintisco  pe  lo  triato  de  li  Shiorentine  nchist'  anno  1710  .  .  . 

Nuenezia,  pe  Varede  de  Casparra  Stuorto,  1710.     4  V-  ^-i  ^^  V-     l^Y^. 

Three  acts.  By  Francesco  Antonio  Tulli,  who  is  not  mentioned.  Dedication, 
cast,  scenario,  and  notice  to  the  reader,  in  which  this  is  said  about  the  anonymous 
and  unknown  composers : 

"Fi  ntennere  a  li  benigne  lejeture,  ca  chi  ^  puosto  nmuseca  stk  commedeja  e  no 
povero  sorece  nfus'  all'  uoglio  no  scuro  prinzipiante,  e  no  scolariello  de  chillo  gra' 
mastrone,  ch'  h^  fatto  la  primma,  e  farr^  la  terza;  ed  e  uno  nzomma,  c'hi  la  varva 
peccerella,  e  perz6  e  sseno  scarzo  ancora  de  fonnamiento,  mmereia  d'eesere  compatuto, 
si  non  se  vedea  16  cose  soje  tutta  la  regola,  e  tutta  la  mellonia,  che  nc'abbesogna  .  .  ," 

Schatz  11381 

Lo  viecchio  avaro.  Commedia  pe'  museca,  de  col'  Antuono  Fera- 
lintisco. Da  rappresentarese  a  lo  Triato  de  li  Shiorentine  'nchisto 
carnevale  de  ll'anno  1727  .  .  . 

Napole,  A  spese  de  lo     mpresario,  1727.     60  p.     14i'^^- 
Three  acts.     By  Francesco  Antonio  Tulli.    Scenario,  notice  to  the  reader,  cast, 
name  of  Giuseppe  de  Majo  as  composer,  and  impresario's  dedication,  according  to 
which  the  carnival  season  was  to  close  with  this  opera.  ML  50.2,V41M2 

La  vieillesse  ou  L'amour  enjoue.  Entree  in  Campra's  Les  ages, 
ballet. 

La  vieillesse  d' Annette  et  Lubin,  op6ra.  En  un  acte  et  en  prose, 
mdl6  de  chant  par  M.  A.  L.  d'Antilly.  R^pr6sent6,  pour  la  premiere 
fois,  par  les  Comediens  italiens  ordinaires  du  roi,  le  premier  aoflt  1789. 

Paris,  Prault,  1790.     47  p.    21^^. 

Cast.    The  composer,  Pierre  David  Augustin  Chapelle,  ia  not  mentioned. 

ML  50.2.V45C3 

Le  vieux  chateau,  ou  La  rencontre,  com6die  en  un  acte,  m^l^e  de 
chants;  repr^ent6e  pour  la  premiere  fois  sur  le  Th6S.tre  Feydeau, 
le  25  ventose  an  6  [March  15,  17981;  paroles  du  citoyen  Alex.  Duval, 
musique  du  citoyen  Domenico  Delia  Maria. 
Paris,  Au  hureau  dramatique,  an  VI.  [1798-99]    4^  V-    21 '^^. 

ML  50.2.V49D2 

Le  village.     Entree  in  Boismortier's  Les  voyageurs  de  ramoiu*. 


1136  LIBBABY   OF   CONGRESS 

The  village  maid ;  an  opera.     In  three  acts.     By  a  young  lady  .  .  . 

London,  Printed  for  the  authoress,  hy  WiUiam  Innes,  1792.  4  V-  ^-f 
90  p.    20^"^. 

List  of  Bubscribere  and  Advertisement.  Neither  authorees,  compoeei;,  or  per- 
formance recorded  by  Clarence.  Longe  220 

The  village  opera.  As  it  is  acted  at  the  Theatre-Rmral,  by  His 
Majesty's  servants.  Written  by  JVIr.  Johnson  ...  To  which  is 
added  the  musick  to  each  song. 

London,  J.  Watts,  1729.  3  p.  l,  70  p.  20^^.  {Bound  with  Gay, 
John.     The  beggar's  opera.    London,  1728.] 

Three  acts.  Ballad  opera.  Cast  and  table  of  the  53  songs,  followed  by  a  one-page 
list  of  "Books  lately  publish 'd  and  printed  for  J.  Tonson  and  J.  Watts."  The  cor- 
responding airs  are  printed  in  the  text  with  their  titles.  Air  40  ("Softer  than  the 
breath  of  May")  is  a  "Minuet,  by  Mr.  Fairbank." 

First  performed  at  Covent  Garden,  as  indicated,  February  6, 1729.    ML  50.5.B3 

—  The  village  opera.     As  it  is  acted  at  the  Theatre-Royal,  by  His 
Majesty's  servants.     Written  by  Mr.   Johnson  ...     To  which  is 
adaed  the  musick  to  each  song. 
London,  J.  Watts' 1729.     4  p.  l,  76  p.     20^^^. 

Three  acts.  Same  cast  and  same  book  list,  but  the  table  of  contents  now  has  63 
not  53  songs  and  on  recto  of  p.  1.  4  appears  "A  new  air":  "If  'tis  true,  that  once," 
sung  by  Miss  Raftor  in  II,  3.  The  Minuet  by  Mr.  Fairbank"  has  now  become 
Air  45.  ML  50.5.V45 

Second  copy  of  this  edition,  but  of  an  issue  which  has  this  characteristic  misprint 
in  the  heading  of  the  book  list :   "O  OKS  lately  publish'd  .  .  ."  Longe  32 

The  village  wedding:  or,  The  faithful  country  maid.     A  pastoral 
entertainment  of  music.     As  it  is  performed  at  the  Theatre-Royal 
at  Richmond. 
London,  M.  Hingeston,  1767.     35  p.     W"". 

Two  acts.  Cast.  By  James  Love,  who  is  not  mentioned.  Composer  unknown 
to  Schatz.  Longe  198 

La   villana    riconosciuta.     Commedia    per  music  a    di    Giuseppe 

Palomba  da  rappresentarsi  nel  Teatro  di  S.  Ferdinando  a  Ponte 
nuovo.^ 

Napoli,  Domenico  Sangiacomo,  1791.     4^  p.  15''^. 

Two  acts.  Cast  and  name  of  Cimarosa  as  the  composer.  On  p.  2  a  notice  to  the 
effect  that  two  arias,  one  of  them  "Rammenta  alfin  cni  sono"  (1, 10),  were  changed 
"per  comodo  de'  cantanti"  and  that  "perserbare  la  brevity  si  tralascia  di  rappresen- 
tare  I'atto  3."    On  p.  48  the  notice: 

"Si  avverte  che  mancava  la  .composizione  della  musica  dell'  aria  di  Mad.  nell 
atto  secondo  ecena  x,  p.  38  ("Misero  pargoletto")  e  si  6  costituita  la  seguente:  "Cfie 
smania  .  .  .  che  affanno.    Larabbiam'opprime." 

First  performed  at  Naples,  Teatro  del  Fondo,  1783.  Schatz  1987 

La  villanella  incostante.  Dramma  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustiniani  di  S.  Moise  I'autunno 
dell'  anno  1773. 

Venezia,  Antonio  Graziosi,  1773.     60  p.     17 Y"^. 

Three  acts.  Cast,  scenario,  and  name  of  Johann  Gottlieb  Naumann  as  the  com- 
poser. Schatz  7058 


OPERA   LIBRETTOS  1137 

La  viUanella  incostante — Continued. 

—  Le  nozze  disturbate.  Dramma  giocoso  per  musica  del  SIot. 
Giovanni  Bertati  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  S.  E. 
di  Sassonia. 

Dresda,  n.  puhl,  Vanno  177 4.     I4S,  [1]  p.     WY"^- 

Three  acts.  Johann  Gottlieb  Naumann  is  mentioned  as  the  composer.  On  the 
additional  page  the  remark: 

"Poich^  nel  finale  dell'  atto  eecondo  h  stato  cangiato  il  Brindisi  fatto  per  la  cittll 
di  Venezia,  ei  avverte  per  il  rispetto  dovuto  al  celebre  autore,  che  la  variazione  h 
seguita  per  adattarei  alle  circostanze  di  questo  teatro." 

German  title  page,  "Die  gestoehrte  hochzeit,"  and  text  face  Italian. 

First  performed  in  1774,  as  indicated.  Schatz  7059 

La  viUanella  ingentilita.  Conunedia  per  musica  di  Saverio  Zini 
da  rappresentarsi  nel  Nuovo  Teatro  de'  Fiorentini  per  terza  opera 
del  corrente  anno  1779. 

Nayoli,  n.  puhl,  1779.     68  p.     IS""^. 

Three  acts.    Cast  and  name  of  Pietro  Guglielmi  as  the  composer. 

First  performed,  as  indicated,  November  8,  1779.  Schatz  4292 

—  Li  fratelli  Pappamosca.  Dramma  giocoso  per  musica  da  rap- 
presentarsi nel  Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno 
1786. 

[Lisbon],  Stamperia  reale,  n.  d.     83  p.     15^'^. 

Three  acts.  Cast,  scenario,  and  name  of  Pietro  Guglielml  as  the  composer.  This 
is  Zini's  "La  viUanella  ingentilita"  with  noticeable  differences.  For  instance,  I,  3, 
has  now  the  aria  "Fiumicel,  soave  erbetta  "  instead  of  "Dormiva  il  mio  pastore  un  di 
nel  prato"  and  II,  5,  now  begins  "Fratello  Sesto  mio,  mi  dice  il  core"  instead  of 
"Oh  che  fussi  ammazzata."  Schatz  4283 

La  viUanella  rapita.     A.  T.  of  the  ballet  Le  vendemmie. 

La  viUaneUa  rapita.  Dranmia  giocoso  per  musica  di  Giovanni 
Bertati  da  rappresentarsi  nel  Teatro  Giustmiani  in  San  Mois6  I'au- 
tunno  dell'  anno  1783  .  .  . 

Venezia,  Modesto  Fenzo,  1783.    64.  p.     17^"^. 

Two  acts.  Impresario's  dedication,  cast,  scenario,  and  name  of  compoeer,  Fran- 
cesco Blanch i.  The  two  ballets  were  called  "La  pastorella  fedele"  By  Federico 
Terrades,  music  ("tutta  nuova")  by  Mattia  Stantingher  [Stabingher]  and  "II  bar- 
biere  di  Si  viglia,  ballo  comico  "  by  the  same  author,  the  composer  not  being  mentioned . 

Schatz  986 

—  La  viUaneUa  rapita.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  alia  Scala  I'autunno  dell'  anno  1785  .  .  . 

Milano,  Gio.  Battista  Bianchi,  n.  d.     64  p.     17'^^. 

Two  acts.  Cast,  name  of  Francesco  Bianchi  as  composer,  scenario,  and  dedication, 
according  to  which  the  "vera  malattia  della  principale  attrice,"  the  "Signora  Giacinta 
Galli  prima  donna  assoluta  senza  vicenda,  had  delayed  the  performances  several 
days.  They  began  in  September.  Bertati  is  not  mentioned.  With  the  opera  were 
performed  Sebastiano  Gallet's  ballets,  "L'amor  vincitore  oesia  Diana  ed  Endimione" 
and  "Le  pazzie  amorose,"  the  composers  of  the  music  not  being  mentioned. 

ML  48.A5    v.  12 

—  La  viUaneUa  rapita.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Teatro  di  S.  A.  E.  di  Sassonia. 

Dresda,  n.  i.,  1785.     135  p.     15^"^. 

Two  acts.  With  name  of  Francesco  Bianchi  as  composer.  German  title-page, 
"Das  entfuehrte  bauemmaedchen,"  and  text  face  Italian. 

First  performed  at  Dresden  in  1785.  Schatz  987 

72251 "  —VOL  1—14 72 


1138  LIBRARY   OF   CONGRESS 

La  villanella  rapita — Continued. 

—  La  villanella  rapita ;  a  comic  opera,  in  two  acts,  as  performed  at 
the  Theatre  Royal  in  the  Hay  Market.  The  music  by  Signor  Bianchi, 
under  the  direction  of  Signor  Federici. 

London,  H.  ReyneU,  1790.     71  p.     19^"^. 

Two  actfl.    The  author,  Bertati,  is  not  mentioned. 

Firet  performed  1790,  as  indicated.  ML  48.M2N 

—  La  villaneUa  rapita,  osia,  Le  gelosie  di  Pippo :  Dramma  giocoso 
per  musica  da  rappresentarsi  nelRegio  Teatro  di  S.  Carlo,  della 
rrincipessa  la  primavera  dell'  anno  1796. 

Lishona,  Taddeo  Ferreira,  1796.     1S5  p.     i-^i'="». 

Two  acts.  Cast,  argument,  scenario,  and  name  of  the  "celebre  Sig.  Adamo[!] 
Bianchi "  as  composer — of  course,  an  error  for  Francesco  Bianchi.  The  text  is  that 
by  Bertati.  Between  the  acts  was  performed  "La  villanella  socorsa,"  ballet  by 
Luigi  Chiaveri,  the  composer  not  being  mentioned.    Portuguese  text  faces  Italian. 

SCHATZ  990 

—  La  fedelta  tra  le  selve.  Dramma  giocoso  per  musica  a  sette 
voci  da  rappresentarsi  nel  Teatro  alia  Valle  degl'  illmi  Sigg.  Capranica 
neir  anno  1789. 

Roma,  Michele  PuccineUi,  n.  d.     58  p.     15^^. 

Two  acts  Cast  and  name  of  the  composer,  Francesco  Bianchi,  but  not  of  the 
librettist,  Giovanni  Bertati.  Four  arias,  marked  with  an  asterisk,  were  by  Valentino 
Fioravanti,  as  stated  in  the  note:  "Che  giomo  di  contento"  (I,  7),  "Care  selve 
amiche  piante"  (II,  15),  etc.    The  text  is  that  of  "La  villanella  rapita." 

SCHATZ  992 

La  villanella  socorsa,  ballet.     See  Bianchi's  La  villanella  rapita. 

Le  villanelle  astute.     Dramma  giocoso  per  musica  da  rappresen- 
tarsi nel  nobile  Teatro  di  S.  Samuele  il  carnovale  dell'  anno  1786. 
Venezia,  Modesto  Fenzo,  1786.     45,  [1]  p.     18'='^. 

Two  acts.  By  unknown  author.  Cast,  scenario,  and  name  of  Franesco  Bianchi, 
as  composer.  The  ballets,  both  by  Eusebio  Luzzi,  the  composers  not  being  men- 
tioned, were  called  "Giulietta  e  Romeo,  ballo  tragico  in  cinque  atti  "  and  "II  geloso  in 
cimento."  Schatz  1010 

Le  villanelle  innamorate.     Azzione  comica  per  musica  da  rappre- 
sentarsi nel  Piccolo  Teatro  di  S.  A.  S.  E.  di  Sassonia  I'anno  1778. 
Dresda,  NeUa  Stamperia  elettordle,  n.  d.     79  p.     16^'^. 

Two  acts.    By  unknown  author.    German  title-page, ' '  Die  verliebten  Bauemmaed- 
chen,"  and  text  face  Italian.    Giov.  Battista  Borghi  is  mentioned  as  composer. 
First  performed  as  "L'amore  in  campagna"  at  Vienna,  Hoftheater,  June  19,  1774. 

Schatz  1238 

II  villano  geloso.     O.  T.  of  Bertati's  text  I  finti  eredi. 

II  villano  geloso.  Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Teatro  Giustiniani  di  S.  Mois6  I'autunno  dell'  anno  1769  .  .  . 

Venezia,  Modesto  Fenzo,  1769.     48  p.     16Y'^- 

Three  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Impresario's  dedica- 
tion, scenario,  and  name  of  Baldaseare  Galuppi  as  composer.  Schatz  3472 


OPERA   LIBRETTOS  1139 

II  villano  geloso.     Dramma  giocoso  per  musica  da  rappresentarsi 
nel  Piccolo  Teatro  di  S.  A.  E.  di  Sassonia. 
Dresda,  n.  puhl,  1770.     125  p.     W"^. 

Three  acts.  By  Giovanni  Bertati,  who  is  not  mentioned.  Scenario  and  name  of 
Johann  Gottlieb  Naumann  as  the  composer.  The  cast  has  been  added  in  ink  by  a 
contemporary  hand.  German  title  page,  "Der  eyfersuechtige  bauer,"  and  text  face 
Italian. 

First  performed  1770,  as  indicated.  Schatz  7060 

La  ville.     Entree  in  Boismortier's  Les  vogages  de  1' amour. 

Le  viUeggiatrici  ridicole.  Draroma  comico  per  musica  d' Antonio 
Bianchi  Veneziano  da  rappresentarsi  nel  Teatro  Tron  di  S.  Cassiano 
nell'  autunno  delF  anno  1765. 

Venezia,  Modesto  Fenzo,  1765.     59  p.     l^Y"^- 
Three  acts.     Cast,  scenario,  and  name  of  the  composer,  Antonio  Boroni. 

Schatz  1253 

La  viUegg^atura.     A.  T.  of  Cimarosa's  L'apparenza  inganna. 

La  villegg^atura.  Dramma  giocoso  per  musica.  Da  rappresentarsi 
nel  Teatro  di  S.  A.  Serenissima  il  Signor  principe  di  Cangnano  nell' 
autunno  dell'  anno  MDCCLXIV. 

Torino,  Gaspare  Bayno,  n.  d.     55  p.     15^^. 

Three  acts.  Cast.  Neither  Niccol5  Picciimi,  the  composer,  nor  the  author 
(unknown  to  Schatz)  is  mentioned. 

First  performed  at  Bologna,  Teatro  Formagliari,  carnival,  1764.         Schatz  8155 

La  villegg^tura  di  Mestre.  Farsa  per  musica  da  rappresentarsi 
dai  Comici  del  Teatro  Tron  in  S.  Cassiano  nel  carnovale  dell'  anno 
1770  .  .  . 

Venezia,  Gio.  Battista  Casdli,  n.  d.     4^  p.     15'^'^. 

Two  acts.  Dedication  signed  by  the  author,  Giovanni  Dolfin,  and  name  of  the 
composer,  Salvatore  Perillo.  Schatz  7923 

La  villeggiatura  in  scoxnpiglio  ossia  II  falso  amico,  ballet.  See 
G.  Giordani's  Cajo  Mario. 

I  viluppi  amorosi.  Conmiedia  per  musica  di  due  atti  di  Giuseppe 
Mililotti.  Da  rappresentarsi  nel  Teatro  Nuovo  sopra  Toledo  per  la 
prima  opera  di  quest'  anno  1778. 

Napoli,  n.  pull.,  1778.     60  p.     W"^. 

Two  acts.    Argtiment,  cast,  and  name  of  Angelo  Taxchi  as  the  composer. 

Schatz  10227 

II  vincitor  di  se  stesso.  Dramma  per  musica  del  Sig.  conte  Antonio 
Zaniboni  ...  da  rappresentarsi  nel  Teatro  di  Sant'  Angelo  I'au- 
tunno  dell'  anno  MDCCXLI  .  .  . 

Venezia,  Marino  Rossetti,  1741.     4^  p-     15*^^. 

Three  acts.  Impresario's  dedication  dated  November  4,  1741,  argument,  scenario, 
cast,  and  name  of  the  composer,  Ignazio  Fioxillo.  Schatz  3204 


1140  LIBRARY   OF   CONGRESS 

II  vincitor  generoso.  Drama  per  musica  da  rappresentarsi  nel 
famosissimo  Teatro  Grimani  di  S.  Gio.  Grisostomo  il  carnovale  dell' 
anno  MDCXVIII  .  .  . 

Venezia,  Marino  Rossetti,  1708.     70,  [1]  p.     15'='^. 

The  add.  p.  contains  a  list  of  "Opere  mucicali  sin'  ora  stampate  in  Venezia  da 
Antonio  Bortoli." 

Three  acts.  Dedication  with  the  initials  of  the  author,  Francesco  Brianni,  who 
calls  this  his  first  drama  and  dates  the  dedication  Venice,  January  10,  1708,  notice  to 
the  reader,  cast,  and  scenario.    The  composer,  Antonio  Lotti,  is  not  mentioned. 

ScHATz  5726 
Second  copy.    ML  45. A5    v. 12 

La  vindemmia,  ballet.    See  Paisiello's  Le  vane  gelosie. 
Vindemmia,  ballet.     See  Salieri's  La  partenza  inaspettata. 

La  vindemmia  o  La  contadina  impertinente,  ballet.  See  Tarchi's 
Le  Danaidi. 

La  vindemmia  fiamminga.     A.  T.  of  the  ballet  II  pellegrinaggio. 

Vindice  la  pazzia  della  vendetta.     Favola  pastorale  da  rappresen- 
tarsi in  musica  nel  Teatro  di  S.  Fantino  I'anno  1707  in  Venezia  .  .  . 
Venezia,  Gio.  Maria  Rossi,  1707.     42  p.     15'^'^. 

Three  acts.  Dedication  by  the  author,  Bartolomeo  Pedoni,  argument,  notice  to 
the  reader,  cast,  and  scenario.    The  composer,  Girolamo  Polani,  is  not  mentioned. 

ScHATz  8254 

A  Vinganga  da  Cigana:  drama  jocoserio  de  hum  so'  acto,  para  se 
representar  no  Real  Theatro  de  S.  Carlos,  pela  companhia  italiana, 
ofierecido  ao  publico  por  Domingos  Caporalini  no  dia  do  seu  bene- 
ficio.  Anno  de  1794.  A  poesia  he  de  Lereno  Secinuntino  Arcade 
Romano.  A  musica  he  do  Sr.  Antonio  Leal  Moreira,  mestre  do  Real 
Seminario,  e  do  mesmo  theatro. 
Lishoa,  Simao  Thaddeo  Ferreira,  n.  d.    1^7  p.     l^*^.     • 

Cast.  ScHATz  6634 

Second  copy.    ML  48.C6I 

The  vintner  outwitted.     A.  T.  of  Love  and  revenge. 

II  vinto  trionfante  del  vincitore.  Drama  per  musica  da  rappre- 
sentarsi nel  Teatro  di  Sant'  Angelo  I'autunno  dell'  anno  MDCCXVII 

Venezia,  Marino  Rossetti,  1717.     59  p.     i4J«™. 

Three  acts.  Dedication  by  the  author,  Antonio  Marchi,  dated  Venice,  Novem- 
ber 22,  1717,  cast,  argument,  scenario,  and  notice  to  the  reader,  in  which  Marchi  says: 

"Nel  ristretto  termino  di  pochi  giomi  sono  stato  obbligato  ad  alestire  il  presente 
mio  drama.  Questo  h  lo  stesso  sogetto,  che  hai  compatito  molti  anni  sono  nel  Teatro 
di  Santi  Giovanni  e  Paolo  [as  "Zenobia  regina  dei  Palmireni"];  m^  pero  ora  ridotto 
pill  uniforme  al  tuo  genio,  ed  al  gusto  modemo,  in  guisa  tale,  che  ti  sembrerk  al  tutto 
di  verso  ..." 

Composer  not  mentioned  and  unknown  to  Schatz,  who  calls  this  a  pasticcio. 

SCHATZ  11379 

La  Violante.     O.  T.  of  A.  Palomba's  text  Don  Saverio.  y 

La  violenza  d'amore.  A.  T.  of  Gasparini,  Polaroli  and  Ballarotti's 
L'Alciade. 


OPERA   LIBRETTOS  1141 

The  virgin  prophetess.     A.  T.  of  Cassandra. 

The  virgin  unmasked.     A.  T.  of  An  old  man  taught  wisdom. 

Virginia.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  delle  Dame  nel  carnevale  dell'  anno  1786  .  .  . 

Roma,  Gioacchino  PuccineUi,  n.  d.     44  P-     16'^'^. 

Three  acts.  Dedication,  argument,  Bcenario,  and  name  of  Gioacchino  Albertini 
as  composer.  The  author  is  unknown  to  Schatz.  The  music  ("tuttanuova")  of  the 
first  ballet  was  by  Francesco  Giuliani.  Schatz  86 

Virginia.  Tragedia  per  musica  in  tre  atti  del  conte  Alessandro 
Pepoli  da  rappresentarsi  nel  nobilissimo  Teatro  della  Fenice  al 
principio  del  carnevale  dell'  anno  1794, 

Venezia,  Modesto  Fenzo,  1793.     88  p.     W^. 

Three  acts.    Cast,  scenario,  and  name  of  Felice  Alessandri  as  composer. 

First  performed  December  26,  1793,  as  indicated  in  title.  Schatz  156 

La  Virginia.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  dagli  Armeni  della  cittk  di  Livorno  I'autunno  dell'  anno  1786. 

Livomo,  Gio.  Vine.  Falorni,  n.  d.     ^8  p.     15^^. 

Three  acts.  Author  not  mentioned,  and  unknown  to  Schatz.  Impresario's  dedica- 
tion, argument,  cast,  scenario,  and  name  of  Angelo  Tarchi  as  composer  ("La  musica  h 
tutta  nuova").  With  the  opera  was  performed  (composers  of  the  music  not  men- 
tioned) Domenico  Ballou's  "11  trionfo  di  Arianna,  ballo  eroico  pantomime."  Ab 
second  ballet  for  later  on  was  announced  "11  cappellaro." 

First  performed  at  London,  Hay-market,  May  4,  1786;  at  Florence,  Teatro  di  via 
della  Pergola,  fall  of  1785.  Schatz  10232 

Virginio  consolo.     Drama  per  musica  da  rappresentarsi  nel  Teatro 
in  Sant'  Angelo  I'anno  1704.     Di  Matteo  Noris. 
Venetia,  Gio.  Battista  Zuccato,  1704.     ^-^  P-     -^^''"*- 

Three  acts.     Scenario  and  prefatory  note,  in  which  Noris  says: 
"Quando  io  credevo  haver  terminata  la  lunghissima  mia  carriera  (ed'  il  perche  gi^ 
lo  sai)  di  compor  drami  per  musica,  mi  conviene  di  bel  nuovo  dar  principio  alia  corsa 
in  un  teatro,  dove  I'augustia  della  scena  non  admette  imperiali  magnificenze  n^ 
pompose  maest^  ..." 
Antonio  Zajinettini,  the  composer,  is  not  mentioned.  Schatz  11145 

Viriate.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Ven- 
dramino  di  San  Salvatore  nella  fiera  dell  Ascensione  dell'  anno  1762. 
Venezia,  Valvasense,  1762.     60  p.     15'''^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned,  and  whose  original  title  was 
"Siface  "  (Schatz).  Argument,  cast,  scenario,  and  name  of  Galuppi  as  the  composer. 
("La  musica  sar4  tutta  nuova.  ") 

First  performed  May  19,  1762,  as  indicated.  Schatz  3511 

Viriate.  Dramma  per  musica  da  rappresentarsi  nel  famosissimo 
Teatro  Grimani  di  S.  Gio.     Grisostomo  nel  carnovale  del  1739  .  .  . 

Venezia,  Marino  Rossetti,  1739.     60  p.     14^^- 

Three  acts.  Metastasio's  "Siface,"  altered  by  Domenico  Lalli,  who  signs  the 
dedication.    Argument,  cast,  scenario,  and  name  of  Job.  Ad.  Hasse  as  composer. 

Schatz  4581 


1142  LIBRARY   OF   CONGRESS 

La  virtil  al  cimento.     Melodramma  da  rappresentarsi  in  Parma  nel 
R.  D.  Teatro  di  Corte  il  carnevale  dell'  anno  MDCCXCVIII  .  .  . 
Parma  J  CarmigTiani,  n.  d.     58,  [4]  p.     18"^. 

Two  acta.  By  Angelo  Anelli,  who  is  not  mentioned,  and  whose  original  title  was 
"Griselda."  Dedication,  cast,  scenario,  and  name  of  Ferdinand©  Piir  (Paer)  aa  the 
composer.  ("La  musica  6  tutta  nuova.")  With  the  opera  were  performed  Francesco 
Clenco's  ballets,  "Ercole  e  Dejanira"  and  "Zemira  e  Azor,"  of  which  latter  a  descrip- 
tion on  the  unnumbered  pages.    The  composers  of  the  music  are  not  mentioned. 

First  performed  in  February,  1798.  Scha.tz  7545 

La  virt^  de'  strali  d'amore.  Opera  tragicomica  rausicale  di 
Giovanni  Faustini  .  .  . 

Venetia,  Pietro  Miloco,  164^.     96  p.     ISY"^. 

Three  acts,  with  prologue.  Author's  dedication.  The  composer,  Pietro  Francesco 
Cavalli,  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Cassiano,  carnival,  1642.        Schatz  1729 

La  virtu  nel  cimento.     L.  T.  of  Orlandini's  Griselda. 

La  virtiu  premiata.     A.  T.  of  Bianchi's  Tarara. 

La  virtu  premiata.     A.  T.  of  Gardi's  La  semplice. 

La  virtil  sublimata  dal  grande  owero  II  Macedone  continente. 
L.  T.  of  M.  A.  Ziani's  Alessandro  Magno  in  Sidone. 

La  virtu  tra'  nemici.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  Ginstiniano  di  San  Mois5  il  camovale  dell'  anno 
MDCCXVIII  .  .  . 

Venezia,  Marino  Rossetti,  1718.     69  p.     14V^' 

Three  acts.  Argfument,  notice  to  the  reader,  cast,  scenario,  and  dedication  signed 
by  the  author,  Giovanni  Battista  Abbati,  who  calls  this,  in  the  prefatory  note,  "il 
secondo  aborto  della  mia  penna."  Giuseppe  Boniventi,  the  composer,  is  not 
mentioned.  Schatz  1193 

La  virtu  trionfante  d'amore  vendicativo.     Favola  pastorale  da 
recitarsi  in  musica  nej  Teatro  di  San  Fantino  Fanno  1708  .  .  . 
Venezia,  Gio.  Maria  Rossi,  1708.     44  V-     ^W^- 
Three  acts.     Dedication  by  the  author  Bartolomeo  Pedoni,  briefest  kind  of  scena- 
rio, argument  and  notice  to  the  reader  with  the  name  of  Girolamo  Poland  as  the 
composer.  Schatz  8256 

Virt'u.  trionfante  del  vizio,  La.     A.  T.  of  Franceschim's  Dionisio. 

La  virtu  trionfante  dell'  amore  e  dell'  odio.  O.  T.  of  Silvani's 
text  Tigrane. 

La  virtu  trionfante  dell'  amore,  e  dell'  odio :  Drama  per  musica 
da  recitarsi  nel  Teatro  Vendramino  di  S.  Salvatore,  I'anno  1691.     Di 
Francesco  Silvani.     Nova  impressione  ... 
Venetia,  Nicolini,  1681.     67  p.     14^"^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
in  which  Silvani  says : 

"Voglio  .  .  .  che  tti  faccia  smentire  coloro  che  dicono,  ch'il  gusto  di  Venetia  h 
corrotto,  e  che  non  piacciono  oramai  piii  che  le  barzelette,  e  che  s'abborriscono  sii  le 
scene  la  gravity  &  il  decoro.  lo  6  lettore  non  ho  di  te  tal  sentimento,  onde  ti  prego 
secondare  la  mia  opinione,  col  frequentare  un  teatro,  dove  la  virtu  trionfa,  sostenuta 
dalle  musiche  note  del  Signor  Marc'  Antonio  Ziani,  dall'  arte  de  piil  virtuosi  &  insigni 
can  tanti  d' Italia  ..."  Schatz  11207 

First  performed  as  indicated,  carnival  1691. 


OPERA   LIBRETTOS  1143 

Virtues  of  nature.     A.  T,  of  The  American  Indian. 

La  virtuosa  alia  moda.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  Teatro  della  nobilissima  Accademia  Intronata  di  Siena 
nell'  estate  dell'  anno  1777  .  .  . 

Siena,  Vincenzo  Pazzini  Carli  ejigli,  1777.     56  p.     16^'^. 

Two  acts.  By  Gioyaniii  Bertati,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  and  name  of  Luigi  Caruso  as  the  composer. 

First  performed  at  Bologna,  Teatro  Marsigli  Roed,  1776;  at  Trieste,  Teatro  di  San 
Pietro,  carnival,  1776.  Schatz  1648 

—  Li  due  amanti  rivali.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  nobile  Teatro  di  San  Samuele  I'autunno  dell'  anno  1779. 


cm 


Venezia,  Modesto  Fenzo,  1779.     47  p.     17 
Two  acts.    Considerably  different  from  the  above.     In  this  the  character  of  the 

{)rima  buffa,  for  instance,  is  called  Isabellina,  in  "La  virtuosa  alia  moda"  Mirando- 
ina.     A  note  on  p.  3  reads: 

' '  La  musica  h  del  Signor  maestro  Luigi  Carusio  [Caruso],  eecluse  per6  le  due  arie 
della  prima  buffa,  e  quelle  della  seconda. 

Cast,  scenario.  Schatz  1653 

La  virtuosa  bizzara.  L.  T.  of  P.  Guglielmi's  La  virtuosa  in  Mer- 
gellina. 

La  virtuosa  in  Mergellina.  Dramma  giocoso  in  musica  da  rappre- 
sentarsi  nel  Regio  Teatro  nell'  Accademia  degli  Awalorati  in  Livomo 
il  carnevale  dell'  anno  1793. 

[Livomo],  Tommaso  Masi  e  comp.,  n.  d.     61  p.     17'^'^. 

Two  acts.  By  Saverio  Zini,  who  is  not  mentioned.  Impresario's  dedication, 
cast,  scenario,  and  name  of  Pietro  Guglielmi  as  the  composer. 

First  performed  at  Naples,  Teatro  Nuovo,  summer,  1785.  Schatz  4279 

—  La  virtuosa  bizzara.  Dramma  giocoso  per  musica  da  rappre- 
sentarsi  nel  nobilissimo  Teatro  Giustmiani  in  San  Moise  Fautunno 
dell'  anno  1791. 

Venezia,  Modesto  Fenzo,  1791.     52  p.     16^"^. 

Two  acts.  Cast  and  name  of  Pietro  Guglielini  as  the  composer.  This  is  Zini's 
"La  virtuosa  in  Mergellina"  text,  but  especially  in  the  arias  remarkably  different 
from  the  Livomo,  1793,  ed.  Schatz  4280 

—  Chi  la  dura  la  vince  ossia  La  finta  cantatrice.  Dramma  giocoso 
per  musica  da  rappresentarsi  in  Cremona  nel  Teatro  della  Nobile 
Associazione  il  carnevale  dell'  anno  1791. 

Cremona,  Lorenzo  Manini,  n.  d.     59  p.     15'^'^. 

Two  acts.  Cast  and  name  of  Pietro  Guglielmi  as  the  composer.  This  is  Zini's 
"La  virtuosa  in  Mergellina"  text,  but  with  many  alterations.  Schatz  4299 

Le  virtuose  bizzarre.  Intermezzo  per  musica  a  cinque  voci  da 
rappresentarsi  nel  Teatro  di  Tordinona  nel  carnevale  dell'  anno 
1779  .  .  . 

Roma,  Ottavio  PuccinelU,  1778.    36  p.     16'^'^. 

Two  parts.  Author  not  mentioned  and  unknown  to  Schatz.^  Cast  and  name  of 
Agostino  Accorimboni  as  composer.  Contains  arias:  "Se  mai  s'inalza  al  volo," 
"Se  mi  trovo  in  campo,"  "Sono  amor  giovane,"  "Se  a  cantar  mi  metto,"  etc. 

First  performed  as  indicated,  December  29,  1778.  ML  50.2.V6A2 


1144  LIBBARY   OF   CONGRESS 

Le  virtuose  ridicole. 

[219]-270  p.  lOi'^^K  (Carlo  Goldoni,  Opere  drammatiche  giocose, 
t.  a,  Torino,  1757.) 

Three  acts.    First  composed  by  Galuppi  as  below.  ML  49.A2G6 

—  Le  virtuose  ridicole.     Dramina  di  tre  atti  in  versi. 

Carlo  Goldoni,  Opere  teatrali,  Ven,ezia,  Zatta  ejlgli,  1788-96,  v.  43, 
[123]-178  p.     18'='^.  PQ 

Le  virtuose  ridicole.  Dramma  giocoso  per  musica  da  rappresen- 
tarsi  nel  Teatro  posto  in  contrada  di  San  Samuele.  II  carnovale 
deir  anno  1752. 

Venezia,  Giuseppe  BettineJli,  1752.     60  p.     15'^'^. 

Three  acts.  Neither  the  author,  Goldoni,  nor  the  composer,  Galuppi,  is  men- 
tioned, whom  at  least  Wiel  does  not  positively  identify  with  the  music. 

SCHATZ  3512 

The  vision  of  the  twelve  goddesses,  presented  in  a  mask  the  8th 
of  Jan.  at  Hampton-Court,  by  the  Queen's  most  excellent  Majesty, 
and  her  ladies. 
London,  n.  pull.,  1717.     [225]-245  p.     16"^. 

Detached  copy.  The  long  dedication  (p.  [227]-235)  by  Sam.  Daniel,  the  author, 
to  Lady  Lucy,  countess  of  Bedford,  begins: 

"In  respect  of  the  unmannerly  presumption  of  an  indiscreet  printer,  who  without 
warrant  hath  divulged  the  late  show  at  Court,  presented  the  8th  of  January,  by  the 
Queen's  Majesty  and  her  ladies,  and  the  same  very  disorderly  set  forth:  I  thought  it 
not  amiss,  seeing  it  would  otherwise  pass  abroad,  to  the  prejudice  both  of  the  mask 
and  the  invention,  to  describe  the  wliole  form  thereof,  in  all  points  as  it  was  then 
perform'd  ..." 

The  composer  not  mentioned  and  unknown  to  Schatz. 

First  penormed,  as  indicated,  January  8,  1623.  Longe  201 

I  visionarj.  Dramma  giocoso  per  musica  da  rappresentarsi  nel 
Teatro  Giustiniani  di  S.  Moisd  I'autunno  dell'  anno  1772.  Di  Gio- 
vanni Bertati. 

Venezia,  Antonio  Graziosi,  1772.    68  p.     16^"^- 
Three  acts.    Cast,  scenario,  and  name  of  Gennaro  Astaritta  as  composer. 

Schatz  375 

—  I  visionarj.  Dramma  giocoso  per  musica  del  Sigr.  Giovanni 
Bertati  da  rappresentarsi  nel  Piccolo  Teatro  di  S.  A.  S.  E.  di  Sassonia. 

Dresda,  n.  pull.,  177 4.     151  p.     17^"^. 

Three  acts.  Name  of  Astaritta  as  composer.  German  title-page,  "Die  lacher- 
lichen  gelehrten,  ein  lustiges  singespiel,"  and  text  face  Italian. 

First  performed,  as  indicated,  September  3,  1774.  Schatz  376 

—  I  filosofi  immaginarj .  Dramma  giocoso  per  musica  da  rappre- 
sentarsi nel  Real  Teatro  di  Salvaterra  nel  carnovale  dell'  anno  1775. 

{Lislona],  neUa  Stamperia  reale,  n.  d.     78  p.     15^"^. 

Three  acts.  Cast,  scenario,  and  name  of  Gennaro  Astaritta  as  composer.  The 
text  is  Bertati 's  "I  visionari."  Schatz  379 

I  visionari.     L.  T.  of  Paisiello's  I  filosofi  immaginari. 

La  visione.     See  M.  Curzio. 


OPERA   LIBEETTOS  1145 

lies  visitandines,  comedie  en  deux  acte  [  ^  et  enprose.     M^16e  d'a- 
riettes.     Representee  sur  le  Th^^tre  de  la  rue  Feydeau,  le  /  aolit 
1792.     Par  M.  Picard. 
Paris,  DeMain,  1792.    31  p.     20<=^. 

Cast.    The  composer,  Devienne,  is  not  mentioned. 

The  printed  full  score  has  as  date  of  first  performance,  July  7,  1792. 

ML  50.2.V63D3 

—  De  visitandines,  zan^spel  in  drie  bedryven.  Naar  het  fransch, 
door  Hendrik  Ogel wight,  junior. 

AmsteUam,  J.  EeUers  en  A.  Mars,  1796.     ^  p.  I.,  63,  [1]  p.     16^"^- 
With  "Voorbericht."    Translation  of  Devienne's  "Lee  visitandines,"  text  by 
Picard.  Schatz  2563 

—  Gesaenge  aus  der  oper:  Liebe  wagt  alles,  in  zwey  aufzuegen. 
Dei  musik  ist  von  Devienne. 

Hamburg,  Rahe  und  Freystatzky  wittwe,  1798.    24  p.     15'^'^. 

Translation  of  "Les  visitandines  "  by  Heinrich  Gottlieb  Schmieder. 
First  performed  at  Hamburg,  Theater  beim  Gaensemarkt,  May  4,  1798. 

Schatz  2556 

De  visschers.     Tr.  of  Gossec's  Les  p^cheurs. 

H  vitio  depresso,  e  la  virtft  coronata.  Drama  per  musica  da  rap- 
presentarsi  nel  Teatro*  di  S.  Angelo  I'anno  1687.  Di  Aurefio 
Aureli  .  .  . 

VmetUi,  Francesco  Nicolini,  1687.     72  p.     13^"^. 

Three  acts.  Author's  dedication,  dated  Venice,  November  24,  1686,  argument, 
scenario,  and  author's  notice  to  the  reader,  in  which  he  mentions  Teofilo  Orgiani  as 
the  composer,  and  remarks : 

"Questo  drama,  che  leggi  h  il  mio  Eliogabalo,  che  gi^  18.  aimi  rappresentar  tti 
vedesti  con  tanto  applauso  nel  famoeo  Teatro  Grimano  a  Ss.  Gio.  e  Paolo,  fc  I'isteeso 
personaggio,  ma  vestito  in  forma  diversa  ..."  Schatz  7299 

La  vittoria  d'Ercole  contro  Anteo,  ballet.  See  Draghi's  opera 
Sulpitia. 

La  vittoria  d'lmeneo.  Festa  da  rappresentarsi  nel  Regio  Tea\;ro 
di  Torino  per  le  nozze  delle  A.  A.  R.  R.  di  Vittorio  Amedeo,  duca  di 
Savoia,  e  di  Maria  Antonia  Ferdinanda,  infanta  di  Spagna,  I'anno 
MDCCL. 

Torino,  Pietro  Giuseppe  Zappata,  ejigliuolo,  n.  d.     68  p.     15\'^. 

Three  acts.  By  Giuseppe  BartoU.  Cast,  scenario,  name  of  Galuppi  as  composer, 
and  author's  long  dramaturgic  preface  by  way  of  argument  (p.  3-9),  in  which  he  says: 

"In  somma  ho  tentato  di  nunire  le  sorelle  bene  epesso  divise,  facendo  si  che  la 
poesia,  la  musica,  la  pittura,  e  la  danza  dirette  in  questa  occasione  senza  violenza  ad 
un  solo  fine,  mostrassero  la  dipendenza  loro  da  un  solo  principio.  Giov6  ancora  questo 
incorporamento  del  ballo  con  I'azione  per  non  altrepassare  ai  molto  a  cagion  de'  versi 
11  prescritto  limite  alio  spettacolo." 

First  performed,  as  indicated,  Jime  7,  1750.  Schatz  3500, 

La  vittoria  di  Tamerlano  contro  Bajazette  ossia  La  Rossana, 
ballet.     See  Sacchini's  Armida. 


1146  LIBRARY   OF   CONGRESS 

La  vittoria  nella  costanza.  Drama  per  musica  da  rappresentarsi 
nel  Teatro  di  Sant'  Angelo  ranno  1702  .  .  . 

Venetia,  Marino  Rossetti,  n.  d.    front.,  54  f.     IB*^. 

Three  acts.  Dedication  signed  by  the  author,  Francesco  Passarini,  argument, 
scenario,  and  notice  to  the  reader,  with  name  of  Giuseppe  Boniventi  as  composer, 
and  in  which  Passarini  says : 

"h6  invitato  da  Hannover  il  mio  dramma  k  comparire  sii  le  scene  dell'  Adria  .  .  . 
L'h5  vestito  come  ho  potuto,  non  come  dovevo  e  volevo,  obligato  ^  tenermi  a  quelle 
scene  deetinate  gi^  alia  Briseide  .  .  ."  Schatz  1194 

Vittorina.  Dramma  di  tre  atti  per  *musica.  Rappresentato  per  la 
prima  volta  in  Londra  I'amio  MDCCLXXXII  con  musica  del  Piccini. 

Carlo  GoTdoni,  Opere  teatrali,  Venezia,  Zatta  ejigli,  1788-95,  v.  B6, 
[249]-309  p.     18^'=^. 

Schatz  dates  the  first  performance  London,  Haymarket,  1779.  PQ 

Voila  ma  joumee.     A.  T.  of  Dalayrac's  Ambroise. 
Les  voleurs.     A.  T.  of  Lesueur's  La  caverne. 

Volodomiro.     Dramma  per  musica  da  rappresentarsi  nel  Regio 
Teatro  di  Torino  nel  carnovale  del  1787  alia  presenza  di  S.  S.  R.  M. 
Torino,  Onorato  Derossi,  n.  d.     viii,  80  p.     16^^. 

Three  acts.  By  Giandominico  Bo^o.  Argument,  cast,  scenario,  and  names  of 
the  composer,  Domenico  Cimarosa,  and  the  author.  On  p.  71-79,  cast  and  descrip- 
tion of  Ludovico  Sforza  detto  II  Moro,  ballo  pantomimico  in  cinque  atti."  The 
second  ballet  was  called ' '  Chi  ne  fa  ne  aspetta. ' '  The  third  had  no  specific  title.  All 
three  were  by  Sebastien  Gallet,  music  by  Vittorio  Amedeo  Canavasso.    Schatz  2000 

Vologeso.  Dramma  per  musica  da  rappresentarsi  nel  nobillissimo 
Teatro  di  S.  Benedetto  nella  fiera  dell'  Ascensione  dell'  anno 
MDCCLXX. 

Venezia,  Modesto  Fenzo,  1770.     59  p.     17^'^'^. 

Three  acts.  By  Apostolo  Zeno,  a  later  version  of  his  "Lucio  Vero."  Argument, 
cast,  scenario,  and  name  of  the  composer,  Giuseppe  CoUa.  Schatz  2111 

II  Vologeso,  ballet.     See  Gazzaniga's  Circe. 

Vologeso.  Dramma  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  la  fiera  dell'  Ascensione  dell'  anno 
1796. 

Venezia,  Modesto  Fenzo,  1796.     Ifi  p.     18^'^. 

Three  acts.  By  Apostolo  Zeno  (originally  his  "  Lucio  Vero  "),  who  is  not  mentioned. 
Argument,  cast,  scenario,  and  name  of  Ignazio  Gerace  as  the  composer.  On  p. 
21-28  a  description  with  argument  and  cast  of  "La  morte  d'lppolito  e  Fedra,  ballo 
tragico  pantomimo." 

First  performed,  as  indicated,  May  4,  1796.  Schatz  3780 

Vologeso.     Dramma  per  musica  da  rappresentarsi  nel  Regio-Ducal 
Teatro  di  Milano  per  il  carnevale  dell'  anno  1776  .  .  . 
Milano,  Giovanni  Montani,  n.  d.     4^,  23,  9  p.     15*''^. 

Three  acts.  A  later  version  of  "Lucio  Vero"  by  Apostolo  Zeno,  who  is  not  men- 
tioned. Impresario's  dedication  dated  Milan,  December  22,  1775,  argument,  sce- 
nario, cast,  and  name  of  Pietro  Guglielmi  as  composer.  The  additional  pages  con- 
tain cast  and  description  of  Noverre's  "Les  Horaces  et  les  Curiaces,  ballet  tragique 
en  cinq  actes"  and  description  of  his  "Les  incidents,  conte."  The  composers  of  the 
music  are  not  mentioned. 

First  performed,  as  indicated,  December  26,  1775.  Schatz  4307 


OPERA  LIBRETTOS  1147 

J\  Vologeso.     Dranoma  per  musica  da  rappresentarsi  nel  Real  Teatro 
di  Salvaterra  nel  camevale  dell'  anno  1769. 
Lishona,  Michele  Manescal  da  Costa,  n.  d.     62  p.     15'^'^. 

Three  acts.    A  later  version  of  "Lucio  Vero"  by  Apostolo  Zeno,  who  is  not  men- 
tioned.   Aimiment,  cast,  scenario,  and  name  of  Niccolo  Jommelli  as  the  composer. 
First  performed  at  Ludwigsbuig,  Hoftheater,  February  11, 1766.       Schatz  4877 

Vologeso.  Dramma  per  musica  da  rappresentarsi  nel  Regie  Teatro 
di  Torino  nel  camovale  del  1783.     Alia  presenza  delle  Maestk  Loro. 

Torino,  Onorato  Derossi,  n.  d.     viii,  52  p.     16^*'™. 

Three  acts.  A  later  version  of  "Lucio  Vero"  by  Apostolo  Zeno,  who  is  not  men- 
tioned. Argument,  cast,  scenario,  and  names  of  Vmcenzo  Martin  (Martin  y  Soler) 
as  the  composer  of  the  opera,  and  of  Vittorio  Amedeo  Canavasso  as  the  composer  of 
the  music  of  Innocenzo  Gambuzzi's  ballets:  "Le  gelosie  villane  in  Montefosco," 
"La  sposa  peruviana,"  and  "II  macchinista  ossia  La  susta  matematica." 

Performed  as  second  opera  of  the  season.  Schatz  6024 

Vologeso.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Benedetto  il  camevale  dell'  anno  MDCCLXV. 
Venezia,  Giorgio  Fossati,  n.  d.     62  p.     16'^'^. 

Three  actri.    A  later  version  of  "Lucio  Vero"  by  Apostolo  Zeno,  who  is  not  men- 
tioned.   Areument,  cast,  scenario,  and  name  of  Giuseppe  Saxti  as  the  composer. 
First  performed  at  Copenhagen,  Royal  Theater,  carnival,  1754.         Schatz  9465 

—  Vologeso.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di 
Verona  il  carnovale  dell'  anno  MDCCLXDt  .  .  . 

Venezia,  Modesto  Fenzo,  1769.    60  p.     IS'^^. 

Three  acts.  By  Zeno,  who  is  not  mentioned.  Impresario's  dedication,  argument, 
scenario,  cast  and  name  of  Giuseppe  Sarti  as  the  composer.  ML  50.2. V7S3 

II  Vologeso.  Dramma  per  musica  da  rappresentarsi  nel  Nuovo 
Teatro  alia  Cavallerizza  nella  fiera  di  Pascha  deU'  anno  MDCCLIII. 
In  Lipsia. 

n.  i.,  1753.     5  p.  I.,  123  p.     15"^. 

Three  acts.  A  later  version  of  "Lucio  Vero"  by  Apostolo  Zeno,  who  is  not  men- 
tioned. German  text  faces  Italian.  Argument,  cast,  and  name  of  Francesco  Zoppis 
as  the  composer.  Schatz  11284 

Vologeso  re  de'  Parti.  Drama  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Torino  nel  camovale  del  1744  .  .  . 

Torino,  Pietro  Giuseppe  Zappata  e  figliuolo,  n.  d.     4  p.  I.,  63  p. 

15^"^- 

Three  acts.  A  later  version  of  "Lucio  Vero"  by  Apostolo  Zeno,  who  is  not  men- 
tioned. Argument,  cast,  scenario,  and  names  of  Leonardo  iLeo  as  composer  of  the 
opera,  of  Alessio  Ratsetti  as  composer  of  the  three  incidental  ballets. 

First  performed,  as  indicated,  December  26,  1743.  Schatz  5562 

I  volponi.  Dramma  di  tre  atti  per  musica.  Rappresentato  per  la 
prima  volta  in  Parigi  I'anno  MDCCLXXVII. 

Carlo  Goldoni,  Opere  teatrali,  Venezia,  Zatta  e  jigli,  1788-95,  t.  89, 
[5]-66  p.     IS'^'^. 
Composer  unknown  to  me.  PQ 

La  volubUe,  baUet.    See  Andreozzi's  Ai^ea. 

La  volubile,  ballet.     See  Basili's  II  ritomo  d'Ulisse. 

II  volubile.     L.  T.  of  Piccinni's  L'incostante. 


1148  LIBRARY   OF   CONGRESS 

II  volubile  assodato,  ballet.     See  Ottani's  Arminio. 

Die  von  Amor  beschuezten  liebhaber,  ballet.    See  Salieri's  Der 
geraubte  eymer. 

Der  von  dem  ackers-pflug  zu  den  [!]  thron  erhabene  kaeyser 
Justinus.     In  einem  sing-spiel  auff  den  [!]  grossen  Hamburgischen 
Schau-Platze  vorgestellet.     Im  jahr  1706. 
n.  i.,  n.  d.      Unpaged.     16^^, 

Three  acts.  Amiment  and  scenario.  Neither  the  author  (unknown  to  Schatz) 
nor  the  composer,  Johann  Christian  Schieferdecker,  is  mentioned.      Schatz  9604 

Die  von  Paris  entfuehrte  Helena.     A.  T.  of  Reiser's  Die  macht 
der  liebe. 

Die  vorgeblichen  grafen.     Tr.  of  Cimar9sa's  I  due  supposti  conti. 

Der  vormund.     Tr.  of  Hasse's  II  tutore. 

Die  vornehme  schaeferin.     Tr.  of  Jommelli's  La  pastorella  illustre. 

Das  vornehme  Suschen,  eine  komische  operette  in  drey  aufzuegen. 

1  p.  I.,  184  V-  16'^'^'  (Zwo  Tcomische  operetten  von  G  *  *  *^ 
Cliemnitz,  1773.) 

In  his  prefatory  note,  the  unidentified  author  says: 

"Wuerdiget  man  mich  seiner  beurtheilung,  so  macht  man  sich  einen  juengling 
verbindlich,  der  die  Musen,  von  seiner  wiege  an,  unbeschreiblich  liebte,  und  setzt  ihn 
dadurch  vielleicht  in  den  stand,  diese  gesetzlosen  taendeleyen  dereinst  durch  cor- 
rectere  und  wichtigere  arbeiten  der  verzeyhung  wuerdig  zu  machen." 

Not  recorded  by  Schatz.  The  "Zwo  komische  operetten"  have  been  attributed 
(see  Deutsches  Anonymen  Lexikon)  to  Carl  Franz  Henisch,  1745-1776,  and  to  Wilhelm 
Kraus,  but  (1)  the  title  page  clearlj^  points  to  a  name  beginning  with  the  letter  G.; 
(2)  Rraus's  earliest  known  publication  dates  from  1795,  so  that  an  interval  of  more 
than  twenty  years  would  lie  between  this  and  the  "Zwo  komische  operetten;"  (3)  the 
dedicatory  poem,  with  the  motif  of  "Die  erstlinge,"  ends: 

"  Und  80  auch  heiligt  Dir  die  dankbare  Camoene 
Die  ersten  ihrer  toene." 

This  can  not  possibly  apply  to  Henisch,  who  be^n  to  publish  his  Singspiele  in 
1770,  and  who  would  hardly,  in  1773,  have  called  himself  a  "Juengling."  Neither 
this  nor  "Dae  Testament,"  the  other  operetta  in  the  volume,  is  recorded  by  Schatz. 

Schatz  11655 

Le  voyage  an  Mont-Bernard.     A.  T.  of  Cherubini's  Elisa. 

Le  voyage  en  Grece.     A.  T.  of  Plantade's  Palma. 

Les  voyages  de  I'amour,  ballet  represent  e  par  I'Acad^mie  royale 

de  musique,  Fan  1736.     Paroles  de  M'  de  la  Bruere.     Musique  de 

M'  Boismortier.     CXXV.  opera. 

205-280  p.     Uf-Y^-     (Recueil  general  des  opera,  Paris,  174-5,  t.  xvi.) 
Detached  copy.     Prologue  and  the  acts,  "Le  village,"  "La  ville,"  "La  cour" 

(both  versions),  "Le  retour,"  "La  ville,  acte  nouveau." 

First  performed,  as  indicated,  May  3,  1736.  ML  48. R4 

Vulcan's  revenge.     A.  T.  of  Noverre's  The  amours  of  Venus. 

Vulcan's  wedding.     A.  T.  of  Momus  turn'd  fabulist. 


OPERA   LIBRETTOS  1149 

Arien  aus  den  Waescherinneii.  Eine  komische  operette  von  zwei 
aufzuegen. 

n.  i.,  n.  d.     24  p.     Id""^. 

Translation  of  Marl's  text,  "Le  lavarandine."  Neither  the  translator,  Johann 
Christoph  Bock,  is  mentioned,  nor  the  composer,  Francesco  Zannetti. 

First  performed  under  the  above  title  at  Dresden,  Kleines  Theater,  1779.  The 
Italian  original  was  first  performed  at  Rome,  Teatro  Capranica,  carnival,  1772. 

SCHATZ  11139 

—  Die  waeschermaedchen.  Eine  komische  operette  in  zwey  auf- 
zuegen. (Nach  einem  italienischen  text  und  Zanetti's  komposition.) 
n.  i.,  n.  d.  [9]-76  p.  16'^'^.  (Komische  opem  der  Italiener,  Zum 
gebrauch  fuer  die  deutsche  huehne  Jierausgegehen  von  J.  C.  Bock,  Erster 
th.  Leipzig,  1781.) 

Translation  of  Francesco  Mari's  text,  "Le  lavarandine,"  music  by  Zaimetti,  first 
performed  Rome,  Teatro  Capranica,  carnival,  1772. 

First  performed  at  Leipzig,  Theater  beim  Rannstaedter  Thor,  October  6, 1779. 

SCHATZ  11138 

Der  waflfenschmid.  Eine  komische  oper  in  zwey  aufzuegen,  nach 
herrn  Ziegler's  beliebtem  lustspiele:  Liebhaber  und  nebenouhler  in 
einer  person,  Als  singspiel  nier  die  Marinellische  Schaubuehne 
bearbeitet  von  Karl  Friedrich  Hensler.  Die  musik  ist  von  Ferdinand 
Kauer  .  .  . 

Wien,  Joseph  Kamesina,  1797.     92  p.     16'^. 

First  performed,  as  indicated,  July  25,  1797.  Schatz  5065 

Die  wahl  des  Herkules.  Ein  lyrisches  drama.  In  musik  gesetzt 
von  Anton  Schweitzer,  Am  17  ten  geburtstage  des  damaligen  herrn 
erbprinzen  von  Sachsen- Weimar  und  Eisenach  auf  dem  Hoftheater 
zu  Weimar  im  jahre  1773  aufgefiihrt, 

n.  i.,  n.  d.     p.  [201]-223.     14'^'^. 

Detached  from  an  edition  of  Wieland'e  works,  possibly  19th  century. 

First  performed  September  4,  1773,  as  indicated.  Schatz  9775 

Wahnsinn  aus  liebe.     A.  T.  of  Dalayrac's  Nina. 

Wahnsinn  aus  Liebe.     A.  T.  of  Paisiello's  Nina. 

Die  wahre  bestandigkeit.     Tr.  of  Anfossi's  La  vera  costanza. 

Die  wahre  liebe.     A.  T.  of  Schuster's  Der  herr  als  bedienter. 

Die  wahre  Uebe.     A.  T.  of  Schuster's  Ruebenzahl. 

Der  wahre  menschenfreund,  ein  singspiel  in  zween  aufzuegen, 
aufgefuehrt  von  der  studirenden  jugend  des  katholischen  schulhauses 
zu  Augsburg  St,  Salvator.     Den  2,  3,  und  6ten  herbstmondes  1790. 

[Augsburg],  Joseph  Anton  Hueber,  n.  d.     [15]  p.     18'^^. 

Cast  and  "Vorbericht"  mentioning  "Matthaus  Fischer,  regulirter  chorherr  des 
HI.  Augustus  beym  Heil.  Kreuze,"  as  composer.  At  head  of  title:  "Der  gerechte 
koenig,  ein  schauspiel  .  .  .  und "  Schatz  3226 

Walder,  ein  laendliches  schauspiel  mit  gesang  in  einem  aufzuge. 
(Der  inhalt  ist  aus  Marmontels  Silvain  genonunen,  die  musik  von  hrn. 
Georg  Benda.) 

Gotha,  Carl  Wilhelm  Ettinger,  1778.     64  p.     15'^'^. 

By  Friedrich  Wilhelm  Gotter. 
First  performed  at  Gotha,  Hoftheater,  February  23,  1776,  Schatz  778 


y 


1150  LIBRARY   OF   CONGRESS 

Gesaenge  aus  dem  singspiele  Die  waldmaenner,  in  drey  aufzuegen. 
Die  musik  ist  von  Henebcrg. 

Hamburg,  Freystatzhj  und  Rahe,  1797.     24  p.     15^'^'^. 

By  Johann  Emanuel  Schikaneder,  who  is  not  mentioned. 

First  performed  at  Hamburg,  Theater  beim  Ganeemarkt,  May  31,  1797;  at  Vienna, 
Theater  auf  der  Wieden,  October  14,  1793.  Schatz  4631 

Wallrad  und  Evchen  oder  Die  parforsjagd,  einsingspiel  von  L.  Ph. 
Hahn.     Mit  musik  von  J.  L.  F.  C.  Maier,  dem  juengern. 

Zweihruecken,  P.  HaUanzy,  1782.     67  p.     16\<''^. 

On  p.  3-11  a  "Vorbericht"  dated  "Zweihruecken,  im  Emdemond,  1782,"  which 
reads  hke  a  novel.  According  to  this,  a  starving,  old,  retired  actor  by  the  name  of 
Meyer  came  to  the  author  with  the  request  to  cede  to  him  some  literary  work  which 
he  would  publish  at  his  own  expense  and  from  the  sale  of  which  Meier  expected  to 
reap  a  profit.  Hahn  finally  consented,  found  an  old  "Entwurf  zu  einem  Hochzeit- 
gemcht,"  completed  it  as  a  singspiel  in  eight  days,  got  a  young,  local  musician,  evi- 
dently Maier,  to  compose  it,  etc.  The  result,  of  course,  was  that  Meyer  did  not 
even  cover  the  printing  expenses  with  this  venture.  A  few  years  later  he  was  dead 
and  Hahn  then  decided  to  give  the  possible  proceeds  from  the  sale  of  the  libretto, 
which  seems  to  have  at  first  been  printed  under  the  name  of  Meier,  to  the  widow. 
Finally,  Hahn  says  that  the  play  is  in  certain  respects  local,  the  characters  being 
designed  after  certain  well-known  persons  of  Zweihruecken .  Schatz  5844 

Walmir  und  Gertraud,  oder  Man  kann  es  ja  probieren.    Eine 
operette  in  drey  aufziigen. 
n.  i.,  n.  d.     75  p.     IS^'^'^. 

At  head  of  title:  I.  Apparently  a  detached  copy  from  the  collected  works  of 
Johann  Benjamin  Michaelis,  who  says  in  his  Vorbericht : 

"Diese  operette  soUte  ein  versuch  seyn,  die  riihrende  komodie  in  das  lyrische 
drama  ueberzutragen  .  .  .  Ubrigens  ist  diese  kleinigkeit  eein  erster  theatralischer 
ausflug,  den  er  bereita  1766  gewagt." 

The  composer,  Anton  Schweitzer,  is  not  mentioned. 

First  performed  at  Hanover,  Schlosstheater,  1769.  Schatz  9776 

Die  wankelmuethige.  Tr.  of  Portugal's  La  donna  di  genio  volu- 
bile. 

The  wanton  countess :  or,  Ten  thousand  pounds  for  a  pregnancy. 
A  new  ballad  opera,  founded  on  true  secret  history  .  .  . 

London,  Nichols,  1733.     Jfi  p.     18^^. 

Three  acts  and  introduction.  The  22  airs  used  are  indicated  by  title.  Dedicated 
by  "Mortimer"  to  "Sir  T.  Gaudy  of  Gaudy-Hall."    Author  unknown  to  Clarence. 

LoNGE  275 

The  wanton  Jesuit:  or,  Innocence  seduced.  A  new  ballad  opera. 
As  it  is  acted  at  the  New  Theatre  in  the  Hay-Market. 

London,  J.  MiUan  and  W.  Shropshire,  1731.  5  p.  I.,  [1],  ^8,  [1]  p. 
2  gem 

Three  acts,  introduction,  and  epilogue.  Cast  and  preface  beginning: 
"The  following  ballad -opera  is  a  faithful  translation  of  the  French  original;  nor  is 
there  one  word  added  to  the  title,  or  any  character  omitted  in  the  dramatis  personse 
.  ;  .  There  is  a  strong  presumption  that  it  was  wrote  by  a  Hugonot  to  please  the 
Jansenists,  who  abhor  Jesuits  .  .  .  But  it  is  not  very  material  who  was  the  author 
ofit  .  .  ." 

The  preface  of  the  anonymous  and  unknown  translator  then  goes  on  to  say  how 
the  piece  was  privately  performed,  how  the  Jesuits  caused  it  to  be  suppressed,  etc. 

LoNGE  120 

Was  den  damen  gefaellt.     A.  T.  of  Die  fee  Urgele. 

Was  einem  recht,  ist  dem  andem  biUig.     See  DezMe's  Julie. 


OPERA  LIBBETTOS  1151 

Was  erhaelt  die  maenner  treu?  Ein  original  sin^piel  in  zwey 
aufzuegen  vom  herrn  professor  Zehnmark.  Die  musik  ist  vom  herrn 
Ruprecht,  mitgliede  der  k,  k.  Nationalschaubuehne.  Aufgefuehxt 
auf  dem  k.  k.  Nationaltheater. 

Wien,  heym  logenmeister,  1780.    36  -p.     17 Y"^- 

First  performed,  as  indicated,  March  30,  1780.  Schatz  9161 

Was  thut  die  liebe  nicht.     Tr.  of  Naumann's  La  dama  soldato. 

Was  verinag  die  liebe  nicht?     A.  T.  of  Dalayrac's  Nina. 

The  waterman;    or,  The  first  of  August.     A  ballad  opera,  ui  two 
acts.     As  performed   at  the  Theatre-Royal,   Hay-Market.     A  new 
edition. 
London,  R.  Baldwin,  1783.     v.  [i],  40  p.     21'^'^. 

Original  cast  and  1783  Covent-Grarden  cast.  In  his  preface  the  author-comp>o8er- 
compiler,  Charles  Dibdin  (not  mentioned)  says: 

"Finding  among  the  different  pieces  I  have  composed  for  Ranelagh  and  the  theatre, 
a  number  of  ballads  which  I  took  great  pains  with,  and  which  have  been  but  little 
heard,  I  thought  I  could  not  better  employ  my  leisure  time  than  in  furnishing,  upon 
some  familiar  plan,  the  dialogue  necessary  to  work  up  these  materials  into  a  ballad 
farce,  a  species  of  entertainment  which  has  always  been  well  received,  and  which;  as 
it  has  lain  dormant  for  some  time,  I  thought  would  have  so  far  the  charms  of  novelty 
to  recommend  it. 

"I  had  heard  of  a  piece  of  this  sort,  which  has  the  characters  of  a  Waterman  and  a 
gardenejr  in  it;  and  the  scene  of  which  is  laid  at  Battersea:  This  I  enquired  after,  but 
was  informed  it  was  out  of  print;  I  nevertheless  liked  the  idea  of  those  two  characters 
Bo  well,  that  I  determined  to  pursue  the  hint  .  .  .  I  never  read  the  piece  in  question, 
nor  do  I  for  a  certainty  at  this  moment  know  the  title  of  it  .  .  . " 

First  performed  at  the  Haymarket  August  17, 1774  (Clarence,  but  Genest  "the  5th 
time  "),  July  14,1774  (Schatz).  Longe  121 

—  The  waterman;  or,  The  first  of  August.  A  ballfed  opera,  in  two 
acts.     By  Charles  Dibdin,  Esq, 

[83]-112  p.  19'^^.  (Collection  of  the  most  esteemed  farces  and  enter- 
tainm^nts,  t.  vi,  Edinburgh,  1792.) 

Hay-Market  and  Covent-Grarden  casts.  Music  partly  selected,  partly  composed  by 
Dibdin.  Schatz  11753 

The  weathercock.     A  musical  entertainment  of  two  acts;   as  per- 
formed at  the  Theatre-Royal,  Covent-Garden. 
London,  T.  Evans,  1775.     2  p.  I.,  37  p^    21^^. 

Two  acts.  Cast,  table  of  the  19  songs,  and  prefatory  note.  By  Theodoeius  Forrest, 
according  to  Clarence.    Schatz  does  not  record  the  composer. 

First  performed  October  17,  1775,  as  indicated.  Lonoe  86 

Der  wechsel  in  der  liebe.  A.  T.  of  Tritto's  Die  veraechter  der 
schoenen. 

The  wedding:  a  tragi-comi-pastoral-farcical  opera.  As  it  is  now 
acting  at  the  Theatre-Royal,  in  Lincoln's-Inn-Fields.  With  an 
Hudibrastick  Nimmington.  By  Mr.  Hawker  ...  To  which  is  pre- 
fix'd,  The  overture,  by  Dr.  Pepusch.  With  an  addition  of  the 
musick  to  each  song,  engrav'd  on  copper  plates. 

London,  Printed  for  W.  Mears,  .  .  .  and  sold  by  S.  Birt,  1729. 
V,  [1],  23  p.     19Y^. 

The  last  p.  supplied  in  ms.    The  engraved  music  plates  are  missing. 

One  act.  Cast  and  dedication  of  "The  tender  buddings  .  .  .  of  an  infant  Muse," 
by  Essex  Hawker,  who  played  the  part  of  Rako.  The  23  airs  are  indicated  in  the 
text  by  title. 

First  performed  May  6,  1729.  Lonob  33 


1152  LIBRABY  OF   CONGRESS 

The  wedding — Continued. 

—  The  wedding :  a  tragi-comi-pastoral  opera.  As  it  is  acted  at  the 
Theatre-Royal  in  Covent-Garden.  With  an  Hudibrastick  Skimming- 
ton.  Written  by  Mr.  Hawker  .  .  .  With  the  overture  by  Dr. 
Pepusch.  Also  the  music  to  each  song,  engraven  on  copper  plates. 
The  second  edition. 

London,  W.  Mears,  1734.    fold,    front,  24  p.;  (music)  8,8  p.     W"^. 

One  act.  Same  cast  and  same  text  as  in  the  first  edition,  but  without  the  dedica- 
tion. The  overture  (8  p.)  is  followed  by  the  23  airs  (8  p.)  numbered,  without  titles,  to 
correspond  to  those  indicated  by  title  in  the  text.  Longe  306 

—  The  country-wedding,  and  Skimmington:  a  tragi-comi-pas- 
toral-farcical  opera.  As  it  is  acted  by  His  Majesty's  servants  at  the 
Theatre-Royal  in  Drury  Lane, 

London,  W.  Trott,  1729.     2  p.  I.,  24  p.     18^"^. 

One  act.  Cast  and  "Advertisement  to  the  town,"  by  "The  Young  company," 
dated  Theatre-Royal,  July  18, 1729.  It  appears  that  this  libretto  was  published  prior 
to  the  performances.    The  25  airs  used  in  this  ballad  opera  are  indicated  by  title. 

Comparison  shows  that  this  is  practically  the  same  text  as  Essex  Hawker's  ballad 
opera  The  wedding,"  notwithstanding  noticeable  differences.  The  cast  is  also 
different.  Hawker  having  disappeared  and  the  number  of  characters  having  been 
reduced  from  seven  to  five.  Lonoe  275 

The  wedding  ring,  a  comic  opera.     In  two  acts.     As  it  is  performed 
at  the  Theatre  Royal  in  Drury  Lane. 
London,  T.  Becket,  1773.    2  p.  I.,  ii,  4I  p.    20'='^. 

Two  acts.  Cast  and  preface,  dated  February  8, 1773,  by  Charles  Dibdin,  in  which 
he  says : 

"The  reader  will  perceive  at  first  sight  that  the  hint  of  this  piece  is  borrowed  from 
an  Italian  Opera,  entitled,  II  Filosofo  di  Campagna  [by  Golaoni].  There  is  also  a 
circumstance  from  Moliere,  which,  except  about  twenty  lines  taken  from  different 

Eublications,  and  thrown  occasionally  into  the  songs,  are  the  only  passages  in  it  that 
ave  ever  appeared  either  on  the  stage,  or  in  print. 
"Indeed  conscious  of  my  own  inability,  I  should  have  collected  all  the  materials, 
had  it  been  practicable;  but  attempting  this  without  success,  and  being  unwilling  to 
throw  away  a  subject  than  which  'tis  hardly  possible  to  conceive  any  thing  more 
opera tical,  I  determined  to  make  a  tryal  of  what  I  could  do  to  it  myself,  and  this  in  no 
respect  with  a  view  of  setting  myself  up  for  an  author,  but  merely  from  a  desire  of 
assisting  my  reputation  as  a  musician  ..." 

First  performed,  as  indicated,  February  1,  1773  (Genest).  Longe  28 

Weibertreue  oder  Die  maedchen  sind  von  Flandem.     Tr.  of  Mozart's 

Cosi  fan  tutte. 

Die  weinlese.  Ein  singspiel  in  zwei  aufzuegen.  Nach  dem  Erndte- 
kranz  des  herrn  Weisse,  fuer  die  Mannheimer  National-schaubuehne 
eingerichtet  von  Meyer,  mitgliede  dieses  theaters.  Die  composition 
ist  von  Herrn  Becke,  hauptmann  eines  schwaebischen  Dragoner- 
regiments. 

Mannheim,  C.  F.  Schwan,  1783.     110,  [2]  p.     W"^. 

Cast.  The  additional  pages  contain  a  biographical  sketch  of  the  librettist  Wilhelm 
Christian  Dietrich  Meyer,  who  died  on  September  2,  1783,  in  his  thirty-sixth  year 
during  the  publication  of  his  libretto. 

First  performed,  as  indicated,  on  December  10,  1782.  Schatz  679 

Die  weinlese.     Tr.  T.  of  Gazzaniga's  La  vendemmia. 


OPERA   LIBRETTOS  1153 

Arien  und  gesaenge  aus  Der  weinlese.  Eine  laendlich-komische 
oper  von  Joh.  Jacob  Ihlee.  Mit  musik  von  herrn  musikdirektor 
Kuntzen. 

FrankfuH  am  Main,  n.  puhl,  17 93.     23  p.     W^'^K 
First  performed  at  Frankfort  on  Main,  Nationaltheater,  May  3,  1793. 

SCHATZ  5331 

—  Das  fest  der  winzer.     Komische  oper  in  drei  aufzuegen. 
n.  i.,  n.  d.     120  p.     15'^'^. 

This  is  Ihlee's  "Die  weinlese,"  composed  by  Kunzen.  Schatz  5332 

—  Gesaenge  aus  der  oper:  Das  fest  der  winzer,  oder  Wer  fuehrt  die 
braut  nach  hause  ?     Die  musik  ist  von  herm  F.  L.  A.  Kunzen. 

n.  i.,  n.  d.     23  p.     W^. 

Ihlee's  "Die  weinlese"  with  alterations.  Schatz  5333 

Der  weiseste  in  Sidon,  in  einer  opera  auf  dem  Hamburgischen 
Schau-platze  vorgestellet.     1733. 

Hamburg,  gedruckt  mit  seel.  Spieringlcs  schrifften,  n.  d.     Unpaged. 

Three  acts.  Argument,  cast,  and  names  of  Johann  Georg  Hamann  as  author,  of 
Geoi^  Philipp  Teleraann  as  composer. 

First  performed  at  Hambui^,  Opemhaus  beim  Gansemarkt,  October  10,  1729. 

Schatz  10268 

Welche  ist  die  beste  nation?     Ein  lustspiel  mit  gesang  in  zwey 
aufzuegen.     Aufgefuehrt  im  k.  k.  National-Hoftheater. 
Wien,  Joseph  edler  von  Kurzbeck,  1782.     61  p.     16*^^. 

By  Ayrenhoff  (Haas),  who  is  not  mentioned.    He  says  in  his  "  Vorerinnerung " : 

"Ein  komieches  singspiel,  worin  einem  geschickten  tonkuenstler  auf  eine  natuer- 
Uch  herbeygefuehrte  art,  gelegenheit  verschaft  wuerde,  die  verschiedenheiten  des 
musikalischen  geschmacks  der  verschiedenen  europaeischen  nationen  auszudruecken, 
soUte  in  unserm  gesangreichen  zeitalter  keine  undankbare  arbeit  seyn — so  dacht  ich 
mir;  imd  eo  enstund  gegenwaertiger  versuch  ..." 

Ignaz  TJmlaui  (not  mentioned)  composed  the  music.  The  piece  was  hissed. 
(Haas). 

First  performed  at  Vienna,  Burgtheater,  December  13, 1782.  Schatz  10528 

The  Welsh  opera:  or,  The  grey  mare  the  better  horse.     As  it  is 
acted  at  the  new  Theatre  in  the  Hay-Market.     Written  by  Scriblerus, 
Secundus,  author  of  the  Tragedy  of  tragedies  .  .  . 
London,  Printed  by  E.  Rayner,  and  sold  by  H.  CooTc,  n.  d.     1  p.  I., 

a,  a,  39,  [1]  p.   W"^. 

Two  acts  and  introduction.  Cast  and  preface,  in  which  the  author,  Henry  Field- 
ing, hints  at  the  political  basis  of  this  piece,  and  says: 

"As  the  performance  of  the  Grub-street  opera  has  been  prevented,  by  a  certain 
influence,  which  has  been  very  prevailing  of  late  years,  we  thought  it  would  not  be 
unacceptable  to  the  town,  if  we  communicated  to  them  the  WeM  opera,  from  which 
the  other  was  not  only  originally  borrow'd,  but  which  is  in  effect  the  same,  excepting 
some  few  additions,  that  were  made  only  with  a  view  to  lengthen  it  ..." 

Ballad  opera,  the  30  airs  used  being  indicated  by  title. 

First  performed  in  July,  1731,  as  indicated.  Longe  262 

72251°— VOL  1—14 73 


1154  LIBRABY  OF   CONGRESS 

The  Welsh  opera — Continued. 

—  The  genuine  Grub-street  opera.  As  it  was  intended  to  be 
acted  at  the  New  Theatre  in  the  Hay-market.  Written  by  Scrib- 
lerus  Secundus  .  .  . 

London,  Printed  and  sold  for  the  henejit  of  the  comedians  of  the  New 
Theatre  in  the  Hay-marJcet,  1781,    vii,  [1],  9-64  V-     ^^''"*- 

Three  acts  and  introduction.    Ballad  opera.    The  57  airs  are  indicated  by  title. 

ML  50.5.G79 

Die  welt  im  xnonde.     Tr.  of  Galuppi's  II  mondo  della  luna. 

Wenceslaus.     Tr.  of  Scalabrini's  Venceslao. 

Wenzel  ou  Le  magistrat  du  peuple.  Op6ra  en  trois  acte^,  pr6sent6 
h.  la  Convention  nationale  le  2  germinal  de  la  deuxi^me  ann^e  r^pub- 
licaine  [March  22,  1794],  jou6  sm*  le  Theatre  national  le  21  du  mdme 
mois:  [April  10,  1794]  raroles  de  Pillet:  musique  de  la  Durner. 
[Ladumer.] 
Paris,  Maradan,  Seconde  annee,  [1794].    2  p.  I.,  30  p.     20^"". 

ScHATz  5375 

Wer  andern  eine  grube  graebt,  fallt  selbst  darein.  A.  T.  of  Die 
schatzgraeber. 

Wer  das  gluack  hat.     A.  T.  of  Paisiello's  Der  betrogene  geizige. 

Wer  den  schaden  hat,  darf  fuer  den  spott  nicht  sorgen.  Eine 
komische  oper  in  zwey  aufzuegen,  nach  Dorvigny,  fuer  die  Marinel- 
lische  schaubuehne  von  Karl  Friedrich  Hensler.  Die  musik  ist  von 
herrn  Wenzel  Mueller,  kapellmeister. 

Wien,  Joseph  Eamesina,  1798.     92  p.     16^^. 

First  performed,  as  indicated,  May  10,  1798.  Schatz  6976 

Wer  fuehrt  die  braut  nach  hause?  A.  T.  of  Kunzen's  Das  fest 
der  winzer. 

Wer  wagt,  gewinnt.     A.  T.  of  Accorimboni's  Das  herbstabentheuer. 

Die  wette,  oder  Maedchenlist  und  liebe.  Tr.  of  Mozart's  Cosi  fan 
tutte. 

What  news  now?     A.  T.  of  The  humours  of  the  time. 

Who's  afraid?     A  farce  of  one  act:  with  songs. 

{S51]-410  p.     {Select  dramatic  pieces,  London,  ^Y.  Lowndes,  1787.) 

01  cm 

By  Dr.  Jodrell,  who  is  not  mentioned.     No  performance  recorded.      Longe  203 

The  widow  of  Wallingford ;  a  comedy  of  two  acts :  (With  songs)  as 
it  was  performed  in  the  neighbourhood  of  Wallingford,  by  a  set  of 
gentlemen  and  ladies ;  at  whose  request  it  is  now  published. 

London,  Printed  for  the  author,  n.  d.     2  p.  I.,  32  p.     21'^'^. 

Author  not  recorded  by  Clarence.     No  tunes  indicated.  Longe  102 

Der  .wiedererkannte  Cyrus.  Tr.  of  Verocai's  II  Ciro  riconosciuto. 
Die  wiedererkannte  Medea.     Tr.  of  Vinci's  Medea  riconosciuta. 


OPERA   LIBRETTOS  1155 

Die  wiedererkannte  sclavin.  Tr.  of  Picciniii's  La  sohiava  ricon- 
osciuta.  , 

Die  wiederhergestellte  ruh,   oder   Die  gecroente  tapferkeit  des 
Heraclius,  aufF  das  ungarische  kroenungs-fest  .  .  .  Caroli  VI  erwehl- 
ten  roemischen  kaeysers  ...  in  einem  singe-spiel  auf  dem  Ham- 
burgischen  Schauplatz  vorgestellet  im  junio  MDCCXII. 
n.  i.,  n.  d.      Unpaged.     19'^'^. 

Five  acts  and  prologue.  Scenario,  dedication  by  the  authorj  Johann  Ulrich  K6nig, 
and  "  vorrede."    The  composer,  Reinhard  Eeiser,  is  not  mentioned.    Schatz  5115 

Die  wiederkehr  der  gueldnen  zeit,  bey  hoechst-gluecklicher  ver- 
maehlung  Sr.  Majestaet  des  roemischen  und  hungarischen  koenigs 
Josephd  I  mit  .  .  .  Wilhelmina  Amalia,  gebohrne  hertzogin  zu 
Braunschweig  und  Lueneburg,  vermittelst  eines  singe-spieles  auff 
dem  Hamburgischen  Schauplatz  vorgestellet. 

[Hamburg],  Nicolaus  SpieringJc,  1699.     Unpaged.     19^'"\ 

Three  acts.  "Vorbericht,"  without  the  name  of  the  author,  Friedrich  Christian 
Bressand,  or  the  composer,  Reinhard  Keiser. 

First  performed,  as  indicated,  February,  1699.  '  Schatz  5131 

Die  wiedervereinigteri  freier.     Tr.  of  the  ballet  Les  amans  reunis. 

A  wife  of  ten  thousand.     A.  T.  of  Dibdin's  The  cobler. 

Die  wilddiebe,  eine  operette  in  einem  aufzuge. 

Muenster  in  WestpJialen,  Heinrich  PMlipp  Perrenon,  1774.-  Un- 
paged.    ISY"^' 

Neither  the  composer,  Johann  Gottlieb  Nicolai,  nor  the  authors,  Wilhelm  Stiihle 
and  Anton  Matthias  Sprickmann,  are  mentioned. 

First.performed  at  Muenster,  Hoftheater,  1774.  Schatz  7114 

Die  wilden.     Tr.  of  Dalayrac's  Az6mia. 

Der  wildfang.  Eine  komische  oper  in  zwey  aufzuegen.  Nach  herm 
V.  Kotzebue  frey  bearbeitet  von  Franz  Xaver  Huber.  Aufgefuehrt 
auf  den  K.  K.  Hof-Theatern  in  Wien. 

[Wignl,  Mit  von  Kurtzbekischen  schriften,  1797.     Ijlfi  p.     16Y^. 

"Vorbericht"  dated  Vienna,  September,  1797,  and  name  of  Franz  Xaver  Suess> 
xnayr  as  composer. 

First  performed  October  4,  1797,  as  indicated.  Schatz  10185 

Willhelm  und  Roeschen,  oder  Die  Hollandgaenger,  eine  operette 
in  drey  aufzuegen. 

ZeUe,  Carl  GseUius,  177S.    72  p.     15*^^. 

On  p.  2,  the  note: 

"Das  Bujet  dieser  operette  ist  aus  dem  85  und  86*"'  stuecke  des  Hannoverschen 
Magazins  vom  J.  1770  genommen,  und  soil  eine  wahre  geschichte  seyn.  Aus  der 
Clarisse  des  herm  Bocks  sind  ein  paar  sich  passende  arien,  fast  unveraendert,  ein- 
geschaltet" 

Not  recorded  by  Schatz.     Not  found  in  "Deutsches  Anonymen  Lexikon." 

Schatz  11468 

William  and  Nanny;  or,  The  cottagers.    L.  T.  of  The  cottagers. 


1156  LIBRAJRY  OF   CONGBESS 

Windsor  castle;  or,  The  fair  maid  of  Kent,  an  opera,  as  performed 
at  the  T^  eatre-Royal,  Co  vent-Garden,  in  honour  of  the  marriage  of 
Their  Royal  Highnesses  the  Prince  and  Princess  of  Wales.  By. the 
author  of  Hartford-Bridge  .  .  . 

London,  T.  N.  Longman,  1795.     4  V-  ^-  (inch  front.) ,  Jfi  f.    20^"^. 

Two  acts.  By  William  Pearce.  Cast,  dedication,  dated  London,  May  4,  1795, 
and  Advertisement,  according  to  which 

"it  was  the  author's  suggestion  that  the  second  act  of  this  performance  might 
exhibit  a  tournament,  as  the  spectacle  most  apposite  to  the  heroic  character  of  the 
court  of  Edward  the  Third;  Mr.  Noverre,  having,  however,  projected  a  ballet  on  an 
event  in  the  classic  mythology,  the  author  withdrew  his  plan;  and  the  episode  of  the 
ifamap'c  o/PcZots  ana  r/ieiis  [called  a  masque  in  the  text]  was  adopted  ..." 

"The  music  is  principally  by  Mr.  [Johann  Peter]  Salomon.  It  is,  however,  a 
justice  due  to  Mr.  [Reginald]  Spofforth,  a  young  English  composer,  of  very  con- 
rid  erable  promise,  to  state  that  the  opening  roundelay,  the  glee  "Shades  of  Windsor," 
and  Mr.  lawcett's  song  ["In  throng  from  all  parts"],  at  the  end  of  the  first  act,  were 
produced  by  him. 

First  performed,  as  indicated,  April  6,  1795.  Lonoe  231 

The  wishes.     A.  T.  of  Belphegor. 

The  wit  of  a  woman.     A.  T.  of  Love  at  first  sight. 

Der  wittwer  und  die  wittwe.     Tr.  of  Winter's  I  due  vedovi. 

Das  witzige  landmaedchen,  oder  Der  geadelte  landmann.  Tr.  of 
Paisiello's  II  matrimonio  inaspettato. 

The  wives  metamorphos'd.     A.  T.  of  The  devil  to  pay. 

The  wives  revenged ;  a  comic  opera  in  one  act.     As  it  is  performed 
at  the  Theatre-Royal  in  Covent-Garden. 
London,  G.  Kearsley,  1778.     36  p.     Sl*^^.  . 

Cast  and  same  prefatory  note  by  the  author-composer,  Charles  Dibdin,  as  in  his 
"Rose  and  Colin. '^ 

First  performed  September  18, 1778,  as  indicated.  Longb  87 

Der  wohlthaetige,  ein  singspiel  in  zween  aufzuegen,  von  der  stu- 
direnden  jugend  des  katholischen  Schulhauses  zu  Augsburg  bey  St. 
Sal  vat  or  aufgefuehrt  den  3.  4.  und  6ten  herbstmondes  1799. 

[Aiigslurg],  Joseph  Anton  Hueher,  n.  d.     [15]  p.     18'^'^. 

Cast  and  "Vorbericht"  saying  that  the  "tonverfassung"  is  by  Matthaus  Fischer 
and  that  the  singspiel  was  first  performed  "vor  sieben  Jahren"  [1792].  At  head  of 
the  title:  "Der  fuerst  auf  der  jagd,  ein  schauspiel  .  .  .  und"  Schatz  3228 

Der  wohlthaetige  derwisch  oder  Die  schellenkappe.  O.  T.  of 
Schack's  Die  zaubertrommel  oder  Der  wohlthaetige  derwisch. 

The  women  in  an  uproar.     A.  T.  of  The  commodity  excis'd. 

The  wonder !  An  honest  Yorkshireman.  See  Carey's  The  honest 
Yorkshire-man. 

Wonders  in  the  sun,  or  The  kingdom  of  the  birds ;  a  comick  opera. 
With  great  variety  of  songs  in  all  kinds,  set  to  musick  by  several  of 
the  most  eminent  masters  of  the  age.     Written  by  Mr.  Durfey. 
London,  Jacob  Tonson,  1706.     3  p.  I.,  69,  [2]  p.     21'''^. 

Durfey's  dedication,  "Introduction  to  the  prologue,"  "Dramatis  personae," 
"Emblematical  figures,"  prologue  ("all  sung"),  four  acts  (spoken  dialogue ^th 


OPERA   LIBRETTOS  1157 

Wonders  in  the  sun — Continued. 

some  incidental  songs),  and  epilogue,  of  which  the  last  page  has  been  supplied  in 
ms.  in  this  copy.  The  words  of  the  "Ode"  (act  I)  "Groves  and  woods"  were  "made 
to  a  pretty,  but  very  difficult  tune  of  Mr.  Eccles"  and  the  "Dialogue"  (act  III) 
"Pray  now  John"  was  "made  to  a  famous  Sebel,  of  Seignour  Baptist  Lully."  No 
other  composers  are  mentioned.  Tufts  quoting  Whincop  says  "It  had  several  bal- 
lads in  it  that  took  very  much  with  the  common  people,  which  leaves  the  question 
open  whether  or  not  "ballads"  are  meant  in  the  sense  of  eongs  set  to  popular  ballad 
airs. 

First  performed  at  London,  Haymarket,  April  5  not  March  7, 1706.      Longe  194 

Songs,  duets,  trios,  glees,  choruses,  etc.  in  the  comic  opera  of  the 
Woodman.  As  performed  at  the  Theatre-Royal,  Covent-Garden, 
Second  edition.     By  Mr.  Bate  Dudley. 

London,  T.  CadeU,  1791.     1  p.  I,  28  p.     17^"^- 

Three  acts.    Cast  and  prefatory  note  dated  February  26,  1791.    The  text,  hastily 

{)ut  together,  was  written  "to  excite  the  admired  talents  of  a  musical  friend,"  Wil- 
iam  Shield,  but  Longman  &  Broderip's  vocal  score  says  "  composed  c^i^^y "  by 
Shield. 

First  performed  February  26,  1791.  Lonoe  218 

—  The  woodman,  a  comic  opera,  in  three  acts ;  as  performed  at  the 
Theatre-Royal,  Covent-Garden,  with  universal  applause.     By  Mr. 
Bate  Dudley. 
London,  T.  CadeU,  1791.     5  p.  I.  (inch  front.),  94  p.     18'^'^. 

Cast.  Henry  Bate  Dudley's  dedication  dated  Bradwell  Lodge,  April  30,  1791, 
and  reprint  of  the  prefatory  statement.  Longe  215 

A  world  discovered.     A.  T.  of  Columbus. 

The  world  in  the  moon;    an  opera.    As  it  is  perform'd  at  the 
Theatre  in  Dorset-Garden.     By  His  Majesty's  servants.     ByE.  S.  ... 
The  second  edition. 
London,  Abel  Roper,  1697.     4  p.  I,  43,  [1]  p.     20^"^. 

Five  acts,  prologue,  and  epilogue.  Cast  and  epistle  dedicatory  by  Elkanah  Settle, 
to  Christopher  Rich,  which  reads,  in  part: 

"The  feast  being  made  under  your  own  roof,  I  cannot  choose  eo  proper  a  patron  for 
this  entertainment  as  your  self  ...  So  great  an  undertaking,  I  am  sure,  has  never 
been  on  an  English  stage;  and  I  am  not  traveller  sufficient  to  make  foreign  compari- 
sons. And  here  I  think  my  self  obliged  to  do  the  pencil  this  publick  right,  to  tell  the 
world  that  never  was  such  a  pile  oi  painting  rais'd  upon  so  generous  a  foundation; 
especially  under  all  the  hardships  of  so  backward  a  season  of  the  ye£(,r  .  .  . 

"As  to  the  entertainment  itself  I  hope  I  shall  not  be  vain  to  say,  that  the  model  of  the 
scenes  of  this  play  are  something  of  an  original :  I  am  sure  I  have  removed  a  long  heap 
of  rubbish,  and  thrown  away  all  our  old  French  lumber,  our  clouds  of  clouts,  and  set 
the  theatrical  paintings  at  a  much  fairer  light  ..." 

Not  a  real  opera,  but  a  play  interspersed  with  some  music  composed  in  about  equal 
parts  by  Jeremiah  Claxke  and  Daniel  PurceU.  Longe  180 

A  worse  plague  than  the  dragon.     A.  T.  of  Margery. 

Die  wuenschS.  A.  T.  of  Stegmann's  Sultan  Wampum  and  Schach 
Wampum. 

Die  wueste  insel.  Singspiel.  Nach  Metastasio,  von  A.  G.  Meiss- 
ner.     [vignettel 

Leipzig,  Dykische  Biiclihandlung,  1778.     7  p.  ?.,  34  p.     16'^^. 

One  act.  Dedicatory  poem,  "Dem  harden  Rhingulph  geweiht,"  argument,  and 
prefatory  note,  in  which  Meissner  says: 

"Dass  ich  bey  vorliegender  arbeit  Metaatasio  ['L'isola  disabitata']  zu  meinem 
urbild  gewaehlt,  sagt  der  titel  .  .  .    Was  mein  singspiel  selbst  betrift;  so  hab'  ich  den 


1158  LIBRARY   OF   CONGRESS 

Die  wueste  insel — Continued. 

inhalt  dcr  recitative  so  treu  als  moeglich  uebereetragen,  und  bloes  in  den  arien  mir 
einige  abweichungen,  und  zwar  mit  fleias  erlauot.  Denn  freylich  ist  es  ganz  etwas 
andres,  in  reimfreye  Jamben,  als  in  gereimte  musikalische  Stanzen,  getreu  zu  ueber- 
setzen;  und  nachher  sind  selbet — so  viel  ehrfurcht  ich  sonst  fuer  Metastasio  babe — 
seine  arien,  wenigstens  nach  meinem  urtheil,  immer  mehr  des  herrlichen  stoffes  fuer 
die  tonkunst,  una  ihres  einsichtvollen  bauea  und  standpunkts,  ala  ihres  dicbterischen 
styls  wegen  merkwuerdig.  Oft  erlaubt  er  sich  sogar  in  ihnen  taendeleyen,  vor  denen 
er  sich  in  seinen  recitativen  sorgfaeltigst  hueten  wuerde  ..." 

First  performed  at  Leipzig,  with  music  by  Joseph  Schuster,  Theater  beim  Rann- 
Btaedter  Thore,  September  30,  1779.  Schatz  9758 

Das  wuetende  heer,  oder:  Das  inaedchen  im  Thurme,  Ein 
heroisch-komisches  sinojspiel  in  drey  aufzuegen.  Nach.  Bretznern, 
fuer  das  K.  K.  Opern  Theater  eingerichtet,  und  in  musik  gesetzt  von 
herrn  Rupreeht. 

[  Wien],  n.  d.,  hey  dem  logenmeister.     80  p.     16'^'^. 

First  performed  at  Vienna,  Kaemthnerthor  Theater,  June  1, 1787.      Schatz  9162 

Das  wiitende  heer,  oder  Das  maedgen  im  thurme.  Eine  operetta 
in  drey  akten.  [silhouette]  Componirt  vom  herrn  kapellmeister 
Schweitzer  in  Weimar. 

[99]-192  p.     W".     {C.  F.  Bretzner,Operetten,hd.I,Leipdg,  1779.) 

The  silhouette  is  a  portrait  of  the  actress  Minna  Brandes. 

Date  of  first  performance  unknown  to  Schatz,  but  it  must  have  occurred  between 
1772  and  1774.     The  work  is  not  vientioned  by  Mavxer  in  his  book  on  Schweitzer. 

Schatz  11680 

—  Das   wuetende    heer,    oder   Das   maedgen   im   thurme.     Eine 
operette  in  drey  akten.     Von  C.  F.  Bretzner.     Componirt  vom  herrn 
kapellmeister  Schweitzer  in  Gotha. 
Leipzig,  Carl  Friedrich  Schneider,  1788.     79  p.     16\'^'^. 

Schatz  9777 

Die  wunderbahr  errettete  Iphigenia  (by  Postel).  See  Graun's 
Iphigenia. 

Die  wunderbahr-errettete  Iphigenia  in  einem  singe-spiel  auff  dem 
Hamburgischen  Schau-platz  vorgestellet. 

Hamburg,  Nicolaus  Spieringlc,  1699.      Unpaged.     19'^'^. 

Five  acts.  Argument  and  "vorbericht."  Neither  the  author,  Christian  Heinrich 
Poetel,  is  mentioned,  nor  the  composer,  Reinhard  Keiser. 

First  performed,  as  indicated,  1699.  Schatz  5132 

Der  wunderliche  Franzes.     Tr.  of  Astaritta's  II  francese  bizarro. 

Die  wunderschoene  Psyche,  zu  hoechstem  gedaechtniss  des 
erJFreulichsten  gebuhrts-tages  der  aller-durchlauchtigsten,  gross- 
maechtigsten  koenigin  in  Preussen  .  .  .  Sophien  Scharlotten, 
welcher  einfiel  den  20.  octobris,  in  einem  Singe-spiel  auff  dem  Ham- 
biu'gischen  Schau-platz  vorgestellet. 

[Hamburg],  Nicolaus  Spieringlc,  1701.      Unpaged.     19'^'^. 

Three  acts.  "Vorbericht."  Neither  the  author,  Christian  Heinrich  Postel, nor  the 
composer,  Reinhard  Keiser,  is  mentioned.  Postel  based  the  text  on  Marini's 
"Adone,"  on  Comeille  and  Fontenelle's  "Psyche,"  and  on  Matteo  Noria's  "L'Amor 
inamorato."  Schatz  5116 


OPERA  LIBRETTOS  1159 

Xerse.  Drama  per  musica  nel  Teatro  a  SS.  Gio.  e  Paolo  per  ranno 
MDCLIV  ... 

Venetia,  Matteo  Leni,  1654.     6  p.  I.  (incl.  front.)     71  p.     1^^^. 

Three  acts  with  prologue.  By  conte  Niccol6  Minato,  who  Bigns  the  dedication 
with  his  initials  and  dates  it  Venice,  January  12,  1654.  Argument,  scenario,  and 
notice  to  the  reader  without  name  of  Pietro  Francesco  Cavalli  as  composer. 

SCHATZ  1743 

—  II  Xerse.  Drama  per  la  musica  con  aggionta  dell'  intermedii,  e 
molte  altre  scene,  &  aggiustamenti,  conforme  si  rappresentd  nella 
citta  di  Palermo.  Data  in  luce  ad  instantia  dell'  Academia  delli 
Musici  di  detta  cittk  .  .  . 

Palermo,  Andrea  Colicchia,  1658.     5  p.l.,  14£  p.     13'''^. 

Prologue  and  three  acts.  Dedication  and  argument.  No  allusion  to  author  or 
composer,  except  that  the  dedication  says:  "composto  con  felice  vena  di  poesia 
d'autor  famoso  m  tal  materia."  Comparison  proved  it  to  be  conte  Niccolo  Minato's 
"Xerse,"  as  set  to  music  by  Francesco  Cavalli,  Venice,  1654.  The  intermedii  are 
of  a  comic  character.  ML  50.2.X3C2 

Youth  against  magic.     A.  T.  of  Merlin  in  love. 

L'yvrogne  corrige,  opera-comique  en  deux  actes ;  par  Mrs.  Anseaume 
&    *     *     *;  mis  en  musique  par  M.  De  la  Ruette:  represent 6  pour 
la  premiere  fois  sur  le  Th6S,tre  de  I'Opera-comique  de  la  Foire  Saint 
Laurent,  le  23  juillet  1759. 
Paris,  Duchesne,  1759.     Ifi  p.     20^"^. 

Cast.  On  p.  35  the  vaudeville  "Un  amant  dans  ses  beaux  discours"  and  on  p. 
38-40  "Sa  tendresse  pour  moi  chaque  jour."  For  a  German  version  of  this,  made 
for  use  of  Gluck's  setting  of  the  above,  but  providing  in  an  appendix  for  use  of 
Laruette's  music,  see  Schatz  3909  under  "L'ivrogne  comg6."  Schatz  5434 

Za'ide,  reine  de  Grenade,  ballet  heroique,  reprfeent6  par  I'Aca- 
demie  royale  de  musique  de  Lyon,  en  juin  1749. 

Lyon,  RigoUet,  1749.     4I  p.     WY"^- 

Prologue  and  three  acts.  Neither  the  author,  de  La  Marre,  is  mentioned,  nor  the 
composer,  Royer.    Cast. 

Fu^t  performed  at  Paris,  Acad^mie  royale  de  musique,  September  3,  1739. 

ML  52.2.Z2R7 

Zaira.     Dramma  nuovo  per  musica  da  rappresentarsi  nel  nobilissimo 
Teatro  Venier  in  San  Benedetto  il  camovale  dell'  anno  1797. 
Venezia,  Modesto  Fenzo,  1797.     44  p.     18^"^. 

Two  acts.  Probably  by  Mattia  Botturini.  Cast,  scenario,  and  name  of  Sebaetiano 
Nasolini  as  the  composer. 

First  performed,  as  indicated,  February  22,  1797.  Schatz  7018 

Intermezzi  di  Zamberlucco,  e  Palandrana,  da  rappresentarsi  nel 
Teatro  Bonacossi  da  S.  Stefano  il  carnovale  dell'  anno  MDCCXXI. 

[At  end]  Ferrara,  Bernardino  PomateUi,  n.  d.     15,  [1]  p.     15'='^. 

Three  intermezzi.  Neither  the  author  (unknown  to  Schatz)  nor  the  composer, 
Carlo  Francesco  Gasparini,  is  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Cassiano,  fall,  1709.  Schatz  3591 

La  Zanina  maga  per  amore.  Dramma  comico  per  musica  da  rap- 
presentarsi nella  terra  di  S.  Giovanni  in  Persiceto  nel  Teatro  de'  Sig. 
Accademici  Candidi  Uniti  I'autunno  dell'  anno  MDCCXXXVII. 
Bologna,  Costantino  Pisarri,  n.  d.  4^:  [■^l  V-  ^5"^-- 
Three  acts.  Attributed  by  Schatz  to  the  composer,  Giuseppe  Maria  Buini,  who 
ifl  not  mentioned.  Dedication,  notice  to  the  reader,  and  cast.  Imprimatur  dated 
August  29, 1737.  Schatz  1398 


1160  LIBRAEY   OF   CONGRESS 

La  Zanina  maga  per  amore — Continued. 

—  Zanina  maga  per  amore.  Dramma  comico  per  musica  da  rap- 
presentarsi  in  Cesena  nel  Teatro  eretto  nel  Palazzo  Spada  il  camo- 
vale  1745. 

[At  end]  Bologna,  Costantino  Pisarri,  1745.     1  p.l.,  30,  [1]  p.     l^Y'^. 

Exactly  the  same  text  as  in  1737,  though  Schatz  claimB  "con  cambiamenti." 
With  impresario's  dedication  dated  Cesena,  February,  1745,  notice  to  the  reader, 
and  cast,  but  again  without  the  names  of  the  composer  and  the  librettist.  Schatz 
claims  that  Biiini  and  "altri  maestri"  were  responsible  for  the  music,  but  this  claim 
is  apparently  based  on  the  libretto  published  by  Modesto  Fenzo  for  the  performances 
at  Venice,  May,  1742.    Wiel  enters  the  opera  under  that  year  as  "di  vari  autori." 

Schatz  1399 

Der  zauberer.     Ein  singspiel  in  zween  aufzuegen.    Aufgefuehrt  auf 
der  hochiuerstl.  Thurn  und  Taxischen  schaubuehne. 
Regenshurg,  Breitfeld,  1781.     1 7'='". 

Imperfect. 

Two  acts.  Cast.  "Die  poesie  ist  von  herm  Poinsinet.  Die  musik  von  Henri 
Croes  verfertigt."  (p.  [2]).  This  is  a  translation  by  Johann  Heinrich  Faber  (Schatz) 
of  Poinsinet's  "Le  sorcier."  The  missing  pages  (after  p.  56)  of  the  last  scene  have 
been  added  in  manuscript.  Schatz  2294 

Der  zauberer.     Tr.  of  Philidor's  Le  sorcier. 

Die  zauberfloete.  Eine  grosse  oper  in  zwey  aufzuegen.  Von  Em- 
manuel Schikaneder.  Die  musik  dazu  ist  von  herm  Wolfgang  Amade 
Mozart  .  .  . 

n.  i.,  1794.     96  p.     18'''^. 

According  to  Schatz  and  Dent  the  text  was  (at  least)  planned  in  part  by  Gieseke. 

First  performed  at  Vienna,  Theater  auf  der  Wieden,  September  30,  1791. 

ML  50.2.Z25M7 

—  Die  zauberflote.  Eine  oper  in  drei  aufzuegen,  neubearbeitet  von 
C.  A.  Vulpius.  Die  musik  1st  von  Mozart.  Aufgefuehrt  auf  dem 
herzoghchen  Hoftheater  zu  Weimar  zum  erstenmal  am  16.  Januar 
1794. 

Leipzig,  JoTiann  Samuel  Heinous,  1794.    front.,  IO4  p.     16"^. 

The  "Vorrede"  dated  "Weimar,  den  30.  Jan.  1794"  reads: 

"Es  war  uns  schlechterdings  unmoeglich,  die  Zauberfloete  nach  dem  originale, 
welches  Mozart  durch  seine  himmlische  komposition  gleichsam  veredelt  hatte,  vor 
unser  delikates  publikum  hier  auf  das  theater  zu  bringen.  Es  musste  daher  auf  eine 
umarbeitung  gedacht  warden,  und  eo  enstand  die  meinige,  welche  nachher  auch  von 
der  Mannheimer  buehne  angenommen  wurde. 

"Wer  das  original  kennt,  wird  wiesen,  was  ich  geleistet  habe,  oder  nicht.  Den 
dialog  habe  ich  ganz  neu  umgeschaffen.  Die  verse  habe  ich  geaendert  und  wenig- 
stens — vom  nonsens  gereiniget,  wie  ich  hoffe!  Dennoch  wird  man  hier  und  da  nocn 
harte  reime  genug  finden.  Sie  sind  immer,  bei  arbeiten  dieser  art,  ziemlich  unver- 
meidlich.  Es  ist  unendlich  leichter/i{«r  die  musik,  als  nach  einer  schon  vorhandenen 
komposition,  zu  arbeiten  .  .  . 

"Das  originalstueck  hat  gar  keinen  plan.  Die  menschen  gehen  darinne  nur,  um 
wieder  zu  kommen,  und  kommen,  um  abgehen  zu  koennen.  — Ich  habe  es  ver- 
Bucht,  einen  plan  hineinzudraengen  ...  In  dieser  ruecksicht  habe  ich  auch  das 
stueck  in  drei  aufzuege  abgetheilt,  weil  der  zwischenraum  von  nacht  und  tag  mir 
dadurch  bestimmter  gemacht  zu  seyn  schien,  und  weil  ueberhaupt  der  zweite  aufzug 
durch  seine  unverhaeltnissmaessige  laenge,  ermuedete  ..."  Schatz  6849 

—  II  flauto  magico.  Dramma  eroicomico  per  musica  in  due  atti 
tradotto  dall'  idioma  tedesco  nell'  italiano.  Da  rappresentarsi  nel 
Elettorale  Teatro  di  Dresda. 

n.  %.,  1794.     94  p.     16^"^. 

Argument.    Italian  version,  by  Giovanni  de  Gamerra. 

First  performed,  as  indicated,  April  2,  1794.  Schatz  6850 


OPERA   LIBRETTOS  1161 

Der  zauber-hain,  oder  Das  land  der  liebe.  Eine  romantisch 
komische  oper  in  drey  akten  von  Th.  Berling.  Komponirt  vom 
musikdirektor  Bierei. 

n.  L,  1799.    31  p.     16^"^. 

First  performed  at  Dresden,  Theater  vor  dem  schwarzen  thore,  May  8, 1799. 

SCHATZ  1032 

Die  zauberharfe.     L.  T.  of  Walter's  Die  harfe. 

Die  zauberhoele  des  Trofonius.  Tr.  of  Salieri's  La  grotta  di 
Trofonio. 

Die  zauberinsel.     L.  A.  T.  of  Wenzel  Miiller's  Der  sturm. 

Die  zauberinsel.     A.  T.  of  Schack's  Der  stein  der  weisen. 

Der  zaubernde  soldat.     Tr.  of  Philidor's  Le  soldat  magicien. 

Der  zauber Spiegel.     Tr.  of  Gr^try's  La  fausse  magie.. 

Arien  zur  Zaubertromxnel  oder  Der  wohlthaetige  Derwisch.    Eine[!] 
grosses  komisches  singspiel  in  drey  aufzuegen.     Die  musik  dazu  ist 
von  herm  Schak.     Aufgefuehrt  von  der  Mmuleschen  Gesellschaft. 
Augsburg,  n.  publ,  1793.    29  p.     W"^. 

The  author,  Johann  Emanuel  Schikaneder,  is  not  mentioned.    The  music  was  by 
Schack,  Gerl,  and  others  (Komorzynski). 

First  performed  at  Augsbxirg,  Nationaltheater,  1793;   at  Vienna,  Theater  auf  der 
Wieden,  1792,  as  "Der  wohlthatige  derwisch  oder  Die  schellenkappe." 

SCHATZ  9571 

Die  zauberzither.     A.  T.  and  L.  T.  of  Wenzel  Miiller's  Der  fagottist. 

Der  zaubrer.     Eine  komische  oper  in  einer  handlung  von  Karl  Franz 
Henisch. 
Prog,  n.  publ.,  1772.     48  p.     16\'^-^. 

The  composer,  Franz  Andreas  Holly,  is  not  mentioned. 

First  penormed  at  Prague,  Kgl.  Theater  i.  d.  Kotzen,  1772.  Schatz  4773 

Zeboschi  ed  Esing,  ossia  II  vero  amico,  ballet.  See  P.  C.  Guglielmi's 
Dorval  e  Virginia. 

Zefiro  e  Flora,  ballet.     See  Manfredini's  Armida. 

Der  zeitvertreib  auf  dem  lande.  Tr.  of  Astaritta's  II  diverti- 
mento in  campagna. 

Zelia,  drame  en  trois  actes,  m§16  de  musique.  Paroles  de  Dubuisson, 
musique  de  Dcshaye. 

Paris,  et  se  irouve  a  Lille,  Depeme,  1793.     71  p.     19^^. 

First  performed  (music  by  Prosper  Didier  Deshayes,  with  the  alternative  title, 
"L'homme  ^  deux  femmes")  at  Paris,  Th6S,tre  de  la  rue  de  Louvoie,  1791. 

ML  50.2.Z33D2 


1162  LIBRARY   OF   CONGRESS 

La  ZeUnda.     Dramma  per  musica  da  rappresentarsi  nel  Real  Teatro 
del  Fondo  di  Separazione  per  prim'  opera  di  quest'  anno  1786  .  .  . 
Na'poli,  n.  puhl,  1786.     36  p.     l^Y"^. 

Three  acts .  The  author  is  not  mentioned ,  and  is  unknown  to  Schatz .  Impresario's 
dedication  dated  Naples,  April  17, 1786,  notice  to  the  readers  ("  Vi  taccio  il  nome  dell' 
autore.  Per  una  natural  modestia  giammai  egli  ei  h  annunziato  nelle  sue  produzioni "), 
areument,  scenario,  cast,  and  name  of  Giuseppe  Millico  as  the  composer.  The  first 
ballet  was  analogous  to  the  opera;  the  second,  by  Giambattista  Giannini  (music  by 
Capuzzi),  was  called  "Annetta  e  Fierillo."  Schatz  6499 

• 

Zelindor  roi  des  Sylphes. 

Op§ra-ballet  in  one  act,  with  prologue  by  Moncrif ;  music  by  Rebel  and  Francoeur. 
First  performed  at  Versailles  March  17,  1745;  at  Paris,  1  Acad^mie  royale  de  mu- 
sique,  August  10,  1745,  and  revived  there  in  1754. 
Not  in  L.  of  C. 

—  Zephire  et  Fleurette,  parodie  de  Zelindor,  en  un  acte.  Par 
Messieurs  *  *  *  Representee  pour  la  premiere  fois,  par  les  Com6- 
diens  italiens  ordinaires  du  roi,  le  samedi  23  mars  1754. 

Paris,  veuve  Delormel  &  fils,  1751,..  27,  8,  4  p.  19"^.  (Theatre  de 
M.  Favart,  Paris,  Duchesne,  1763-77,  t.  ii.) 

Cast.  En  vaudevilles.  No  airs  printed  in  the  text,  but  the  8,  and  4  p.  at  end 
contain  nine  engraved  "Airs  de  Zephire  et  Fleurette"  and  "Vaudeville  de  Zephire 
et  Fleurette."    On  p.  [3]  this  Avertissement : 

"Cette  pifece  d'abord  en  prose,  &  en  couplets,  fut  pr^sent^e  aux  Comediens  italiens 
en  1745.  lis  se  preparoient  k  la  jouer,  lorsque  des  circonstances  momentandes  les 
empechferent  de  donner  des  parodies.  Une  copie  de  cet  ouvrage  tomba  entre  les 
mains  d'un  comedien  de  province,  qui  le  fit  imprimer  aprfes  y  avoir  ajout6  quelques 
couplets.  Les  auteura  le  r^vendi querent,  en  retranchferent  les  augmentations,  la 
pidce  fut  refondue  &  donn^e  dans  la  forme  qui  suit." 

The  authors  were  Laujon  and  Panard  and  the  piece  was  "refondue"  by  Favart. 
The  arranger  of  the  music  is  not  mentioned  by  Font.  ML  49.A2F1 

Zemine  et  Almanzor.     See  L'industrie. 

Zemira.     Dramma  per  musica   da  rappresentarsi  nel  nobilissimo 
Teatro  di  S.  Benedetto  il  camovale  dell'  anno  1782. 
Venezia,  Modesto  Fenzo,  1782.     63,  [1]  p.     17'^. 

Two  acts.  By  Gaetano  Sertor.  Argument,  cast,  scenario,  and  names  of  com- 
poser, Pasquale  Anfossi,  and  librettist. 

On  p.  27-42  "Descrizione  del  primo  ballo  Don  Pietro,  rfe  di  Castiglia,  ballo  tragico 

?antomimo  in  cinque  atti,  inventato,  e  diretto  dal  Signer  Paolino  Franchi  ..." 
'he  second  ballet  was  called  "L'amore  in  contrasto."    The  composer  of  the  music 
of  the  ballets  is  not  mentioned.  Schatz  272 

First  performed  December  26,  1781,  as  indicated. 

Zieiuira.  Dramma  per  musica  da  rappresentarsi  nel  nob.  Teatro 
nuovo  dcUa  magnifica  cittk  di  Padova  la  fiera  del  Santo  I'anno 
MDCCLXXXVI. 

Padova,  Gio.  Antonio  Gonzatti,  n.  d.     32  p.     17'^'^. 

Two  acts.    Argument,  cast,  scenario,  and  name  of  Francesco  Bianchi  as  com- 

goser,  but  not  of  Gaetano  Sertor,  the  author.  The  music  is  called  "del  tutto  nuova." 
onsequently,  the  performances  of  a  "Zemira"  by  Bianchi  at  Naples,  Teatro  di  S. 
Carlo,  November  4,  1781,  as  mentioned  by  Schatz,  may  have  been  an  earlier  setting 
of  the  same  text.  Schatz  1001 

Zemira  e  Asor,  ballet.     See  Andreozzi's  Giovanna  d'Arco. 

Zemira  e  Azor,  ballet.     See  Caruso's  II  vecchio  burlato. 


OPERA   LIBRETTOS  1163 

Zemira  e  Azor,  ballet.     See  Paer's  La  virtii  al  cimento. 

Zemira  e  Azore.     Tr.  of  Gretry's  Z6mire  et  Azor. 

Zemire  et  Azor,  com^die  ballet,  en  vers  et  en  quatre  actes;  m616e 
de  chants  et  de  danses;  representee  devant  Sa  Majesty,  k  Fontaine- 
bleau,  le  9  novembre  1771,  &  sur  le  Theatre  de  la  Com^die  italienne, 
le  lundi  16  decembre  suivant.  Par  M.  Marmontel  .  .  .  La  musique 
de  M.  Gretry. 

Paris,  Vente,  1772.     56  p.     17^"^. 

Cast.  On  p.  50-56  three  "Airs  de  Zemire  et  Azor":  "Rose  cherie,  aimable  fleur," 
"Des  mains  d'un  pere,"  "Du  moment  qu'on  aime."  Yudin  PQ 

—  Zemire  et  Azor,  comMie  ballet,  en  vers  et  en  quatre  actes,  m^l^e 
de  chants  et  de  danse,  representee  devant  Sa  Majesty  h,  Fontaine- 
bleau,  le  9  novembre  1771,  &  sur  le  Theatre  de  la  Comedie  italienne 
le  lundi  16  decembre  suivant.  Par  M.  Marmontel  .  .  .  La  musique 
de  M.  Gretry. 

Paris,  Vente,  1774.     56  p.     18<^^. 

Cast.  On  p.  49-56  "Aire  de  Zemire  et  Azor":  "Rose  cherie,  aimable  fleur" 
(II,  2),  and  "Uu  moment  qu'on  aime"  (III,  5).  Schatz  4191 

—  Zemire  et  Azor,  comedie-ballet. 

p.  3-43.     20^"^. 

Caption  title.  Lacks  title-page,  etc.  Approbation  at  end  dated  November  16, 
1771. 

Three  acts.     Text  by  Marmontel,  music  by  Gretry.  ML  52.2.Z45 

—  Zemire  et  Azor,  comedie-ballet  en  vers  et  en  quatre  actes,  mdl6e 
de  chants  et  de  danses ;  par  Mr.  Marmontel  ...  La  musique  est  de 
Mr.  Gretri. 

Berlin  [!],  Le  Moine,  1773.     56  p.     18^"^. 

•  On  p.  [2]  the  note: 

"Repr^sent^  devant  Sa  Majesty,  h,  Fontainebleau,  le  9  novembre  1771,  &  eur  le 
Theatre  de  la  ComMie  italienne,  le  lundi  16  decembre  suivant."        Schatz  11709 

—  Zemira  e  Azore,  a  new  comic  opera;  as  performed  at  the  King's 
Theatre,  in  the  Hay-market.  Translated  into  Italian  by  Signor 
Verazzi.  And  into  English  by  Mrs.  Rigaud.  The  music  by  the  most 
celebrated  composer,  Signor  Gretry. 

London,  G.  Bigg,  1779.     65  p.     18^"^. 

Cast. 

First  performed  as  indicated,  in  1779.  Mattia  Verazi's  Italian  version,  according 
to  Schatz,  was  first  used  at  Mannheim,  Hoftheater,  January,  1776.         Schatz  4196 

—  Zemire  und  Azor,  ein  singspiel  in  vier  aufzuegen  aus  dem 
franzocsischen  uebersetzt,  mit  musik. 

Frankfurt  am  Mayn,  mit  Andredischen  schriften,  1775.  80  p.,  16 
p.  {folded  music).     16^"^- 

By  Johann  Heinrich  Faber,  who  is  not  mentioned.  The  music  (voice  and  baas) 
consists  of  "Jene  geister,  womit  man  schreckt"  ("Les  esprits  dont  on  nous  a  fait 

Seur,"  I,   1),  "Ach!  welche  quaall  ach!  welche  schmerzen"  ("Ah!  quel  tourment 
'dtre  BenBible»"  III,  1),  "Munter  sieht  man  den  vogel"  ("La  fauvette  avec  see 
petits,"  III,  5).  Schatz  4192 


1164  LIBRARY   OF   CONGRESS 

Zemire  et  Azor — Continued. 

—  Zemire  und  Azor.  Eine  romantisch  komische  oper  in  vier  auf- 
zuegen.     Nach  dem  franzoesischen  des  Marmontel. 

Breslau  und  Leipzig,  Christian  Friedrich  Gutsch,  1779,    87  p.   15Y^. 
German  vereion,  by  Karl  Emil  Schubert.  Schatz  4193 

—  Gesaenge  aus  Zemire  und  Azor,  einem  singspiele  in  vier  aufzue- 
gen,  von  herrn  Gretry. 

Mitau,  Johann  Friedrich  Steffenhagen,  1782.    24  p.     16Y'^. 
German  version  by  Heinrich  August  Ottokar  Reichard. 
First  performed  at  Gotha,  Hoftheater,  January  29,  1776.  Schatz  4194 

—  Zemire  und  Azor,  ein  singspiel  in  vier  aufzuegen  aus  dem 
franzoesischen  uebersetzt. 

Muenster,  Perrenon,  1777.     64  p.     17*^. 

Schatz  4195 

—  Gesaenge  zu  der  oper :  Zemire  und  Azor  in  vier  aufzuegen.  Aus 
dem  franzoesischen  uebersetzt. 

n.  %.,  n.  d.     22  p.     17^'='^. 

Printed  before  1800?  Schatz  11710 

Zemire  et  Melide,  ou  Les  fausses  infid^lit^s.  O.  T.  of  Philidor's 
M61ide  ou  Le  navigateur. 

Zemire  und  Azor,  eine  romantisch-komische  oper  in  vier.  aufzuegen 
Nach  dem  franzoesischen  des  Marmontel. 

Breslau,  Johann  Friedrich  Kom  d.  altere,  1775.     56  p.     15^^. 

Lyrics  by  Karl  Emil  Schubert;  dialogue  by  the  composer,  Gotthilf  von  Baiun- 
garten  (neither  mentioned). 

First  performed  at  Breslau,  Schuch'sches  Theater,  May  18, 1776.        Schatz  658 

Zemire  und  Azor.     Tr.  of  Gretry 's  Zemire  et  Azor. 

Zemirens  und  Azors  ehestand.  A.  T.  of  Umlauf's  Der  ring  d^r 
liebe. 

Zenis  et  Almasie,  ballet  heroique,  reprfeent^  devant  Leurs 
Majestfe,  a  Fontainebleau,  le  2  novembre  1765. 

[Paris],  Christophe  Ballard,  1765.  22  p.  20^"^.  {Journal  des 
spectacles,  t.  ii,  Paris,  1766.) 

One  act.  Cast  and  names  of  Chamfort  as  author  of  the  text,  of  Benjamin  Jean  de 
La  Borde  and  Bernard  de  Bury  (see  t.  I,  p.  15)  as  composers  of  the  music,  and  of 
Laval  p^re  et  fils  as  "composers  "  of  the  ballet.  ML  48.J7 

Zenobia. 

Metastasio,  Poesie,  Parigi,  vedova  QuiUau,  1755,  t.  v,  93  p.     W^^. 
Three  acts  and  licenza.    Argument.  ML  49.A2M42 

—  Zenobia.  Dramma  scritto  dall'  autore  Panno  1 740,  e  rappresentato 
la  prima  volta  con  musica  del  Predieri  nel  j)alazzo  dell  Imperial 
Favorita  .  .  .  il  di  28  agosto  dell'  anno  medesimo,  per  festeggiare  il 
giomo  di  nascita  dell'  imperatrice  Elisabetta  .  .  . 

pi.,  [3]-96  p.  26'^^.  {Metastasio,  Opere,  t.  vi,  Parigi,  vedova  Heris- 
sant,  1780.) 

Three  acts  and  licenza.    Argument.  ML  49.A2Z44 


OPERA  LIBBETTOS  1165 

Zenobia— Continued . 
—  Zenobie. 

Metastasio,  Tragedies-opera^  Vienne,  1751,  v.  i,  p.  [lST\-243.    1^'^'^. 
Three  acts.     Richelet's  translation  of  "Zenobia."  ML  49.A2M47 

La  Zenobia.     Drama  per  musica  di  Mattio  Noris.     Da  rappresen- 
tarsi  nel  Teatro  di  San  Cassano  I'anno  1665  .  .  . 
Venetia,  CamiUo  BoHoli,  1666.     15  p.     13^. 

Three  acts.  Author's  dedication,  dated  Venice,  January  10,  1666,  argument, 
scenario,  and  notice  to  the  reader  ("  Sono  anni  quattro  in  circa,  che  h6  delineato  questo, 
mio  parto").    The  composer,  Giovanni  Antonio  Boretti,  is  not  mentioned. 

SCHATZ  1221 

Zenobia.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  Gius- 
tinian  di  S.  Moise.     L'autunno  dell'  anno  1746. 
Venezia,  Modesto  Fenzo,  1746.     52  p.     17^"^.  * 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Argument,  scenario,  cast,  and 
name  of  Girolamo  MicheUi  as  the  composer.  Schatz  6481 

Zenobia.     Dramma  per  musica,  da  rappresentarsi  nel  nobil  Teatro 
del  Bairo  Alto  la  state  dell'  anno  1765.     Per  celebrare  la  riccorrenza 
del  gloriosissimo  compleannos  di  S.  A.  R.  il  Signor  prencipe  di  Beira. 
\Lisbona\  n.  pull.,  n.  d.     12  p.  I.,  123  p.     HY'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
argument,  cast,  scenario,  congratulatory  poem,  and  note: 

' '  La  musica  tutta,  ch'^  quella  stessa,  cantata  nel  Regio  Teatro  di  Milano  in occasione 
delle  gloriosissime  feste  celebrate  I'anno  1752,  h  parto  felice  del  celebre  Sig.  David 
Perez  .  .  ." 

but  the  opera  was  actually  first  performed  there  fall  of  1751 .  Portuguese  title  page  and 
text  face  Italian.  ML  50.2.Z37P3 

Zenobia.  Festa  teatrale  per  musica.  Da  rappresentarsi  nel  giorno 
del  felicissimo,  e  gloriosissimo  nome  della  Sac.  Ces.  e  Catt.  Real 
Maestk  di  Elisabetta  Cristina  imperadrice  regnante  .  .  .  I'anno 
MDCCXXXII.  La  poesia  e  del  Sig.  abate  Gio.Claudio  Pasquini  .  .  . 
La  musica  h  del  Sig.  Giorgio  Retitter  il  giovine  .  .  . 

Vienna  d^ Austria,  Gio.  Pietro  Van  Ghelen,  n.  d.      Unpaged.     21^^. 

One  act  and  licenza.    Argument. 

First  performed  at  Vienna,  Hoftheater,  November  19,  1732.  ML  48.M2C 

Zenobia.  Dramma  per  musica  da  rappresentarsi  nel  Teatro  di  S. 
Angelo  l'autunno  dell   anno  1740  .  .  . 

Venezia,  Marino  Rossetti,  n.  d.     60  p.     15"'^. 

Three  acts.  By  Metastasio,  who  is  not  mentioned.  Impresario's  dedication, 
ai^ument,  cast,  scenario,  and  name  of  Guglielmo  Sbacci  as  the  composer. 

Schatz  9512 

Zenobia.  Dranmia  per  musica  da  rappresentarsi  nel  Nuovo  Teatro 
di  corte  .  .  .  nel  camevale  dell'  anno  MDCCLXXIII.  La  poesia  h 
dell'  Sig  abbate  Pietro  Metastasio  .  .  .  La  musica  e  del  Sig.  Antonio 
Tozzi  .... 

Monaco,  Francesco  Gioseppe  ThuiUe,  n.  d.     173,  [26]  p.     15'^'^. 

Three  acts.  Argument,  cast,  and  scenario.  German  title-page,  "Zenobia,"  and 
text  face  Italian.  The  unnumb.  26  p.  contain  casts  and  descriptions  in  Frenchand 
German  of  Canziani's  "Le  jugement  de  Paris,  ballet  heroiaue  et  pantomime — Das 
urtheil  des  Paris"  and  Regina's  "L'Espagnol  genereux,  ballet  pantomime — Der 
grossmuethige  Spanier."    The  composers  of  the  music  are  not  mentioned. 

First  performed  January,  1773,  as  indicated.  Schatz  10384 


1166  LIBRARY   OF   CONGRESS 

Zenobia.     Dramma  per  musica  da  rappresentarsi  nel  iiobil  Teatro 
di  Torre  Argentina  nel  camovale  dell'  anno  1762  .  .  . 
Roma,  Giovanni  Giussani,  1762.     51  p.     16^^. 

Three  acts.  Dedicatory  poem,  cast,  argument,  scenario,  names  of  composer, 
Tommaso  Trajetta,  and  librettist,  Metastasio,  and  protesta: 

"Ciocch^  si  6  variato,  ed  aggiunto  nel  dramma,  si  h  fatto  per  accomodarlo  al  teatro 
presenter  e  per  quanto  6  stato  possibile,  vi  si  sono  adattate  le  ariette,  ed  i  recitativi 
di  altre  opere  dramatiche  dello  stesso  autore:  1  di  cui  celebri  originali  restano  sempre 
illesi  nelle  molte  applaudite  edizioni  ..."  Schatz  10398 

Zenobi^,  dramma  per  musica,  da  rappresentarsi  nel  Regio  Teatro 
Danese. — Zenobia,  et  syngespil  .  .  . 

Ki0henTiavn,  L.  N.  Svare,  1770.     87  p.     17 Y"^. 

Three  acts.    Argument  and  cast.     Neither  Metastasio,  the  author,  nor  Francesco 
Antonio  Baldassare  TJttini,  the  composer,  is  mentioned.    Danish  text  faces  Italian. 
First  performed  at  the  same  theater,  carnival,  1754.  Schatz  10551 

Zenobia  odor  Das  muster  rechtschaffener  ehelichen  liebe.  Tr.  of 
Handel's  Radamisto. 

Zenobia  in  Palmira.  Dramma  serio  per  musica  da  rappresentarsi 
nel  Regio  Teatro  dell'  Accademia  degli  Awalorati  in  Livorno  I'au- 
tunno  deir  anno  1796. 

[Livorno],  presso  Tommaso  Masi,  e  compagno,  n.  d.     32  p.     17 Y^- 

Two  acts.  By  Gaetano  Sertor.  Cast,  scenario,  and  name  of  composer,  Pasquale 
Anfossi,  but  not  of  librettist. 

With  the  opera  were  performed  the  ballo  serio  "II  Zorilan"  and  the  ballo  comico 
"II  pittor  burlato,"  both  invented  by  Gio.  Batista  Giannini.  The  composer  of  the 
music  is  not  mentioned. 

First  performed  at  Venice,  Teatro  di  S.  Benedetto,  December  26,  1789. 

Schatz  257 

Zenobia  in  Palmira.  Drama  per  musica  da  rappresentarsi  nel 
Regio  Teatro  di  Milano  I'anno  1710  .  .  . 

Milano,  Giuseppe  Pandolfo  Malatesta,  n.  d.     58  p.     ISY'^- 
Three  acts.    Attributed  by  Schatz  to  Zeno  (jointly  with  Pariati),  but  no  such 
text  appears  in  Zeno's  collected  works.    The  text  is  largely  the  same  as  that  of 
the  anonymous  "L'amore  eroico,"  1725.     Dedication,  argument,  scenario,  and  Reim- 
primatur.     The  composer,  Fortunato  Chelleri,  is  not  mentioned. 

First  performed  at  Barcellona,  1709,  Teatro  en  la  casa  de  la  Lonja.     Schatz  1818 

Zenobia,  regina  de  Palmireni.  Dramma  per  musica  da  rapresen- 
tarsi  nel  Teatro  Grimano  de  SS.  Gio.  e  raolo  I'anno  1694.  De 
Antonio  Marchi  .  ,  . 

Venetia,  Per  il  Nicolini,  169 4.     71  p.     13^"^. 

Three  acts.  Author's  dedication,  argument,  scenario,  and  notice  to  the  reader, 
in  which  Marchi  calls  this  his  second  drama  and  mentions  Tommaso  Albrnoni  as  the 
composer.  Schatz  112 

Zenobia  regina  dei  Palmireni.  O.  T.  of  Marchi's  text  II  vinto 
trionfante  del  vincitore. 

Zenobie.     Tr.  of  Metastasio's  Zenobia. 

Zenocrate  ambasciatore  a'  Macedoni.  Drama  per  musica  da 
rappresentarsi  nel  Teatro  Zane  di  S.  MoisS  I'anno  1687.  Del  Gas- 
parmi  .  .  . 

Venetia,  Francesco  Nicolini,  1687.     60  p.     1/f.'^'^. 

Three  acts.  Dedication,  argument,  notice  to  the  reader,  scenario.  The  composer, 
Pietro  Porfiri,  is  not  mentioned.  Schatz  8356 


OPERA   LIBRETTOS  1167 

Zenone,  imperator  d'Oriente.  Drama  per  musica.  Da  rappre- 
sentarsi  nel  Teatro  di  San  Casciano  Fanno  1696.  Di  Antonio 
Marchi  .  .  . 

Venetia,  Nocolini,  1696.     71  p.     IW^. 

Pages  5-6  wanting. 

Three  acts.  Dedication,  argument,  notice  to  the  reader.  Composed  by  Tommaso 
Albinoni,  who  is  not  mentioned.  Schatz  101 

Zephire  et  Fleurette.     Parody  of  Rebel  and  Francoeur's  Zelindor. 

Zephire  et  Flore,  opera,  represents  par  FAcademie  royale  de  mu- 
sique.     Suivant  la  copie  imprimee,  a  Paris. 

{Amsterdam,  Antoine  ScJielte],  1688.     J^l  f.  (incl.  front.)     13^'^^. 

Prologue  and  three  acts.    For  author  and  composer  see  next  entry. 

ML  50.2.Z4L9 

—  Zephire  et  Flore,  opera,  represents  par  FAcademie  royale  de 
musique. 

Imprime  a  Paris,  <&  onles  vend  a  Anvers,  chez  Henry  van  Dunewald, 
1689.     36  p.     13^"^. 

Prologue  and  three  acts.  Neither  the  author,  Michel  Du  Boulay,  is  mentioned,  nor 
are  the  composers,  Louis  and  Jean  Louis  de  liuUy. 

First  performed,  as  indicated,  March  22,  1688.  ML  50.2.2i4L9 

—  Zephire  et  Flore,  opera  represents  par  FAcademie  royale  de 
musique  Fan  1688.  Les  paroles  de  M.  Du  Boulay,  cfc  la  musique  de 
M"  Louis  de  Lully,  cfc  Jean  Louis  de  Lully.     XXIII.  opera. 

n.  %.,  n.  d.  IJf.'^^.  pi.,  281-330  p.  {Recueil  general  des  opera, 
t.  Hi,  Paris,  1703.) 

Detached  copy.    Three  acts  and  prologue.  Schatz  5784 

Second  copy.    ML  48. R4 

Das  zerstoerte  Troja,  oder  Der  durch  den  tod  Helenen  versoehnte 
Achilles,  wurde  an  dem  theuren  Carols-tage  wegen  des  neulichen  von 
Ihro  Roem.  Kays,  und  Cathol.  Maj.  unsern  aUergnaedigsten  kayser 
und  herrn,  ueber  die  Tuercken  befochtenen  sieges,  una  der  darauf 
hoechst  gluecklich  erfolgten  eroberung  der  sehr  wichtigen  vestung 
Temeswar,  [vignette]  zu  allerunterthaenigster  bezeugung  der  hierob 
geschoepften  ireude  in  einem  musicalischen  singe-spiel  auf  dem 
Hamburgischen  Schau-platz  vorgestellet  im  novembre,  1716. 
Hamburg,  Fridrich  Conrad  Grejlinger,  n.  d.      Unpaged.     19^'^. 

Five  acts.  Scenario  and  historical  "vorbericht"  by  the  author,  Johann  Joachim 
Hoe,  who  is  not  mentioned.     He  says: 

"zur  nachricht,  dass  einige  gute  freunde  den  verfasser  der  poetie,  welcher  die 
poetische  feder  nur  bey  einigen  muessigen  stunden  ergriffen,  veranlasset,  gegen- 
waertige  opera  zu  verfertigen,  welche,  wenn  man  die  italiaenische  entgegen  zu  halten 
beliebet,  eben  nicht  fuer  eine  blosse  ubersetzung  wird  zu  schaetzen  seyn.  Fuemem- 
lich  aber  hat  ihn  dazu  angetrieben  des  grossen  virtuosen,  des  hn.  capell-meister 
Keisers  extraordinaire  composition  ..." 

Many  arias  have  the  Italian  text  added  to  the  German.  Hoe  based  his  text  on 
Urbano  Rizzi's  "Achille  placato." 

As  sixty-sixth  opera,  by  Keiser,  first  performed,  as  indicated,  November  4,  1716. 

Schatz  5117 


1168  LIBRABY  OF  CONGRESS 

Die  zigeuner.  Ein  lustspiel  mit  gesang,  in  fuenf  aufzuegen,  von 
Heinrich  Ferdinand  Moeller.  Aufgefuenrt  auf  dem  churfuerstl. 
Theater  zu  Muenchen.  Die  musik  nierzu  ist  von  herm  Joh.  Chr. 
KafiFka,  und  bey  selbigem  in  Augsburg  zu  haben. 

n.  i.,  n.  d.,  1778.     94  p.     16<^^. 

First  performed,  as  indicated,  1778.  Schatz  4988 

Die  zigeuner.     A.  T.  of  Salieri's  Der  talisman. 

Zima,  ballet.     See  P.  Guglielmi's  Lo  sciocco  poeta  di  campagna. 

Siinia,  ballet.     See  Zingarelli's  La  secchia  rapita. 

Li  Zingani  in  fiera,  ballet.    See  Tritto's  Nicaboro  in  Jucatan. 

La  Zingara. 

Intermezzo  in  two  parts.  Music  by  Rinaldo  di  Capua.  Author  unknown.  Date 
of  first  performance  unknown. 

Not  in  L.  of  C.  and  no  copy  of  the  original  edition  had  been  traced  by  Spitta 
when  he  wrote  his  essay  on  Rinaldo  di  Capua  for  the  Vierteljahrsschrift  fiir  Mu- 
eikwissenschaft,  1887.  In  this  essay  Spitta  sought  to  reconstruct  the  original  version 
of  "La  Zingara  "  (thouj^h  without  much  success),  principally  on  the  basis  of  the  some- 
what altered  score  edited  by  Cosimi  some  time  after  the  first  performance  of  "La 
Zingara"  on  June  19,  1753,  at  the  Acad^mie  royale  de  musique,  Paris.  Compare 
Spitta  also  for  the  relationshif)  between  this  score  and  that  of  Favart's  French  version 
of  1755.  Cosimi's  score  contains  the  following  (arias  in  Italics): 
(Int.  I)  Con  la  speme  del  goder. 

Si  taglia  borse. 

Tu  non  pensi. 

Caro  fratello  mio. 

Hd  ragione,  si  signore. 

Mancherebbe  amor  questa. 

Ella  pud  credermi. 

E  in  breve  8ar6  sposo. 

Si,  caro  ben  sarete. 

E  dove,  dove  I'orso  n'and6  (Rec.  ace.) 

Che  orror  che  spavento. 

Donde  Signer  tant  ira. 

Amor,  oh  che  diletto. 
(Int.II)  Imaginar  non  puoi. 

E  specie  di  tormento  (text  Metastasio's  Temistocle). 

S'awicina,  Calcante. 

O  voi  possenti  Numi  (Rec.  ace.) 

Voce,  cheflebile. 

Nulla,  nulla  Signer. 

Perfidi,  die  volete. 

Non  tante  smanie. 

0  delV  Egitto  Nume  custode  (=  "Dea  delle  selve  ...     Tu  il  core  intatto" 
in  Hasse's  Leucippo). 

lo  giuro  rei . 

Viverd  se  tu  lo  vuoi. 

Oh  Dio  Nisa  d'amore. 

Ogni  tromba,  ogni  tamburo. 

—  La  Bohemienne,  comedie  en  deux  actes  en  vers,  mdslee 
d'ariettes,  traduite  de  la  Zingara,  intermede  italien. 

La  Haye,  H,  Constapel,  1758.     Ifi  p.     15\^'^. 

Two  acts.  By  Favart,  parodied  from  Rinaldo  di  Capua's  "La  Zingara,"  and  first 
performed  at  Paris,  Comedie  italienne,  July  28,  1755.  At  the  head  of  the  arias  are 
given  the  first  words  of  the  Italian  arias  used.    The  cast  is  preceded  by  this  impudent 

'^''  Averiissefment 

"Cette  bagatelle  est  une  traduction  de  I'intermfede  italien  donn^  sur  le  Theatre  de 
l'0p6ra.  Dans  tons  les  endroits  oil  Ton  a  suivi  I'original  ^  la  lettre,  on  a  dd  n^cessaire- 
ment  se  rencontrer  avec  les  auteurs  qui  out  traduit  le  meme  sujet.  On  ne  pent  point 
6tre  Boupconn6  de  plagiat,  quand'il  n'y  qu'une  fayon  de  dire  les  choses." 

Schatz  8797 


OPEEA  LIBRETTOS  1169 

La  Zingara — Continued. 

—  La  Bohemienne,  com^die  en  deux  actes  et  en  vers,  mesl6e 
d'ariettes,  traduite  de  la  Zingara,  intermede  italien.  Representee 
pour  la  premiere  fois  par  les  Comediens  italiens  ordinaires  du  roi,  le 
28  juillet  1755. 

Paris,  N.  B.  Duchesne,  1759.  43,  [5],  [41]-96  p.  19<''^.  Theatre 
de  M.  Favart,  Paris,  Duchesne,  1763-77,  t.  ii.) 

Cast.  The  [5]  p.  contain  catalogues  of  plays;  the  p.  [41J-96,  seventeen  "Ariettes  de 
la  Bohemienne.  In  the  text  which  coincides  with  that  of  the  published  score  the 
corresponding  ariettes  are  headed  by  the  first  words  of  the  Italian  arias. 

The  seventeen  ariettes  are: 

Dans  I'esperance  du  plaisir  (=  "Con  la  speme  del  goder"  in  La  Zingara). 

Tu  ne  songes  guhe  (=  "Tu  non  pensi"  m  La  Zingara j. 

Que  t'importe  que  je  reste  (=  "H6  ragione,  si  Signore"  in  La  Zingara). 

Ahl  eette  ligne  designe  (=  "Ella  pu6  credermi"  in  La  Zingara). 

Examinez  sa  grace  (=  "Tre  giomi  son  che  Nina.".  For  a  long  time  attributed  to 
Pergolesi,  though  without  proof.  Radiciotti  persists  in  attributing  this  song;  to 
Pergolesi  on  the  strength  of  rather  naive  "internal "  evidence.  His  reading  of  Squire's 
articles  on  the  song  in  "Musical  Times,"  1899,  and  Zeitschrift  d.  I.  M.  G.  1900/01  is 
curiously  inaccurate.  Squire  adduced  some  contemporary  evidence  that  the  song 
was  considered  a  composition  by  Legrenzio  Vincenzo  Ciampi,  and  he  traced  its  first 
anonymous  appearance  in  print  to  the  year  1749  when  it  was  printed  (in  April)  by 
Walsh  of  London  as  one  of  trie  interpolated  songs  in  a  comic  opera  called  "I  tre  cicis- 
bei  ridicoli,"  a  rifadmento  (London,  Haymarket,  March  14,  1749)  perhaps  by  Ciampi, 
the  accredited  "maestro  to  the  company"  in  London  of  Natale  Kesta  s  opera  (text 
by  Vasini),  Venice,  Teatro  di  Sant'  Angelo,  May  1748.  Spitta  was  inclined,  though 
without  soimd  reasons,  to  attribute  the  song,  which  originally  was  comic,  not  tragic, 
to  Rinaldo  di  Capua.  Pergolesi's  name  did  not  become  attached  to  it  until  the 
sixth  decade  of  the  eighteenth  century,  i.  e.  if  Gugler  really  saw  an  English  sheet- 
edition  of  the  song  with  Pergolesi's  name,  or  otherwise  not  until  the  nineteenth  cen- 
tury. Weckerlin,  for  instance,  never  saw  an  edition  with  Pergolesi's  name  older 
than  1847.) 

Oui,  vous  serez  sans  cesse  (=  "Si,  caro  ben  sarete"  in  La  Zingara). 

Ah!  mon  ours  a  pris  la  fuite  (=  "Maledetti  quanti  siete"  in  Ciazapi's  Bertoldo, 
Bertoldina  e  Cacasenno). 

Oht  laissez  done  mon  coeur  (=  "Madam'  lasciatemi"  in  Resta's  I  trfe  cicisbei 
ridicoli). 

Mon  coeur,  o  cher  Calcante  (as  appears  from  a  note  in  the  score,  this  duet  was  by 
Pergolesi.    Indeed  it  is  "Per  te  io  h6  nel  core"  from  his  Flaminio). 

(Int.  II)  Je  n'en  puis  plus  (=  "Si  rawiva"  [nel  mio  core],  which  also  appears  in 
the  "Giocatore"  Paris). 

Au  pilge  il  va  se  rendre  (=  "E  specie  di  tormento"  in  La  Zingara). 

Je  perds  sans  ressource  (=  Che  orror!  che  spavento  "  in  La  Zingara). 

0  vous,  demons  celebres  (=0  voi  possenti  Numi  (in  the  text  ccAled  an  ariette,  in  the 
"Ariettes"  a  recitative  and  in  the  score  correctly  a  "Recitatif  accompagn^."  It  is 
from  La  Zingara). 

Ta  voix  au  noir  sijour  (=  "Voce  che  lugubre  "  in  La  Zingara). 

Au  secours.    Ah!  je  tremble  (=  "Perfidi  che  volete"  in  La  Zingara). 

Pauvre  Nise!  Tu  chiris  (=  "Vedovella,  poverella"  in  Cocchi's  La  scaltra  govema- 
trice). 

Toujours  preste,  toujours  leste  (=  "Ogni  tromba,  ogni  tamburo"  in  La  Zingara). 

ML49.A2F1 

La  Zingara.    L.  T.  of  Vento's  L'Egiziana. 

Ziste  et  Zeste,  ou  Les  importuns,  folie  en  un  acte  et  en  vaudevilles, 
par  les  CC.  Cailhava  et  Leger.     Representee  pour  la  premiere  fois, 
sur  le  Theatre  du  Vaudeville  ...  27  Ao^lt  1796. 
Paris,  AuThedtreduVaudemUe,  [etc],  An  Vf    [1796-97].   36  p.    5^ 

Cast.  On  p.  34  the  air  of  the  "Vaudeville.  Paroles  et  musique  du  citoyen 
Leger. — Plein  de  la  plus  vive  ardeur." 

Not  recorded  by  CI.  &  L.  or  Schatz.  ML  48.M2E 

72251°— VOL  1—14 74 


1170  LIBRARY   OF   CONGRESS 

Zee.     Dramma  per  musica  da  rappresentarsi  nel  Teatro  novissimo  di 
San  Benedetto  il  carnovale  dell'  anno  MDCCLVI. 
Venezia,  Angiolo  Geremia,  n.  d.     52  p.     15^^. 

Three  acts.  By  Francesco  Silvani,  an  altered  version  of  whose  "La  forza  del 
sanguine"  this  is,  according  to  Schatz.  Argument,  cast,  scenario,  and  name  of 
Gioacchino  Cocchi  as  composer. 

First  performed,  as  indicated,  December  26,  1765.  Schatz  2047 

La  Zee.  Dramma  per  musica  da  rappresentarsi  nel  nobile  Teatro 
Tron  di  S.  Cassiano  I'autunno  dell'  anno  1736  .  .  . 

Venezia;  Giuseppe  Bettinelli,  1736.     71  p.     15'^'^. 

Three  acts.  A  later  version  of  "La  forza  del  sangue"  by  Francesco  Silvani,  who 
is  not  mentioned.  Dedication  by  Domenico  Lalli,  argument,  cast,  scenario,  and 
name  of  Luca  Antonio  Predieri  as  composer.  Schatz  8<59 

Zon-Zon  piincipe  di  Kibin-Kinka.  Dramma  giocoso  da  rappre- 
sentaisi  nel  Regio  Ducal  Teatro  di  Milano  I'autunno  dell'  anno 
1773  .  .  . 

MiUno,  Gio.  Batista  BiancM,  n.  d.     68,  [2]  p.     IBY"^. 

Two  acts.  A  considerably  altered  version  of  "L'inimico  delle  donne"  by  Bertati, 
who  is  not  mentioned.  Impresario's  dedication,  scenario,  and  name  of  Giuseppe 
Gazzaniga  as  the  composer.  With  the  opera  was  performed  Gasparo  Angiolini's 
"La  partenza  d'Enea,  o  sia  Didone  abbandonata,"  who  possibly  also  composed  the 
music  for  this  ballet.  Schatz  3688 

Zophilette.  Cbnte  de  Mr.  Marmontel  mis  en  scenes  &  en  ariettes, 
&  represents  le  17  mai  1765. 

Paris,  n.  pull.,  1768.    2  p.  I.,  39  p.     19^"^. 

One  act.    The  anonymous  author  says  in  his  preface: 

"J'avais  toujoura  imaging  qu'en  travaillant  d'apr^  l'616gant  Marmontel,  la  r^ua- 
site  6tait  siu-e.  Je  m'amusai  ^  mettre  en  scenes  son  Conte  de  Laurette.  A  peine 
eus-je  achev6  de  compiler  mon  drame  en  favour  d'une  80ci6t6  qui  a  bien  voulu 
B'amuser  de  le  repr&enter,  que  je  crus  qu'il  n'y  avait  qu'i  le  faire  mettre  en  musique. 
J'ai  refais  mes  ariettes  sur  des  airs  italiens.  J'entrevoyais  d^j^  mon  triomphe,  &  le 
plaisir  d'avoir  contribu6  h.  celui  du  public."  However,  he  decided  first  to  submit 
his  play  to  a  "femme  charmante,  pleine  d'esprit  &  de  go(it"  for  her  criticism  which 
he  expected  to  be  in  the  form  of  a  compliment.  He  quotes  her  not  altogether  flat- 
tering "reflexions"  and  suggestions  for  improvement  and  continues  by  saying: 

"Me  connaissant  trop  de  paresse  &  point  assez  de  talent  pour  suivre  le  conseil  sage 
&  honndte  que  renferme  cette  juste  critique,  j'abandonnai  mon  projet  de  me  faire 
jouer  sur  le  theatre.    Je  me  plaindrai  peut-^re  bientdt  de  I'avoir  ^t^  trop  en  soci^t^." 

The  "airs  italiens"  to  which  his  ariettes  were  to  be  sung  are  indicated  in  every 
instance  with  the  name  of  the  composer.  Accordingly  the  music  formed  an  anthology 
of  arias  by  Galuppi,  Ferrandini,  Joinnielli,  Gluck,  Bach,  Piccinni,  Traetta, 
Sarti  and  others  and  includes  a  few  Venetian  canzonettas. 

Not  recorded  by  Schatz,  CI.  &  L.,  etc.  ML  50.2.Z6 

Zoraime  et  Zulnar,  op6ra  en  trois  actes,  par  le  C.  Saint-Just, 
musique  du  C.  Boieldieu.  Represents  pour  la  premiere  fois  sur  le 
Theatre  de  la  rue  Favart,  le  21  florSal,  an  6  de  la  RSpublique  Fran- 
paise.  [May  10,  1798] 

Paris,  Au  bureau  dramatique,  an  VI.  [1797-98].     67,  [1]  p.     21'^'^. 

Cast.  ML  50.2.Z65B6 

Zorei  e  Ozai,  ballet.     See  G.  Gio'rdani's  Erifile, 

II  Zorilan,  ballet.     See  Anfossi's  Zenobia  in  Palmira. 

Zorilan,  ballet.    See  Cimarosa's  L'impegno  superato. 


OPERA   LIBRETTOS  1171 

Zorinski :  a  play,  in  three  acts,  as  performed  at  the  Theatre  Royal, 
Hay-Market.     By  Thomas  Morton  ... 
London,  T.  N.  Longman,  1795.     2  p.  l,  73  p.     20'^'^. 

Cast.  Considerably  interspersed  with  songs,  etc.,  composed  by  Samuel  Arnold 
(not  mentioned). 

First  performed  June  20,  1795.  Longe  232 

Zoroastre,  tragedie.  Representee  par  I'Academie  royale  de  musique, 
pour  la  premiere  fois,  le  vendredy  cmq  december  1749. 

[Paris],  Aux  depens  de  V Academic,  1749.     74,  [2]  p.     22^"^. 

Five  acts.  Cast,  ai^ument,  and  names  of  Louis  de  Cahusac  as  author,  of  Jean 
Philippe  Rameau  as  composer.  ML  50.2. Z7R2 

Zoroastre,  tragedia  tradotta  dal  francese,  da  rappresentarsl  nel  Regio 
Elettoral  Teatro  di  Dresda,  dalla  compagnia  de  comici  italiani  in 
attuale  servizio  di  Sua  Maesta  nel  carnovale  dell'  anno  MDCCLII. 

Dresda,  Stamperia  regia,  n.  d.     8  p.  I.,  64  p.    20'^^. 

Five  acts.  Argument,  sjmopsis  of  plot,  cast.  [Giacomo]  Casanova  [de  Seignaltl 
is  mentioned  as  author  of  this  Italian  version  of  Louis  de  Cahusac's  tragedy,  and 
"Signor  [Johann  August]  Adam,  musico  di  camera  di  S.  M."  as  composer  of  the 
music  including  the  ballets  excepting  the  overture  and  the  first  chorus,  which  were 
by  Rameau,  and  presumably  taken  from  his  "Zoroastre." 

First  performed,  as  indicated,  February  7,  1752.  Schatz  55 

II  zotico  incivilito.     L.  T.  of  Anfossi's  Lo  sposo  disperato. 

Zulima.  Dramma  per  musica  da  rappresentarsl  in  Firenze  nella 
primavera  dell'  anno  1796  nel  Regio  Teatro  degli  Intrepidi  detto  della 
ralla  a  cord  a  .  .  . 

Firenze,  Ant.  Gius.  Pagani  e  comp.,  1796.     39  p.     17'^"*. 

Two  acts.  By  Francesco  Gonella  di  Ferrara.  Argument,  name  of  Marco  Porto- 
gallo  as  composer  and  note:  "La  poesia  6,tutta  nuova  dell'  autore  della  Lodiska." 

ML48.A5    v.14 

Zulima.  Dramma  per  musica  da  rappresentarsl  nel  Teatro  di  via 
della  Pergola  nel  carnevalc  del  MDCCLXXVII  .  .  . 

Firenze,  Gio.  Risaliti,  n.  d.     39  p.     16^"^. 

Two  acts.  By  Cesare  Oliveri,  who  is  not  mentioned.  Cast,  argument,  and  name 
of  Giovanni  Marco  Rutini  as  the  composer.  With  the  opera  was  performed  Antonio 
Terrade's  ballet  "II  Francese  in  Londra,"  the  composer  of  the  music  not  being  men- 
tioned. SCHATZ  9189 

Zulima  o  sia  La  famiglia  riunita,  ballo  pantomimo.  See  Farinelli's 
II  nuovo  savio  della  Grecia. 

Die  zur  meisterin  gewordene  schuelerin.  Tr.  of  Cingoni's  La 
scolara  fatta  maestra. 

Die  zurueckkunft  aus  Londen.  Tr.  of  Fischietti's  La  ritomata 
di  Londra. 

Die  zween  Savoyarden.  Tr.  of  Dalayrac's  Les  deux  petits 
Savoyards. 

Die  zwey  comtessinnen.     Tr.  of  Paisiello's  Le  due  contesse. 

Die  zwey  geizigen.     A.  T.  of  Joh.  Ad.  Killer's  Das  grab  des  MuftL 


1172  LIBRARY  OF   CONGRESS 

Die  zwey  geitzigen.     A.  T.  of  Gr^try's  Das  grab  des  Mufti. 

Die  zwey  schatzgraeber,  eine  komische  operette  von  einem  aufzug. 

n.i.,1781.     55  p.     16^'"". 

Not  recorded  by  Schatz.    Not  found  in  "Deuteches  Anonymen  Lexikon." 

SCHATZ  11665 

Die  zwey  vormuender.     Tr,  of  Dalayrac's  Les  deux  tuteurs. 

Die  zwischenfalle.     Tr.  of  Sarti's  I  contratempi. 

Zwo  komische  operetten  von  G  *  *,  nebst  andern  gedichten 
zum  anhange. 

Chemnitz,  J  oh.  Dav.  Stoessels  erben  u.  Putscher,  1773.     4p-^-)  ^^'^  P- 

Dedication  and  apology,  "An  den  kunstrichter,"  followed  by  (p.  1-184)  "Dae 
VORNEHME  SuscHEN,  eine  komische  operette  in  drey  aufzuegen"  and  "Das  testa- 
ment, eine  komische  operette  in  einem  aufzuge"  (p.  185-246).  For  further  data  see 
these  xmder  their  titles.  Schatz  11655 

Die  zwoelf  schlafenden  jungfrauen.  Zweyter  theil.  Ein  schau- 
spiel  mit  gesang  in  vier  aufzuegen,  nach.  der  geistergeschichte  des 
herrn  Spiess,  fuer  die  Marinellische  schaubueline  bearbeitet,  von 
Karl  Fnedrich  Hensler.  Die  musik  ist  vom  hrn.  Wenzel  Mueller, 
kapellmeister. 

Wien,  Mathias  Andreas  Schmidt,  1798.     88  p.     W'^. 

First  performed,  as  indicated,  July  24, 1798.  Of  the  Iter  theil,  the  L.  of  C.  has  not 
the  original  ed.  of  1797,  but  only  Berlin,  1805,  of  the  Illter  theil  we  have  the 
original  ed.,  Wien,  1800.  ^  Schatz  6979 

Die  zwolf  schlafenden  jungfrauen.  Ein  schauspiel  mit  gesang 
in  4  aufzuegen,  von  Karl  Ludwig  Gieseke  .  .  .  Die  musik  ist  von 
Matthaeus  Stegmayr.     Fuer  das  K.  K.  Wiednertheater. 

Wien,  Binzische  Buchhandlung,  1798.     126  p.     16^"^. 

First  performed  June  4,  1796,  as  indicated.  Schatz;  10052 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


tOTTWISTTT  or  CAJJSBtHOm 

AT 

we  -•  ::gelbb 


L  005  e4TS7i'f 


v.l 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


A    001 


300  393 


